Griffin Dunne’s film is an exercise in joviality, unflinching in its love for Joan Didion, and unwilling to be much more.
It would be oblivious to deny that Watkins in part shares her visions of sweltering badlands with writers like Joan Didion or Denis Johnson.
The season finale of Looking culminates in a single, extended take, perhaps three minutes in all, at the end of a lovers’ quarrel.
Maureen Corrigan’s deconstruction of the novel in the context of noir, or “hard-boiled” detective fiction, offers a refreshing perspective.
The episode is, principally, a reconsideration of characters we believe we’ve come to know.
Your threshold for enduring Streisand will have great bearing not only on how you enjoy A Star Is Born.
It’s hard to look at Tuesday Weld’s career without feeling a tiny pang of regret for what could have been.
American film in the ’70s extracted much of its power from documenting the fallout from the dreams of the ’60s.
A sample of ’70s grit worth reviving, though anybody fiending for a fix of extras will be worse off than the film’s craven addicts.
If only the Colonel had let Elvis play Streisand’s John Norman, it might have been the camp classic that closeted Streisand freaks insist it really is.
Barbra Streisand. Is. A Star Is Born. And two-shots have never been so completely arbitrary.