McQueen’s masterful film is the kind that works on multiple levels simultaneously—as pure pulp entertainment but also as a commentary on how often it feels…
Q. I'm so glad you reviewed "Robin Hood" as a "loss of innocence." I couldn't agree with you more. I would much rather see people laugh, love, and be absurd in movies, rather than hate, fight, and disembowel. I'm so glad you felt this way, because most of what Russell Crowe does falls into the latter. Modern guys feel they have to have a certain level of intensity about them or else they are wimps I guess. I for one am glad I retain something of the dreamer, the wanderer, and the lazy laugh of my childhood. I rarely go to the movies anymore because i don't want images of violence or gore impressed upon my subconscious, regardless of whether they are "real" or not. (Stephen Sian, North Vancouver, BC)
Q. I met you in the bathroom of the Varsity Cinema in Toronto, during the festival in September, 2000. We both had to take a leak at the same time during a screening of "Dancing at the Blue Iguana." I was a film buyer from Canada, you were, well... you. After spending what seemed like an inordinate amount of time standing in close proximity to you whilst doing our business, we both walked to the sink at the same time, and I asked you what you thought about the film.
Q. After seeing "The Girl with the Dragon Tattoo," on the car ride home, we couldn't help but discuss how different an American version of the film would be. Besides the obvious sexual situations and probably the villains' background, we came upon an obvious difference. An American film would have to explain to the audience the titular tattoo. It was great to see a movie leave so many plot threads unanswered. (Mark Coale, Editor/Publisher, www.odessasteps.com)
Q. Regarding Jim Bruce's contention to the Answer Man that 'Old Dogs' is "so bad it's good": I have not seen it, but I suggest applying these rules:
Q. You're a lonely single film buff and it's Saturday night. Hitchcock or Kurosawa? (Matrcus Burciaga)
Q. I've read enough of your writing to gather that you admire, or did admire at one time, the film "Pink Floyd - The Wall." This is one of my all-time favorite films, and you are my all-time favorite film writer. I've read enough of your reviews and commentary to pick up on multiple references to this film, always positive, but have never read your actual full length review of the film. I assume there must be one. Maybe there isn't. I can't find it on IMDb.com or your own website.
Q. One of my favorite haunted house stories, "Night Stalks the Mansion," was supposed to be made into a movie and released to the public in fall of 2009. There's a website for the movie and I have sent emails the producer and the production company and have received no replies. Is this movie going to be released? Steve Wheeler, Wyoming MI
Q. Can you think of any post-apocalyptic film where a better America arises from the rubble? True, that war, virus, flood, earthquake or asteroid were very bad things, but these films are typically set decades afterward. Why can screenwriters only imagine Americans behaving badly? Bad teeth, I can understand, in a post-dental world.
Q. In your review of "Gentlemen Broncos," you state: "Hard as it is to believe, 'MILF' was not used until Stifler's Mom appeared on the scene." As a college student in the early '90s, I can assure you that the term MILF was in use among young men my age. "American Pie" only let the cat out of the bag. Although I will say that to this day, she played the iconic MILF.
Q. Regarding the upcoming M. Night Shyamalan vehicle "The Last Airbender," what do you think about the whitewashing of the production so that all of the original Asian cultural landmarks, architecture, philosophy, and costume design are being retained while they cast white kids to play the main characters?