A Joseph Wambaugh-ish policeman-author, run up against a Himalayan-sized writer's block, collaborates with a professional hitman to expose a bloody corporate head. ("Corporations don't have people killed!" proclaims the much-to-learn author in the early stages of his researches.) Brian Dennehy, who speaks all lines the same way, with total conviction …
Claude Miller, in his first directing assignment, exhibits much sensitivity, restraint, neatness, and thoroughness in dealing with what used to be spoken of as a Gide-ian relationship in a summer boys' camp. It's a relief that the focus of attention in such a locale is on the counselors rather than …
William Wyler's story of three World War II vets who come home to...a different world.
A triangle tale related in reverse chronology, starting, that is, with the breakup of the pertinent marriage and working backwards nine years to the first extramarital embrace. The effect of this arrangement is to ensure that every step of the way we know more, and better, than the principal trio. …
Laurence Olivier must have been drawn to this by the same force that impelled him to do Cat on a Hot Tin Roof for television. Again, he's Big Daddy, or actually Big Great-grand-daddy, the tyrant of a Detroit automobile empire. Speaking in an unidentifiable accent that sometimes, perhaps, is in …
Mushrooming complications in the nuptial plans of a nonreligious Italian-Jewish girl and her WASP fiancé. One of the complications -- the father of the bride's unwitting involvement with the Mafia -- is not only irrelevant to the wedding but bumps it down to the status of a subplot. (Anthony LaPaglia, …
What happens when the screen becomes a lectern. Without benefit of so much as one acclimatizing image or inaugural character to provide footing, even before a title hits the screen the filmmaker’s intent is clearly spelled out for us: “School bullying is a worldwide phenomenon… We hope this film will …