The show is torn between Paul Haggis’s love of melodrama and David Simon’s fascination with the social governance.
If the glue holding Crash’s arcs together was Paul Haggis’s belief in the power of racism, this time it’s love.
I have always liked Tony Kushner, and not just the concept of Tony Kushner the public writer.
I’m totally willing to admit, at the outset, the possibility that any of my favorite 10 below may decline in estimation over time.
Haggis never explores the compromises and sacrifices that Liam Neeson’s terrific cameo prepares us for.
Socio-political preaching takes a backseat to pulse-pounding suspense in The Next Three Days.
Because we all must learn the Barbra Streisand upside-down-headphone-choke.
Well, that didn’t last.
In the Valley of Elah is so obviously plotted it could have been scripted by the inflatable autopilot from Airplane!
The film trembles in the shadow of Letters from Iwo Jima but the quality of its image and sound elements is almost unrivaled.
Finally, a Bond adventure one can enjoy without apology.
It’s tempting to write off The Black Donnellys as The Sopranos Lite.
Casino Royale is one of the good ones, and not just for the way it wittily recontextualizes several series touchstones.
What rankles me the most is the received wisdom that somehow Flags of Our Fathers has too broad of a canvas for Eastwood and thus is outside his particular wheelhouse.
The stink of Crash hovers over Flags of Our Fathers.
Clint Eastwood’s creaky history-class lecture Flags of Our Fathers makes the nature of heroism its primary point of concern.
As if Hollywood films needed any outside help to celebrate arrested narcissism, along comes The Last Kiss.
Summer’s here, and the time is right for a summary of all things cinematically summery.
Cheshire was open to discussing how the changing times broadened his interests in film and filmmaking.
Amazingly, this movie has been embraced by some of the country’s most prominent critics.