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Monthly Archives: April 2021

HEMINGWAY (PBS)

Ernest Hemmingway (1899-1961) was a man, a writer who has informed all who seek edification, beauty, comfort, solace in the written word; binging on his every published manuscript, shedding rivers of tears, shattered by the poignancy of brutality, destructiveness of emotional stability; his soul splayed upon the page, without bias, pretense, he sought from an unfathomable depth the meaning of ... Read More »

THE ICE HOUSE (1997) (AMAZON PRIME: 2 EPISODES)

Unless it’s a classic, movies made before 2000, rarely tweak my interest, or a revisit; “The Ice House” directed by Tim Fywell, starring a youthful, heavily-accented Daniel Craig, was a worthy exception; Craig, as “Detective McLoughlin”, cynically sour, cagily perceptive, tries to solve a marvelous mystery of a withered corpse (found in a dilapidated, long disregarded ice house) a missing, ... Read More »

FRENCH EXIT (IN THEATRES)

In spite of Rapunzel tresses, Michelle Pfeiffer is a remarkably gorgeous woman and credible actor; that is the single most redeeming factor in director Azazel Jacobs’s feckless film; aimlessly transparent: “Frances” (Pfeiffer) whose only attribute is that she married well and with nary a speck of fiduciary acumen, flagrantly, sans accountability, has spent every cent, regardless of widowhood; after disbursement ... Read More »

GODZILLA VS. KONG (IN THEATRES & HBO MAX)

Sensationalism is “King” in the latest of “scales vs. fur” epic; director Adam Wingard, relies monumentally on one’s lust for digitally amplified confrontations and destruction; these battles are rendered flawlessly; anthropomorphically acceptable, especially Kong, earns our reverence; unfortunately, the flimsy, dismal dialogue and one-dimensional villain (Demian Bichir, fizzles) are sappily depicted and the ultimate message too blatantly delivered. Saving the ... Read More »

NOBODY (IN THEATRES)

“I am Nobody! Who are you? Are you – Nobody – too?” Emily Dickinson’s pithy poem was resoundingly appropriate and applicable to “Hutch Mansel” a nine-to-five, redundantly predictable, encroaching on “Groundhog Day”, repetitiveness, average bloke, until his dark side is excavated by a home invasion; actor Bob Odenkirk’s physiognomy, demeanor, equanimity was crafted for the role; he melds, anonymously into ... Read More »

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