By Pauline Kael
Shrewdpermanent, humorous, and unforgettable, Pauline Kael is the main attention-grabbing and influential movie critic in the United States. Her skill to skewer an actor or director and her wit, perception, and thorough wisdom of the movie enterprise make her by means of some distance the main worthwhile typical observer of the motion picture scene. This new assortment covers motion pictures that experience pop out because the prior 1985 variation.
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Extra info for 5001 Nights at the Movies
Directed by John Korty; cinematography by Bill Butler. With James Woods, Robert Emhardt, and Gino Ardito. Produced by Richard Shepherd; released by 20th Century-Fox. see When the Lights Go Down. Alex in Wonderland US (1970): Comedy 109 min, Rated R, Color Paul Mazursky's account of a movie director (Donald Sutherland), who has just made his first picture (Mazursky had just made his first, BOB & CAROL & TED & ALICE), fretting and fantasizing over his next project. Alex's fantasy life has no intensity-it's a series of emotionally antiseptic reveries, staged like the big production numbers in a musical.
Mickey Rourke plays a private eye who is hired by a mysterious client (Robert De Niro) to search for information about a crooner of the prewar era who has disappeared. Rourke searches in the murkiest holes in America-New Orleans is almost as dim as the New York slums. Every place Rourke goes is artfully arranged to be scuzzy, and he's scuzzy, although women don't seem to mind. He has a cajoling, intimate manner with Elizabeth Whitcraft as a ready-for-action blonde, with Charlotte Rampling as a sullen psychic, and especially with the sexpot Lisa Bonet as a teenage Mambo priestess who has a penchant for smearing herself with chicken blood.
The American Friend France-Germany-US (1977): Mystery 127 min, No rating, Color The young German director Wim Wenders is attracted to the idea of telling a story, but he can't quite keep his mind on it; he overdoses on mood-poetic urban masochism-in this adaptation of Patricia Highsmith's crime novel Ripley's Game. Wenders' unsettling compositions are neurotically beautiful visions of a disordered world, but the film doesn't have the nasty, pleasurable cleverness of a good thriller; dramatically, it's stagnant-inverted Wagnerianism.