Paul Newman, George C. Scott, Piper Laurie, Jackie Gleason are a sensible ensemble in this rough’n’tumble, quasi-noir narrative, that lives and dies in pool halls and petulance.
The twinkle in Newman’s eye will never be out-twinkled.
Solid cast, fun moments, compelling choreography, but a wounded plot that nearly undermines the whole operation. I am so so so pleased that the DC universe is finally starting to get a footing.
I just took a hugely influential trip to New York, followed by a 1,000 mile hitchhiking journey along the American freeway system back to Nashville. My travels were accompanied by beatnik writings, poetry, jazz and the like. Today I’m logging “On The Road” not for the film, but as a reference to Kerouac, and a home for a piece I wrote in my rambling. Read it if you get a moment, because Letterboxd is the most attentive audience I’ve got!…
Expectation: a Catholicism apologist feature that’ll be SWAMPED in religious jargon and with nowhere near satisfactory criticism.
Reality: a well-rehearsed two-man tango with delicate language that nearly unpacks the ever-complex relationship between the politics and the socioeconomic application of the most overgrown and antiquated religious framework possibly in the history of mankind.
The truth is, the Catholic Church wasn’t built with the future of its people in mind, lol. It’s a miracle (pun-intended) that it’s been able to keep up…
Where does one start/stop poking holes in this movie? I want to focus on the fun parts and not rag on a Star Wars movie, but they didn't give a guy too much to work with. There were a couple of really amusing fight scenes, a good space-chase, John Williams did his usual, and on the whole the visual effects were fantastic.
BUT - the script had gaping wounds, insufficiently distracted by senseless callbacks and cameos, enormous leaps in Star…
You could watch this and consider how splendidly Greta paints a portrait of the seasons of life, or how the screenplay is excellently craft to display the minutia of a working-class family, or how the performances each stand alone while perfectly understanding and complementing their counterparts.
OR you could focus on how Timothee's hairstyle transcends time and geography.
Watched at Regal Essex & RPX in NYC
I'm so charmed by this type of film, and although Malick certainly isn't the only (or presumably the best) in the impressionistic world, he has such a unique storytelling gift that I just have not seen anywhere else. 'A Hidden Life' steadily zooms out from the micro to macro-existence, making pit stops at the relation to self, relation to country, and relation to god. It takes its time to steep in each to be sure that the audience can find a home and gain perspective.
I love the Malick body of work so very much.
Watched at the wonderful Landmark at 57th in NYC.