Natalie Wood’s offscreen life as one of Hollywood’s most triumphant and tragic child actors lends a meta-textual resonance to her fascinating flop Inside Daisy Clover.
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Babylon is the kind of wildly overreaching mess I usually adore. So why did I hate it?
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Nicholas Ray turned his withering gaze on Hollywood for his 1950 Film Noir masterpiece In a Lonely Place.
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Silent comedy icon triumphed in the world of early talkies with his 1932 masterpiece Movie Crazy.
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A Star is Born is a quintessential tale of show business triumph and tragedy. Except for the 1976 remake. That kind of sucked.
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The deeply loathsome 1981 show business satire Under the Rainbow hired a hundred and fifty little people actors for its irreverent take on the making of The Wizard of Oz, albeit at a terrible cost.
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For the landmark 250th entry in the column that let’s YOU choose the movies I watch and write about, I wrote about Quentin Tarantino’s Once Upon a Time in Hollywood. What a picture!
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Nicolas Cage picked up his second Oscar nomination for his stunning dual performance as a fictionalized version of real-life screenwriter Charlie Kaufman and his imaginary twin brother Donald in Spike Jonze’s brilliant meta-satire.
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My patron-funded jaunt through the films of troubled Noxzema girl Rebecca Gayheart continues with a look at 1998’s unbearable Too Smooth (AKA Hairshirt), a loathsome independent film about a bro who just can’t stop getting laid (played by the director and star, of course) costarring Neve Campbell, Katie Wright and future stars including Adam Carolla, Dax Shephard and Adam Scott.
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