Word: coppolla
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...finance and distribute small dramatic films for about $10 million apiece, action producer Joel Silver is teaming up with "Lethal Weapon" director Richard Donner to make low-budget action films in the $10 million range. Setting the abstemious tone at the opening Cannes press conference, Jury President Frances Ford Coppolla, who knows a thing or two about over-extended budgets, blamed Wall Street investors for the "corporate studio mentality" that brought cookie-cutter creativity to the industry following a string of Hollywood financial disasters. He traced the trend back to the megabomb "Heaven's Gate." Said Coppolla: "They used that...
...worst show of nepotism since the abysmal Sofia Coppolla stared in her daddy's "The Godfather: Part III" has got to be the casting of the director's wife, Madlyn. The parallel structure is nothing but kitschy and is certainly not worth her laughable performance. In her big scene in which she must grieve both the death of her father and her marriage, Ferrara must work Madlyn into a rage of frustration and abandonment. Instead she stands limp and half-heartedly bounces objects off Keitel. The audience can do nothing but laugh when she delivers her lines, addressing her husband...
...Hackman turns in a masterful portrayal of a plodding, quiet and eerily suspicious bugging expert who is hired by he's not sure whom to spy on a couple that might be the victims (or the perpretrators) of who knows what hideous crime of romantic vengeance. This Francis Ford Coppolla movie--made back when he still had money troubles--works hauntingly on at least three levels. Metaphorically, it serves to highlight the pathologically paranoid mood of the last years of the Nixon administration and the Watergate coverup. Intellectually it goes deeper than this; Hackman pain-stakingly and convincingly becomes...
...turns in a masterful portrayal of a plodding, quiet and eerily and suspicious bugging expert who is hired by he's not sure who to spy on a couple that might be the victims (or the perpretrators) of who knows what hideous crime of romantic vengence. This Francis Ford Coppolla movie--one for which he had trouble finding funding or distributors--works hauntingly on at least three levels. Metaphorically, it serves to highlight the pathologically paranoid mood of the last years of the Nixon administration and the Watergate cover-up. Intellectually, it goes deeper than this; Hackman painstakingly and convincingly...