Word: auteuring
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WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. Strange people and situations pile into a Madrid penthouse until the place looks like the stateroom in A Night at the Opera. Carmen Maura is the put-upon heroine in this glossy farce by Spain's naughty new auteur Pedro Almodovar...
WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. Strange people and situations pile into a Madrid penthouse until the place looks like the stateroom in A Night at the Opera. Carmen Maura is the put-upon heroine in this glossy farce by Spain's naughty new auteur Pedro Almodovar...
...doubt about it, Tucker was Coppola's kind of guy, a figure no more able to contain himself within the bounds of realism than the director is. Or suitable for representation by realistic means. Tucker was an expressionistic character in search of an auteur. A self-educated backyard inventor, he designed a high-speed armored car that the Army deemed impractical and a gun turret that it learned to love during World War II. Tucker used the prototype of the armored car (according to the film) to make ice-cream runs with his kids. The reputation he gained from...
...streets. True Californians, he and his partner never think to get out and run for cover. But then, this picture's soul is located 400 miles south, in the Los Angeles movie industry, where metaphorical backstabbing is business as usual. "It's not a rip-off," says the slasher auteur about his latest film. "It's a homage." That must make The Dead Pool a homage to every action thriller since Little Caesar. It is also, with its clued-in cynicism and some snazzy repartee, maybe the best movie ever directed by a man named Buddy. And it surely proves...
Dirty Harry is no complainer. He is genial with strangers, patient with the press. And in a movie-mad country where the names of directors like Sydney Pollack and Carl Dreyer appear on the tiles of France's favorite TV game show, La Roue de la Fortune, Eastwood the auteur is an imposing ambassador for American star quality. It so happens that the film he brought to Cannes, which he directed but does not appear in, is no great shakes. It meanders like a 2- hr. 43-min. sax solo by one of Parker's lesser disciples, and it never...