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John Hodge's screenplay is an uncomfortable mix of romantic-comedy cliches, botched-crime scenarios and sudden outbursts of violence that come across as neither funny nor appalling, but merely silly and misplaced. In Trainspotting, Hodge demonstrated his mastery of a technique wherein cartoonish, exaggerated characters interact with frighteningly realistic characters to great comedic and dramatic effect. Here, though, all of the characters are cartoons, and with no contrast (and no reason for the audience to care about them), the film becomes reliant solely on Ewan McGregor's big smile as a lure for audience involvement. McGregor is a handsome...
...begins, cloudily, in medias res, and labors throughout the middle of the novel to thread his scenes together. He presents his readers with a scene and then, subtly, shows how it came to be. The early appearance of Stuart's diary, for example, is explained by a later scene wherein his wife snoops through his desk and alights on a computer disk. His non-linear development echoes the innovation of the cubist painters as it fragments, abstracts and reconfigures the narrative...
...came of age in the 1970s, most notably Robert Altman and Martin Scorcese. The tracking shot, which Scorcese brought to a new level, is used early and often to full effect in Boogie Nights. The opening shot swoops down the street and through the doors of a topless disco, wherein it follows nightclub manager TT Rodriguez (Luis Guzman) as he meets and greets all the major players of this porn film world. A similar tracking shot of Harvey Keitel walking through the nightclub in Scorcese's "Mean Streets" comes to mind, as do the many meandering shots of such Altman...
...Burgess Meredith was an actor. It all began with his doomed hero in Winterset, a reprisal of the stage role that launched his career. Then on to 1939's Of Mice and Men, wherein Meredith, opposite the immortal Lon Chaney Jr., fields a lot of questions about rabbits. Finish with the languorous, creepy Hollywood pic The Day of the Locust (1975), with Meredith, Karen Black and Donald Sutherland as a fellow actually named Homer Simpson. It earned Meredith his first Best Supporting Actor nomination (they would stiff him twice...
...into question. Like a film critic, I try to voice opinions of both style and substance; if you disagree with me, that's fine, but at least I will have said what I'm thinking. (This in and of itself separates The Crimson from a certain tabloid mentality, wherein a writer may only be saying what they think others will pay money to read...