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28 de nov. de 2017 · Dances With Wolves (1990) – Review by Pauline Kael. The movie—Costner’s debut as a director—is childishly naïve. When Lieutenant Dunbar is alone with his pet wolf, he’s like Robinson Crusoe on Mars. When he tries to get to know the Sioux, and he and they are feeling each other out, it’s like a sci-fi film that has the hero trying ...
22 de feb. de 2017 · Little Shocks, Big Shocks. by Pauline Kael. Oliver Stone, who wrote and directed Platoon, based on his own experiences, dropped out of Yale at nineteen, taught Chinese students in Vietnam, did a stint in the merchant marine, and finished a novel (in Mexico), which he couldn’t get published.Feeling, he says, that he needed to atone for his life of privilege and his individuality—that he had ...
It's a notion that takes some growing used to, but Pauline Kael makes her case persuasively: "Almost every interesting American movie in the past few years has been directed by a Catholic." And then she names the three directors she feels are making the most exciting movies right now: Francis Ford Coppola, an Italian-American; Martin Scorsese, who grew up in New York's Little Italy with a ...
13 de jun. de 2019 · Aquí nos gustaría mostrarte una descripción, pero el sitio web que estás mirando no lo permite.
Of course, I am not the first to criticize Pauline Kael, for she’s generated quite a few ‘enemies’ throughout her career. In 2004, for instance, Alan Vanneman published a short retrospective of her work [49] that covers her life, her creative troubles from the 50s onward, and her eventual breakthrough as a critic via a published collation of her reviews, which Vanneman quotes quite a bit ...
17 de oct. de 2016 · by Pauline Kael. When Sergio Leone ’s epic Once Upon a Time in America opened here in June, 1984, in a studio-hacked-down version (cut from three hours and forty-seven minutes to two hours and fifteen minutes), it seemed so incoherently bad that I didn’t see how the full-length film could be anything but longer.
24 de dic. de 2019 · Pauline Kael, as seen in “What She Said,” directed by Rob Garver. Her tenure at The New Yorker, from 1968-91, coincided with a seismic eruption in American independent filmmaking.
