We all know how it is. You’d like to get out to see a new movie this weekend, but you’ve been stuck on a hijacked subway train too many times to find any cinematic amusement in that scenario. But you can have something close to that blockbuster experience at home with the proper application of … more…
I think maybe I’ve figured out how Joel and Ethan Coen do it. How they move so effortlessly from comedy to drama, from fluffy to forceful, from silly to solemn. It’s that they don’t think about tone or genre, at least not at the beginning: they just think about a character, and let him have his lead, and see where he takes them.
You sell out and you sell out and you sell out until you can’t do it anymore. And that’s when things gets interesting.
Two thrillers you wish weren’t quite so thrilling, with their terrifying basis in reality…
Are you now, or have you ever been, a journalist? That’s what *Good Night, and Good Luck.* feels like, a smooth, sardonic smack in the face of today’s so-called newspeople, the cinematic equivalent of a withering glare and a disdainful roll of the eyes. Oh, this is an angry movie, calm and collected on the surface and seethed with reeled-in rage underneath. Yeah, it’s about Edward R. Murrow and how he took on McCarthy’s insanity, but what it’s really about is how we need a Murrow now and is there no one, not one supposed journalist, with the balls to take up Murrow’s mantle of integrity and honesty and fearlessness?
Are you up for a little larceny that may be dangerous but is too much fun to pass up? Are you up for a smart dumb movie, the kind of delicious popcorn flick you get when some of the most talented and most watchable people in the biz let their hair down? Cuz this ain’t a movie that’s been fortified with vitamins and minerals or morals or anything good for you — this is pure cinematic junk food of the highest, tastiest order.
Once again I am pleasantly surprised by a Hollywood film.