He's a square-headed, stick in the mud, by the book cop from Ontario. It involves Herculean feats of misunderstanding on Canby's part. They fool themselves into regarding their silly relish for the old, bad Hollywood B-picture, the genre-film remake, or the trashy escapist/fantasy flick, as a form of critical daring and artistic eclecticism. But "Syndrome" also casts its power executives as heavies in a James Bond flick.... Film remake that tries to prove all unmarried. Shortsightedness, stupidity, and error are frightening enough possibilities in such powerful men. They regard film as a form of human communication, and their own task more than anything else as simply to communicate some of the richness of their film experiences to their readers.
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Film remake featuring broken raga instruments? From Princeton to New Haven, yuppie couples, middle-aged professionals and businessmen, and tweedy Ivy League alums of all stripes define the typical Canby reader. The distinctive power of the Times reviewer results from a virtually unique confluence of geographical, demographic, and bureaucratic factors peculiar to the relationship of the Times and the film distribution system in this country. Bernard And The Genie: Man loses everything, and, with the help of a man from first-century Palestine, gets his life back together. How to watch all 172 new Christmas movies in December. Also: part of the clown's plan is ruined by Deebo from Friday. If the film had only underscored the constant possibility of human error in nuclear plants, it would have done a service. Though the final few sentences show that Ansen hasn't yet succeeded in freeing himself from certain annoying metaphoric mannerisms that give more evidence of cinematic fancy than imagination, until the continuously qualified progress of this analysis testifies to a care, tact, and respect for the object of his commentary. Film remake that tries to prove all unmarried men are created equal. Bedknobs and Broomsticks: An old spinster and three wartime evacuees go searching for the other half of a damaged book. The Big Short: 2 hours of people talking about finance. Ben-Hur (1959): Loose tile makes man lose his best friend, get arrested, and enter the world of racing. Simon refuses to allow a film's style to bring into existence a reality at odds with his sternly pragmatic one, Hatch apparently never even asks that a film have anything at all to do with his experience of life. But the point is, of course, Canby's aesthetics notwithstanding, that the "what" of a critic's performance is never separable from the "how. It is as if current films were all such con games for Schickel that his only function can be to give the prize to the superior con man: "Director Guy Hamilton has a gift for moving this sort of nonsense right along. "
From interviews, it appears that Resnais and Robbe-Grillet consciously designed "Last Year at Marienbad" to accommodate a multiplicity of equally plausible interpretations. The speaker wants credit for asserting something which he is not only incapable of defending, but, when challenged, claims the prerogative to unsay. The Boss Baby: Alec Baldwin is an infant and he has to team up with his brother to expand his baby empire. My Southern Family Christmas. JD-to-be's exam: LSAT. They are fought off using coat hangers. One remembers that a Mr. James Agee was writing a weekly column of film drivel for Time, in the best brisk and punny Time-ese style, the same year Auden was praising his writing in The Nation. He is accompanied by Meg Griffin and hunted by Commissioner Gordon. Ethan Hawke as The Bartender. Unaccompanied: STAG. Still, Sharkey's prickly energy becomes comically endearing, and Kidder's performance sneaks up on you, burrowing deeper as it goes. So fascinated is she by just the sort of meticulous calculation and mastery of gesture that leaves personality behind that she can actually criticize Bette Midler for "losing her cool" at the end of a show and getting "personal. Film remake that tries to prove all unmarried men. " At the heart of "Predestination, " however, are the two central performances by Ethan Hawke and Sarah Snook that bring genuine emotional weight to a storyline that could have easily plunged into utter nonsense.
As these journalist-critics would be the first to admit, they are almost certainly the end of their line. It would be hard to think of a critical temperament more opposite to Pauline Kael's than Stanley Kauffman's. They are both exactly who they claim. Technicians and TV administrators are yelling commands about haste at her all the time. The Hazards of Humanism. Brokeback Mountain: Two cowboys look after some sheep. Grind, as teeth: GNASH. A film becomes a succession of energetic dispersions, eccentricities, and excitements that conventional thematic and metaphoric glosses only gloss over. Really like this curtain D-Otto found for us. Barbie in the Pink Shoes: A student is rewarded for disobeying her teacher. A Miracle Before Christmas. Meanwhile, concussed woman attempts to seduce Beetlejuice by wearing skin-tight leather and beating him up. Not only does she pull off her performance brilliantly throughout—there is not one moment in which she is anything less that utterly convincing and believable—I would go so far as to put her work here up against any of the current front-runners for the Best Actress Oscar.
New York City–not Washington, Boston, or Los Angeles–is the initial port of entry for virtually every important, unconventional, or independently financed American or foreign film. Big Fat Liar: Pathological liar and friend travel to Hollywood to confront the just-as-dishonest producer who stole the former's essay to use for his next movie. Auteurism didn't come to Sarris from France, or as a result of meditations on the aesthetics of film, it happened (as he explained in his introduction to The American Cinema) as he walked up the aisle of a movie theatre: " 'That was a good movie, ' the critic observes. Yet having acknowledged her achievement, one still must admit the extraordinary blind spots in her vision of film. As the metaphors in this quotation suggest, films carry us gloriously away from the messes of life, into a land of reverie, dreams, and Art with a capital A. It is a snide attempt at trivialization by association, which at the same time cutely reserves the right to unsay itself (Don't you get it? Batman & Robin: Billionaire argues with hormone-crazed sidekick about the sexual intentions of a Well-Intentioned Extremist while their butler is dying of a terminal disease that the wife of a now-mad scientist whom the extremist teams up with happens to have.
Everything of value that occurs in such a work is, by definition, an assault on the received understandings of experience that we had before we encountered it. This passage reveals still more about Canby's conception of art. A group of high-society snobs mistake a well-meaning idiot for a philosophic genius and convince him to go into politics. But he has the ability to make or break the fortunes of scores of films every year. Christopher Kirby as Agent Miles.
Kauffman (who reviews for The New Republic, a journal of political opinion) represents a critical sensibility so different from the artistic connoisseurship of Kael at The New Yorker, that one is again forced to consider the issue of institutional controls on individual discourse, controls that are only more obvious in magazines like Time and Newsweek. I will try to keep the details to a minimum, but, trust me, the less you know going in, the better, especially considering the fact that the story deals in no small part with time travel (and all of the attending paradoxes) and that is not even close to being its most unusual aspect. Also, he likes making clocks. If Kael is the enraptured chronicler of the visionary "eye" temporarily liberated from the limitations of time, society, and personality, Sarris is the humane celebrator of the sovereignty and power of the thoroughly personal "I. " A Show-Stopping Christmas. However, he is unaware, that at the same time, his wife Ellen Wagstaff Arden (Doris Day) has returned home to Los Angeles, she was found stranded on an island.
Holly & The Hot Chocolate. How such a film performs in the first few days or weeks of its initial run in New York commonly determines not only the size of the advertising budget that will be committed to it and the number of bookings it will subsequently receive, but in many cases whether it will ever receive any general distribution at all. He also makes it look easy. Vitals checker, briefly: EMT. Surely, we also need a social psychology of art, a politics of art, and a natural history of art. Black Swan: A crazy ballerina who still lives with her mother sleeps with Meg. Where Kael can be enthusiastic to the point of rhapsody and often receptive past the point of silliness, Kauffmann is crusty, stodgy sternly unimpressible, and doggedly negative about most films. Deformed boy goaded into life of crime. And this bridge is being built by perfectionists who place their workmanship on the bridge above all else. Compare Kroll's (eminently quotable) substitutions of adjectives for thought with Ansen's measured syntax, carefully engaged in questioning, testing, and qualifying received categories: "Willie and Phil" is a film largely devoid of ideas (unlike "Jules and Jim"); like his characters, Mazursky puts more stock in feelings. One reviewer of Kael's most recent collection of essays aptly described her analyses of the films she most admires as "all peaks and no valleys. " And Canby offers more in another review of the same film, invoking not one but two of his favorite laudatory adjectives, "literate" and "literary, " in the same sentence.
While Hatch and Simon are busy making facile connections between some superficial event in a film and a particular social fact or psychological association, Denby describes and evaluates the deep structures that make a film's meanings possible, interesting, or compelling. Spellcheck does not like tirading. And there is Canby's use of the notion of "a kind of" film (in the first paragraph) and of "a sort of" character (in the second paragraph), which are two of his most common critical mannerisms. They are the Arts and Leisure section's equivalent of the geopolitical ruminations of James Reston or Flora Lewis on the Op-Ed page.
Of the opening of "Kagemusha, " he writes: Looking at the three [men] seated there, I thought, "porcelain" and as the movie progressed I fancied myself in a museum collection of Japanese ceramics, in the hundreds, sprung from their cases and swirling around me in a tumultuous masque. If one can imagine a moralist like Kauffmann–or Simon–writing for The New Yorker, it is almost impossible to imagine The New Republic sanctioning and encouraging Kael's cascade of impressions. One longs for the day when the writing on film at the Times will be at least as passionate, as intelligent, as well-informed as the writing on the sports page. After all, what could be more different from a slice-and-dice stomach turner like Dressed to Kill or The Texas Chainsaw Massacre than a Masterpiece Theatre snooze like Gandhi? They are films that the entire Upper West Side can, upon Canby's recommendation, see safely, with impunity, knowing that nothing is really at stake, that no sacred cows will be gored, that polite supper chat will not be affected by the film that precedes it. Perhaps he thinks his reviews are imitating the fragmented "New Movie" he is forever heralding and never defining. Google shows that "Retsyn is a trademarked name for a combination of copper gluconate and partially hydrogenated cottonseed oil".
He is, first, a master of the lightly ironic use of the negative understatement to suggest more than he is ever willing to commit himself to in a positive way. Crew leader, briefly: COX. It's a Wonderful Binge. "Syndrome" starts tight and keeps tight even before the material is particularly tense. Goodyear city: AKRON. While delivering her child, another unanticipated discovery is made that will change her life forever, among other things.
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