The Good, the Bad and the Godawful: 21st-Century Movie by Kurt Loder

By Kurt Loder

The former Rolling Stone author and MTV host takes to the air from vintage Roger Ebert and sails boldly into the hot millennium.
Millions grew up analyzing the author’s checklist studies and staring at him on MTV’s “The Week in Rock.” during this number of greater than two hundred motion picture stories from MTV.com and, extra lately, the Reason journal site, plus sidebars particular to this quantity, Loder demonstrates his attribute wry voice and finely honed observations. the writer shines while writing at the most sensible that Hollywood and indie filmmakers need to provide, and his adverse studies are often extra enjoyable than his raves. This freewheeling survey of the wild, the fantastic and the altogether another way is an necessary ebook for any movie buff.

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Extra resources for The Good, the Bad and the Godawful: 21st-Century Movie Reviews

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Certainly, one will find a great deal of identification of characters and anchorage of locations in the opening minutes of a film, when the dialogue is so casually making up for our lack of an omniscient narrator or a detailed dramatic playbill. But it would be a mistake to think that this function is confined to any one section of the text. Witness, from late in Stagecoach: cu rly: Well, folks, we’re coming into East Ferry now. b u ck: Lordsburg, next stop. Movement through space, flashbacks to previous events, ellipses forward in time, and the introduction of new characters will call for dialogue anchorage.

B u ck: Lordsburg, next stop. Movement through space, flashbacks to previous events, ellipses forward in time, and the introduction of new characters will call for dialogue anchorage. ”9 Dialogue is the tractor the characters use to haul their heavy load. ” to the viewer. The “what next” may be a simple anticipation of a plot development, such as takes place during one of Devlin’s meetings with Alicia in Alfred Hitchcock’s Notorious (1946): d e vl i n: Look. Why don’t you persuade your husband to throw a large shindig so that he can introduce his bride to Rio society, say sometime next week?

When Samuel Gerard (Tommy Lee Jones) and his team arrive at the site of the bus/train wreck in The Fugitive, they are stopped by a uniformed policeman. ge ra rd: co p: ge ra rd: co p: Hi. Who’s in charge? Sheriff Rawlins. Rawlins. Just follow the TV lights. ” Even before we meet Rawlins we know he’s a vainglorious blowhard, more interested in publicity than in doing his job. To stick with this text for a moment: Dr. Richard Kimble (Harrison Ford) is The Fugitive’s central focus. However, being primarily engaged in a solitary flight and investigation, Kimble talks relatively little, so we are forced to judge him by his actions—his courage in saving the injured guard; his resourcefulness in assuming disguises; his intelligence in tracking down the one-armed murderer through the records of the hospital that adjusted his artificial limb.

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