The Lion King
The movie is never less interesting than when it's trying to be the original Lion King, and never more compelling than when it's carving out…
I've been following the comments about Paul Haggis' “Crash” with interest, far more than I did in seeing the film itself. When it came out, I don't think I knew it was by Haggis. Had I known, I probably would have tried harder to see it, because Haggis was the creator of one of the best TV series I have ever seen, a very short-lived show called “EZ Streets,” which had a large ensemble cast (much like “Crash”) dealing with crime, political corruption, drug abuse, revenge, and much more. I remember watching it at the time and comparing it with the work of one of my favourite directors and writers, John Sayles- specifically his film “City of Hope.”
When CRASH appeared in theatres last year, I remember watching the ads and thinking that it looked like a darker version of Lawrence Kasdan's "Grand Canyon," and I wondered how many times that movie needed to be made. I already have a bit of a grudge against Kasdan for stealing from Sayles: I didn't feel much like seeing Haggis stealing from Kasdan stealing from Sayles.
I know, we're supposed to see movies before we critique them, we're supposed to judge them on their own merits, but sometimes as a regular moviegoer I feel that I have the right to stay away from something that I feel like I have seen before, no matter how critically acclaimed it is. I may see it on video later and regret my choice; so be it. Perhaps part of the problem is how the movie is promoted. In any case, if Paul Haggis' next film is about a pair of twin girls who meet for the first time at summer camp and conspire to reunite their separated parents, I doubt I will see that either, even if it is a new idea to some.
Keep up the good work,
New Brunswick, CANADA
An interview with the legendary critic J. Hoberman on the release of his book Make My Day.
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