film criticism by maryann johanson | celebrating 25 years: 1997–2022
A classic conundrum, says reader Bruce: risk being known as the fool who agreed to take over as captain of the Titanic in mid-sink or, if you succeed in turning the $65 million debacle around, become the greatest savior in show biz history.
There’s a little bit of Hammer horror in Julie Taymor’s messy but thrilling adaptation of Shakespeare’s last play, and there’s more than a little turning-of-the-tables, all of which brings a new perspective on the play, and a new appreciation for it, which is the best we can ask for the umpteenth adaptation of a centuries-old work.
The AWFJ is one of the critics’ groups I belong to; my input helped determine these nominees, and I will vote in the final balloting to narrow it down to the winners. I still have to watch a few of these nominees…
Is the day of the auteur over? If it isn’t, who is our greatest auteur? Does it matter if Hollywood doesn’t care about directors anymore? Is that something that can be left to serious film fans?
Woo-hoo! Helen Mirren is going to play Prospero — the wizard has been redubbed Prospera — for a new film adaptation of The Tempest from director Julie Taymor…
