Word: hollywoodization
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...romantic comedies needn't be exclusively partial to one gender; they should be critical and loving and true to both. So I'll soldier on with my mixed, distant, defiantly ignorant review of this 142-minute trifle - which comes close to being the longest non-musical romantic comedy in Hollywood history...
...know the particulars of Cattrall's maintenance regimen, but, as a friend of mine said about another, gorgeous, 50-plus actress, "If she's had work, it's great work." (The other major character in the film is New York City, playing the role it filled in Hollywood comedies of the '30s and '40s: the capital of glamour and sophistication. Today, Old New Amsterdam is pushing 400, and it still looks fabulous...
This is not to say that Cannes (or Venice or Toronto) is immune to Hollywood star quality. The big festivals need celebrities to grace the red carpet, to be photographed by the paparazzi and TV crews, to glean worldwide publicity for the event. So the premiere of Indiana Jones and the Kingdom of the Crystal Skull, the first Indy movie since 1989, was headline news. Producer George Lucas, director Steven Spielberg and leading man Harrison Ford showed up to promote their familiar if robust revival of the archaeologist adventurer. Jack Black and Dustin Hoffman appeared with their sweetly vigorous animated...
International art cinema, as opposed to the red-meat Hollywood variety, is a left-wing enterprise. At Cannes, you simply will not find, say, a film on Northern Ireland's Troubles that is sympathetic to its English occupiers, or an Israeli film hostile to the Palestinians. This year, Hunger, the story of IRA leader Bobby Sands' fatal hunger strike in 1981, won the Camera d'Or (debut film) prize for Afro-Irish director Steve McQueen; and Waltz With Bashir, an animated documentary about Israeli filmmaker Ari Folman's sense of guilt over the Sabra and Shatila massacres of Palestinian refugees...
...real world - which Hollywood honchos would define as the North American box office and the Oscars list - a U.S. film's showing at Cannes has little impact. In 1991, Joel and Ethan Coen's Barton Fink received an unprecedented three top awards (Palme d'Or, Best Director and, for John Turturro, Best Actor) but grossed only $6 million stateside; last year, the Coens' No Country for Old Men got no prize at Cannes, then earned nearly $75 million on domestic screens (plus $86 million abroad), and won the brothers three Oscars, including for Best Picture. Such Academy-nominated hits...