Word: filmã
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...inscrutability of truth is the film??s leitmotif. Bonilla’s newscast carries the ironic title “One Hour With the Truth,” but Bonilla and his team expend more effort seeking the sensational and the spectacular than fact checking, and by the time they develop a serious interest in the truth, events make its revelation impossible...
...film??s single-minded historical aim leaves no time for these members of the ensemble to be more than minor players. But it’s hard to blame Clooney for harping on his point. Almost 50 years after McCarthy died in disgrace, we live in a country where reporters can be imprisoned for protecting sources, networks censor themselves to avoid being fined out of existence, and questioning the president too closely can get you branded as a traitor...
Anyone who’s taking the “Art of Film?? core will immediately recognize the opening homage in Curtis Hanson’s “In Her Shoes,” as the camera cuts back and forth between parallel scenes of two mobile pairs of shoes cleverly establishing the personalities of their owners. It’s an allusion to the preface of Hitchcock’s “Strangers on a Train” (and no accident either—Hanson’s 1990 film “Bad Influence?...
...shift is less convincing. She receives, as if from the screenwriting gods, a latent analytic mastery of poetry, but she remains the carefree and floozy younger sister; her mischievous glances towards Rose’s fiancé leave us skeptical of how much she has actually learned by film??s end. Diaz nonetheless has fun in her typecast role as the blonde bombshell, and we have fun with her as she exposes her grandmother’s friends to “Sex and the City” and bungles a dog-washing...
...where the film??s creativity runs rampant, the plotting’s a little too timid for its own good. After raising the stakes with their last outing, “A Close Shave,” wherein the lives of the protagonists seem to be in genuine peril, the two reside in safer territory in “Were-Rabbit.” This time, anything that’s in mortal danger can generally be found at a salad...