AMSTERDAM: AN ALMOST-GOOD MOVIE
Look, I get it. It isn’t easy to craft an original screenplay, introducing an audience to newly-minted characters worth caring about, then building a three-act structure that makes perfect sense. David O. Russell has had more success than many…
THE GOOD BOSS: GOOD GOING
Javier Bardem essays the title role in The Good Boss, and that is how his character would describe himself. He inherited from his father a factory that makes scales—all sizes and kinds—and presides over a hundred or so workers that he…
BACK TO THE DRIVE-IN
April Wright has made several good documentaries, includingGoing Attractions: The Definitive Story of the Movie Palace(in which I appear)and Going Attractions: The Definitive Story of the American Drive-in Movie. The latter film is bathed in an understandable nostalgia for the kind…
BULLET TRAIN: GOING NOWHERE FAST
If you’ve seen Atomic Blonde, Deadpool 2, or Fast & Furious Presents: Hobbs & Shaw, you’ll recognize David Leitch’s style of filmmaking. He focuses on hyperkinetic action and flamboyant violence with a heaping dose of smartass humor—a flashy showcase that…
WHERE THE CRAWDADS SING
It’s easy to see why Dalia Owens’s Where the Crawdads Sing became a best-seller. It has all the ingredients to attract a wide audience: an underdog heroine with an abusive father lives in a marsh in South Carolina that makes her a…
MRS. HARRIS GOES TO PARIS
Is there still an audience for an adaptation of Paul Gallico’s whimsical best-selling novel Mrs. ‘arris goes to Paris? And are they so dumb that they need to have her name spelled out instead of Cockney-ized? Whatever the case, I…
THOR: LOVE, THUNDER AND SHTICK
I have no patience for superhero movies without a sense of humor. If executed properly (see the original Avengers) the comedy should arise naturally from the situations in the script and the characters’ reactions to them. That’s why I was…
