“I’m talking about actual ‘coke movies,’ the ones where it’s clear everyone on set—or at least the ones in charge—seem to be making decisions in a cocaine-induced frenzy. Marked by intensely committed but slightly skewed editing, writing, and camera placement and movement, a coke movie feels obsessively personal yet constantly distracted.” Roger Leatherwood with an appreciation of a very specific genre.
“As we sat down to our scrambled eggs, we heard a great crash and a scream. Our family rushed into the living room to find my Grandma Dalton lying in a heap amid the ruins of the Death Star. My brother and I rushed past her to the shattered remains of our precious play set.” Corey Michael Dalton reflects.
Have you ever spent a whole day listening to Pet Sounds, from “Wouldn’t It Be Nice” to “Caroline No,” again and again? Each song is an epiphany, but rapid-fire epiphanies are hard to absorb, so…you have to go back to the beginning. When you step into the world of Pet Sounds, you’ve stepped into the…
I won’t dispute that Steven Spielberg is one of the great American directors. Taken together, his body of work is astonishing in both its breadth and its narrative depth, ranging from explosive summer blockbusters to deeply meditative character studies. But after a recent viewing of “The Lost World,” I realized that even a director of…
“The lead character, Sandra, played uncomfortably well by Marion Cotillard, starts the film by telling herself not to cry. She pops a Xanax. Then she cries, pops more Xanax, and teeters on the verge of crying again in a non-stop cycle of self-pity for the next 90 minutes.” Nick Honeywell reviews Two Days, One Night.