Not a big job but glowing with Criterion’s imperial sheen and resplendent sound mix. Maybe the less said the better?
Howard Deutch’s film is about manufactured nostalgia, bordering on revisionism, bordering on delusion.
As Dorothy Zbornak demanded, “Maestro, how about something with a little octane?”
It’s a giddy, diabolical, and terminally underappreciated sequel to the film that made Joe Dante’s career.
Everything you could want to know about creating an ambitious, well-crafted rom-com in a mass-media whirlwind setting is supplied here.
As dated as it is, Michael Mann’s second theatrical release after Thief remains an intriguing mess of historical provocation.
The Skeptic awkwardly suggests Poltergeist as a 12-step self-help program.