Word: friedkin
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...only bad news is that two current thrillers by past masters of this now resurrected form, William Friedkin (The French Connection) and Arthur Penn (Bonnie and Clyde) do more to send the genre back to the graveyard than they do to set the spirit free. After watching To Live and Die in L.A. and Target, it doesn't take a film critic to see that Friedkin's style, once straightforward, has become hyperkinetic and trendy in this era of music videos, while Arthur Penn's more innovative and personal approach to filmmaking has become increasingly more traditional...
...FRIEDKIN'S "HOT" STYLE, acknowledged to be one of the highlights of To Live and Die In L.A., is not a take-off of "Miami Vice," as some have said. Instead, the director has simply tried to cash in on a technique which he used before rock videos and "Miami Vice" even existed, in underrated films like Sorcerer and Cruising. The "look" in To Live and die in L.A., achieved in collaboration with cinematographer Robby Muller (Paris, Texas) and production designer Lilly Kilvert, is splashy and steamy, a meld of industrial wasteland and high-tech decor with a cumulative presence...
...theme that would have worked better perking just below the surface than splattered all over it. The film may keep you somewhere near the edge of your seat while you're watching it, and there's some good street-smart dialogue and acting, but everything here is subordinated to Friedkin's bad-boy style of the world. It's just not much...
...early November, British-born Down, 31, plays the refined daughter of a Louisiana Frenchman who marries a man she does not love. "He turns out to be a fiend," says Down, who draws no parallels to her ongoing real-life divorce from Director William Friedkin. Meanwhile, Down has fallen for the film's Charleston, S.C., location, where she is now working on a sequel. "I love it," she says. "It's beautiful and the people are divine. I think I manage a pretty good Southern accent." Telly...
...Twilight Zone, by contrast, will offer mostly new segments (two to three per hour) based on stories by such writers as Stephen King, Ray Bradbury and Arthur C. Clarke; the directors include William Friedkin, Joe Dante (Gremlins) and Robert Downey (Putney Swope). The show has the difficult task of living up to Rod Serling's classic series, but the early signs are encouraging. A segment in the premiere show features Melinda Dillon as a harried housewife who has the power to make her noisy world stop dead in its tracks. The tone of antic irony, however, leaves the viewer unprepared...