Word: psychodrama
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...Baat-maaaan!" Not the bleating trumpets and Pop art facetiousness of the '60s TV series, which turned Bob Kane's superhero into a camp crusader. Director Tim Burton's approach is dead serious. He renounces the bright palette, the easy thrills, to aim for a psychodrama with the force of myth. He creates a Gotham City that looms like a rube's nightmare of Manhattan. He strips the Bruce Wayne legend down to its chassis, dumping Robin and the goony rogues' gallery. This is a face-off between two men in weird masks: one in a leathery black item...
...does the film offer the easy pleasures of a conventional movie bio. Earl Mac Rauch's script mixes fantasy and fact in an ambitious, if muddled, attempt at surrealistic psychodrama. In the opening scene, the dead Belushi (played by newcomer Michael Chiklis) wakes up in a morgue, escapes in a gown resembling the toga he wore in Animal House and meets a guardian angel in the guise of a taxi driver (Ray Sharkey). Their conversations are intermingled with time- jumbled flashbacks of Belushi's life, snippets of his comedy material and scenes of Woodward pursuing the story...
...documentary. Few criticized it for ignoring or caricaturing the Vietnamese. Instead, Americans recognized and responded to the grandeur of its hallucinogenic fever. Platoon was crazy from the inside, a surrealist's scribbled message from hell. Parker's film is quite another thing: an outsider's report, not autobiography but psychodrama, with a texture as real as newsreel. And yet its plot skeleton bears similarities to Platoon. In both films, two strong men fight to establish American values in a hostile country, and to claim the soul of an innocent. In both films, the local nonwhites -- yellow or black -- are less...
...Britain." Goldman obediently parrots this view, arguing that the Beatles "might have rocked with the tough working-class belligerence of the Who, becoming a group whose musical gestures, seconded by corresponding stage gestures, would have created a rock theater that could have enabled John Lennon to enact the psychodrama seething inside his soul." The biographer adds, " 'Selling Out' is the missing chapter in the history of the Beatles. It's the chapter that nobody has ever wanted to write...
Imagine Clark Gable anchoring one of Frank Capra's psychodrama parables of Americana and you get a hint of Jeff Bridges' performance in Tucker: The Man and His Dream. The roguish, can-do smile looks welded on. No boardroom backstabbing, no political malfeasance can wipe that salesman's grin off his face. It is the smile of a cockeyed optimist whose tragic flaw is that he refuses to believe anything can go wrong. And it is attached to a mind racing with ideas and a mouth that motors even faster. Bridges' Preston Tucker is a man in perpetual motion -- gesticulating...