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“El punto álgido de mi vida no fue una película”: Kevin Costner, un galán clásico en busca de su última oportunidad
La gran estrella de los ochenta y noventa tocó fondo con ‘Waterworld’ y lleva casi 30 años buscando resarcirse de aquel fracaso que lo destronó. Su nuevo intento se llama ‘Horizon’
El País
hace 3 días
Periodistas en el cine: las mejores películas y los reporteros más memorables para descubrir en la pantalla grande
Con muchos puntos de contacto con el investigador privado, la pantalla grande supo consagrar desde sus inicios la iconografía y la vocación de hallar la verdad del oficio;
LA NACION via Yahoo
hace 6 días
10 de abr. de 1994 · Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film...
Pauline Kael wrote for The New Yorker from 1967 until her retirement, in 1991. In 1968, shortly after the publication of her review of “Bonnie and Clyde,” she became the magazine’s film critic.
14 de oct. de 2011 · THE longtime New Yorker film critic Pauline Kael didn’t just write about movies — she made it seem as if they were worth fighting about. Nearly 20 years after her retirement and a decade after...
In this week’s issue, I write about Pauline Kael, who was a New Yorker film critic from 1968 to 1991, and whose reviewing helped establish several movies of the late sixties and seventies as...
Pauline Kael offers a resounding negative view; and we anticipate in our next issue a rejoinder by Andrew Sarris, in whose writings the politique has had its most extended and thoughtful American presentation.
Pauline Kael's article "Circles and Squares," in our last issue, was a blistering attack on the "auteur" school of criticism as it has been seen in the work of Andrew Sarris and such journals as "Movie" and the "New York
In her BONNIE AND CLYDE essay, Pauline Kael forecasted the sea change that would take place in American film and displayed an acute understanding of the new American moviegoer that forever cemented her name in the echelons of great American critics.
