David Fincher and Aaron Sorkin took the relatively wonky tale of coding a great website and made it into a top flight drama.
But what if The Social Network had been directed by a different Hollywood heavyweight? College Humor gave it spin with Wes Anderson, Frank Capra and many others.
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The problem with writing a book about a screenwriter is made obvious by the title of this book: If you have to give top billing to a director, you’re in trouble.
Ian Scott’s In Capra’s Shadow examines one of the most interesting screenwriting talents of the 30’s, although it might be easier to define Robert Read More
Remember when movies mattered?
I do—vaguely. Cast your mind back 30 or more years to a time when the next Arthur Penn movie, the next Coppola, the next Mazursky or Ashby or Bogdanovich excited burning anticipation, and the question of whether or not Billy Wilder could pull it together and mount a comeback Read More
Tom Shadyac’s Bruce Almighty , from a screenplay by Steve Koren, Mark O’Keefe and Steve Oedekerk, plays out on the screen as a little movie of modest invention, but with mysteriously massive box-office returns-at least in that magical first week that determines bragging rights for a whole season, if not longer. Of course, vulgar commercial Read More
One of my favorite movie titles is also, as Andrew Sarris has said, probably the most romantic title in pictures, and names a film directed by an Italian-American from Salt Lake City who is responsible for several of the most intensely affecting love stories made: Frank Borzage’s 1937 European triangle tale, HistoryIsMadeatNight [Tuesday, Nov. 9, Read More
David Mamet’s The Spanish Prisoner has been described by the writer-director himself as “a light thriller-almost a romantic thriller. And a little Hitchcockian.” The operative words are “almost” and “little.” Indeed, I don’t think there’s a romantic bone in Mr. Mamet’s body, and he bears very, very little resemblance either thematically or stylistically to Master Read More
In the 50′s and 60′s, my European parents would sometimes talk about the powerful antifascist theme-especially timely and valuable in 1941-expressed in Frank Capra’s film of that year, Meet John Doe They used to, at the same time, lament the loss of the kind of America that produced such a picture. Barbara Stanwyck gives one Read More
