Word: antiheroically
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...problem by turning to a trio of cliche badass pursuits: cross-country wandering (the show's sole set is a highway), crime (involving, naturally, suitcases of white powder) and moviemaking. Of these, Korder presents the cinema as the most corrupt; it takes an impromptu murder to get the antihero really launched as a mogul...
...text abounds in unusually shapely language for Miller, and in jokes. The production is not, alas, quite as polished. Tom Conti looks too young for Miller's antihero (although the script is inconsistent about his history) and seems too ingratiating. Perhaps the idea is to suggest that king-of-the-jungle fantasy persists in the most genial men; even so, Conti evokes intellectual posturing more than yearning. Gemma Jones is suitably antiseptic as his first wife, but Clare Higgins seems a bit stale for the younger second one, and Deirdre Strath just shouts as a grownup daughter...
...antihero of this lively deconstruction of the gangster life does not even qualify as an outcast Bernard Baruch. Lansky's best investments -- in the gambling hotels of Las Vegas and pre-Castro Havana -- were either sold too early or held too long. Like other Florida retirees, he saw his income from oil and gas leases greatly reduced by the petroleum glut of the early '80s. Lansky died in 1983. If there were secret millions, they do not seem to have changed the lives of his family. After a life limited by cerebral palsy, elder son Buddy died a pauper...
...like Savage Night and A Swell- Looking Babe -- was in print. He had fiddled on the fringes of Hollywood, helping to write Stanley Kubrick's The Killing and Paths of Glory, but found no steady work. His one solace was booze, in punishing quantities. No wonder the typical Thompson antihero was a smart guy who got outsmarted by fate, fast company or himself...
That's not a tough question. The Godfather Part III, is a gangster picture, after all, and Michael is the antihero with whom the series lives and dies. The true perplexer is whether filmgoers will care to see, or care about, an aging entrepreneur haunted by specters from films nearly two decades old. Because this is a movie about loss, Pacino must relinquish the steely calm of his youthful Michael; now he is Lear without the grandeur. Nor can G3 find suave new twists and characters to propel the plot and lure the teens. Garcia, an electric actor, swaggers...