Film Remake That Tries To Prove All Unmarried Men Are Created Equal? La Times Crossword

Turbine blade: ROTOR. But if he did it was a foolish thought.... Those who reach for a Freudian interpretation of the tank are only expressing their lack of response to what is there on the screen. Thus, the film has, we are not amazed to discover, "the narrative scope of a novel. " All of the more disturbing aspects of the play would blow away in the storm on the heath. Film remake that tries to prove all unmarried. Film remake that documents soapbox sites?

They don't threaten his view of the world precisely because their value system is an absolutely uncritical extension of that world. Unlike automobile gasoline: LEADED. Record Breaking Christmas. Film remake about a student who finally finds the right martial arts teacher? It is crucial to take in the double-edged quality of these modifiers, which, in case we don't get the point, is explained in the final sentence of The Godfather review, when Canby sums up the film as "one of the most brutal and moving [signs of shilly-shallying already creep in with this doublet] chronicles of American life ever designed [and watch this final twist] within the limits of popular entertainment. Film remake that tries to prove all unmarried men. " Novelist Leon: URIS. Blue Velvet: Kyle MacLachlan likes hiding in women's closets. I am all the more surprised, therefore, to find myself not only reading your film critic before I read anyone else in your magazine but also consciously looking forward all week to reading him again. Confronted with such a description of his critical clout, Canby vehemently denies it. One might call it praising with faint damns, as when he describes The Godfather as "a superb Hollywood movie, " or characterizes Raiders of the Lost Ark in the following terms: If Hollywood insists on making films designed to gross hundreds of millions of dollars by appealing to the largest possible audiences, it could not do much better than this imaginative, breathless, very funny homage to the glorious days of B-pictures. Unperfect Christmas Wish.

"One night in Bangkok makes a hard man humble... Siam's gonna be the witness" Whatever your interpretation, I like the song. Film remake that tries to prove all unmarried men are created equal. But it is impossible even for this art-for-art's-sake writer entirely to aestheticize "China Syndrome"–politics, society, and the world outside the movie theatre are let in at the very end of the review. The following passage, from a piece five or so years ago, is to my knowledge his most extended attempt at articulation. As the film opens, one such agent is trying to disarm the latest deadly explosive set by the Fizzle Bomber, a terrorist wreaking havoc on Seventies-era New York when it goes off in his face, burning him badly in the process. Meanwhile, Nick has found this man for himself, Stephen 'Adam' Burkett (Chuck Connors), he is a younger, handsome and athletic man.

If the short term and the immediate impression are all that count in a review, they are temptations almost impossible to resist. This makes him get a law enforcer job in a place that hates him, forcing him to get together with the town drunk to get anything done. A Holiday Spectacular. Yiddish word meaning "little town": SHTETL. Back to the Future: Thanks to a discontinued sports car, a boy nearly commits incest with his mother after teaching his father how to use violence.

Etched art: ENGRAVING. All of which is why it is no exaggeration to say that the fate of the non-blockbuster, non-critic-proof movie–the small, independent, innovative, unusual film–hangs in the balance every time Canby chooses to write about it, or not to. The climactic fight is so violent it shatters the Fourth Wall. "Keep talking": GO ON. The prospect of what will be done by the next generation of film critics writing as professionals with standardized methods for established institutions, is daunting. The editorial bureaucracies at both magazines labor to absorb the sounds of particular writers into the monotone of their controlling corporate styles and tones. Period of inactivity: CALM. Big Eyes: A woman paints beautiful and distinctive pictures, only for her husband to steal credit on them. They are fought off using coat hangers. American film criticism since James Agee is amateur criticism, and Kael, Kauffmann, and Sarris are all amateurs in the best sense of the word. He sold out his critical standards long ago in order to avoid the hard words and stern judgments that otherwise would be required of him over and over again. Jazz up his next few paragraphs with a few more metaphors and you might be reading Kael on DePalma: What's particularly good about the picture's rhythm is that it doesn't follow the usual pattern of suspense films: a fast start followed by a lull (you know, an opening murder, then long passages of fill in), with alternating splotches of action and drags of recovery until the final whoop-up.

One does not have to be in favor of cinematic "ugliness" or "illiterateness, " of performers who are not "believable" or "convincing, " or of movies that are no "fun" or not "entertaining, " to feel that the elevation of these particular values (to the exclusion of virtually all others) amounts to a very alarming aesthetic. "Fleabag" award: EMMY. The socially relevant/personal/domestic dramas that Canby likes are equally tame, domesticated, and safe for mass consumption. Alternatively: A weary cop questions himself as he hunts down, shoots, and occasionally forces himself upon four-year-olds. Strauss of denim: LEVI. Three Wise Men and a Baby. This is a movie so bad that it has to be seen to be believed, but in treating it as a genre picture Canby conveniently manages to avoid harder tasks of analysis and substitutes in their place an effusion on the conventions of B-picture narrativity: The film meets its classic narrative obligations as carefully as a composer of a sonnet meets his obligations to a form. Note more generally how evasive this whole course of argument really is. Barbie as Rapunzel: A Princess Classic ends a war that's been going on for at least a decade simply by existing. After it's all over and the pulse begins to subside–which takes time–the worry comes.... Breath mints that contained Retsyn: CERTS. Holds dear: TREASURES. It is this audience that Canby either delivers or doesn't. "The New Movie" is simply whatever Canby needs it to be at the moment, a stick of incense he can burn whenever his favorite reductive formulations– this movie is "about, " "says, " or "tells us"–predictably fail him for the umpteenth time.

Alternatively: Eccentric old loner helps his friends father hook up with a teen-aged girl. The Brave Little Toaster: Homeward Bound: The Incredible Journey with appliances. He completely deflects the attack by treating the film as a camp parody of earlier Hollywood movies: This second film by Paul Morrissey is a relentless send-up of attitudes and gestures shanghaied from Hollywood's glamorous nineteen-thirties and forties. They are, indeed, precisely the values such a reflection should question.

Though the Three Mile Island fiasco made "The China Syndrome" seem more important than it would otherwise have been, both Gilliatt and Kauffmann wrote reviews of it before it became a current events newsreel, and the differences are revealing. At first, among the hysteria and tendentiousness of so much other writing on film, Canby passes for the one sane, sociable soul. The traumatic experience is repeated frequently for laughs. What both of these views assume is that the overall experience of a film, as well as the particular experiences presented within it, is ultimately reducible to a set of understandings and beliefs that exist outside the film, which could more or less be agreed upon before it ever begins. The Breakfast Club: Five teenagers with problems waste a Saturday proving that they're even less unique than they thought. The effect of sitting through hundreds of absolutely dreadful films a year must be one of the most mind-numbing and spirit-killing imaginable. That "money-grubbing, bull-necked capitalist" muttering "Danger be damned, " while "billions go down the drain, " never lived in our world, not for a minute. Son-in-law of Arnold Schwarzenegger. Shouldn't criticism (like film) provide a geography and geology of the rest of life as well?

Alfred Hitchcock's icy wit, John Ford's gruff sentimentality, Jimmy Stewart's "stone faced morbidity" are all evidences of the power of personality to survive, even in the slightest and most quirky manifestations, against the great artistic levelers of our time–the homogenizing and impersonalizing pressures of the genre film, the commercial market, and the studio production system.

Thu, 16 May 2024 21:15:28 +0000