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1 de ene. de 2001 · Pauline Kael was an American film critic who wrote for The New Yorker magazine from 1968 to 1991. She was known for her "witty, biting, highly opinionated, and sharply focused" movie reviews. She approached movies emotionally, with a strongly colloquial writing style. She is often regarded as the most influential American film critic of her day ...
27 de oct. de 2011 · A review on Oct. 30 about “Pauline Kael: A Life in the Dark,” by Brian Kellow, and “The Age of Movies: Selected Writings of Pauline Kael,” edited by Sanford Schwartz, erroneously ...
8 de may. de 2017 · by Pauline Kael. As Jake la Motta, the former middleweight boxing champ, in Raging Bull, Robert De Niro wears scar tissue and a big, bent nose that deform his face. It’s a miracle that he didn’t grow them—he grew everything else. He developed a thick muscled neck and a fighter s body, and for the scenes of the broken, drunken la Motta he ...
17 de oct. de 2017 · by Pauline Kael. John Carpenter, who made the low-budget scare picture Halloween, has a visual sense of menace.He quickly sets up an atmosphere of fear, and his blue night tones have a fine, chilling ambience—the style is reminiscent of the Halloween episode in Minnelli’s Meet Me in St. Louis.But Carpenter isn’t very gifted with actors, and he doesn’t seem to have any feeling at all ...
WE STILL KILL THE OLD WAY (A CIASCUNO IL SUO, 1967): BUSINESS AS USUAL – Review by Pauline Kael Weekend (1967) – Review by Pauline Kael Why Are Movies So Bad? Wings of Desire (1987) | Review by Pauline Kael WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN (1988) – Review by Pauline Kael Yellow ...
21 de abr. de 2023 · Trading Places (1983) | Review by Pauline Kael. April 21, 2023. Trading Places is reminiscent of the kind of “classic” that turns up on TV at Christmastime, and it looks like a Christmas classic on a TV set that needs adjusting. by Pauline Kael. In Trading Places, Dan Aykroyd plays a snooty young blue-blood who runs a Philadelphia brokerage ...
19 de jun. de 2019 · Pauline Kael . T he best way to celebrate the one hundredth anniversary of the birth of Pauline Kael, one of the most influential film critics in the short history of cinema, is, of course, to read her work. And the best place to begin, naturally, is the New Yorker, where she was a staff critic, writing week in and week out for six months out of each year between 1968 and 1991.
