Originally published on Fri September 14, 2012 12:12 pm
Overheard after a screening of The Master:
"So I guess this is an unfinished print?"
"Nope. This is the one they're rolling out."
And it's true that there are moments, especially toward the end of its meandering 137 minutes, when The Master feels like a series of brainy but disconnected thoughts about 20th-century America. That's how writer-director Paul Thomas Anderson works, and for those who don't insist on coherence or closure in narrative any more than they do in life, it's part of the thrilling madness of his method.
Originally published on Fri September 14, 2012 11:55 am
Anyone looking for a moral high ground — or any high ground at all — in Arbitrage will be sorely disappointed. And that's only one of the reasons that Nicholas Jarecki's family-and-finances drama, handsomely photographed by Yorick Le Saux, is so appealingly adult.
At a time when filmmakers might be under some pressure to punish the 1 Percent, Jarecki (who also wrote the script) chooses instead to remind us that making and keeping scads of cash is rarely accomplished by the fainthearted or the foolish.
I was packing up my recording equipment after interviewing TV executive Susanne Daniels — for a different story — when she said, casually, "Have you ever noticed how there's never been a really great TV show about college?"
I looked at her. Then I started unpacking my equipment again. She had just offered me a story.
Last year, the broadcast networks didn't do well at all when it came to new series development. We got ABC's clever Once Upon a Time, which was about it for the fall crop, until midseason perked things up with NBC's Smash. Otherwise, a year ago, all the exciting new fall series were on cable, thanks to Showtime's brilliant Homeland and FX's audacious American Horror Story.