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Arthur Morse, a onetime Chicago ad executive, encountered a common and much subtler approach. Four years ago, when he was 63, Morse relates, his agency brought in a "30-ish" woman to "relieve" him of some of his workload. "I could see the handwriting on the wall," says Morse. Two years later his job was eliminated, but he was given another assignment. That too vanished in a year, and "my career was over," says Morse. "Nobody wants to talk to you because of your age or your salary" ($65,000 in his case). In July, Morse, still unwilling to retire...
...course it's O.K. Kiss and its siblings, including Victor Mignatti's Broadway Damage and Brian Sloan's Big Chill-ish I Think I Do, are as geezer friendly as a sappy sitcom. Like the ruck of hetero indie films, many in the Gay Wave have ambitions no higher than a Friends rerun. They are comedies of courtship manners...
Once in a while the Crimson Arts staff likes to take a step back and give things the old once-over--nothing fancy, nothing haute couture-ish, just straightforward reevaluative rumination. This week, the music, always the music: The Crimson sits down with Justin Rice...
...Object of My Affection is directed by Nicholas Hytner, the man responsible for the intense, fiery The Madness of King George and The Crucible. Whereas with those films, the attention centered on the passionate and dramatic acting, his sparse directing style makes this movie feel slightly sitcom-ish. The scenes don't particularly flow well (some parts scream for commercial breaks), and it jumps from melodrama to obvious comic relief without much attempt at subtlety. Hytner seems lost as to what genre the movie actually belongs in. Rare scenes echo with the light, schmaltzy appeal of a romantic comedy, some...
...civil liberties cause manque (you know how Hollywood loves those) than as a presumptive work of art (you know how anxious those make Hollywood). A couple of days before the screening, the press had reported that Lolita's backers were discussing a straight-to-cable release of their $50-ish million product with Showtime (you know how humiliating that is in Hollywood), so the discussion period turned into a "Let's get behind Adrian" rally rather than a serious consideration of the film he actually made...