By Owen Gleiberman

Entertainment Weekly's controversial critic of greater than 20 years seems to be again at a lifestyles instructed during the movies he enjoyed and loathed.

Owen Gleiberman has spent his existence staring at movies-first on the drive-in, the place his mom and dad took him to work out wildly irrelevant grownup fare like Rosemary's Baby while he used to be a wide-eyed nine 12 months outdated, then as a possessed cinemaniac who grew to become a movie critic correct out of faculty. In Movie Freak, his enthrallingly candid, humorous, and eye-opening memoir, Gleiberman captures what it's wish to dwell lifestyles throughout the videos, present in thrall to a digital truth that turns into, through the years, extra genuine than truth itself.

Gleiberman paints a bittersweet portrait of his complex and finally doomed friendship with Pauline Kael, the mythical New Yorker movie critic who used to be his mentor and muse. He additionally bargains an unparalleled inside of examine what the event of being a critic is basically all approximately, detailing his stint at The Boston Phoenix after which, beginning in 1990, at EW, the place he turns into a voice of obsession battling-to a fault-to dangle to his independence.

Gleiberman explores the films that formed him, from the flicks that first made him are looking to be a critic (Nashville and Carrie), to what he hails because the elegant darkish trilogy of the Nineteen Eighties (Blue Velvet, Sid and Nancy, and Manhunter), to the scruffy humanity of Dazed and Confused, to the intense insanity of Natural Born Killers, to the transcendence of Breaking the Waves, to the pop rapture of Moulin Rouge! He explores his partnership with Lisa Schwarzbaum and his friendships and encounters with such figures as Oliver Stone, Russell Crowe, Richard Linklater, and Ben Affleck. He additionally writes with confessional intimacy approximately his romantic relationships and the way they echoed the habit of his bullying, philandering father. And he talks approximately what movie feedback is turning into within the electronic age: a cacophony of voices threatened through an insidious new form of groupthink.

Ultimately, Movie Freak is ready the primal excitement of movie and the enigmatic dynamic among critic and reveal. For Gleiberman, the relocating snapshot has a talismanic energy, however it additionally represents a type of candy affliction, an impressive obsession that either consumes and propels him.

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He makes V signs using both hands with upraised arms, in imitation of President Richard Nixon. In 1968, Nixon ended up victorious in his bid for election, having promised a “peace with honor” in Vietnam that would instead lead to several more years of war. Dionysus/Finley then raises one arm in the fascist salute, like Hitler who mobilized the energies of his people toward extremely destructive ends. “Dionysus . . becomes another Pentheus,” says Schechner. The liberator becomes the dictator. “Most of us have a pretty cheap fantasy of self-liberation.

In Godardian fashion, the handheld camera follows Karen with over-the-shoulder shots as she is walking down the streets of New York, while jump cuts move us quickly from moment to moment in her indoor conversations. The second segment, beginning after Karen is mysteriously murdered, transitions through Tracy’s perspective on events and on to that of Wiley (Ken Burrows), a sleazy film producer. Edited for maximum suspense, this section is Hitchcockian in style and theme. Like Psycho’s Marion (Janet Leigh), Karen steals some money and is eyed by a suspicious policeman.

1970) De Palma got the idea for Hi, Mom! when he saw filmgoers lined up outside a theater to attend his movie Greetings. Across the street from the theater was a high-rise building, and he imagined that inside each one of its apartment windows there was a story to be told. In his mind, each window became a kind of movie screen. , which is self-consciously a sequel to the earlier film. (In its initial stages, Hi, Mom! ) Back from Vietnam, Jon rents a rundown apartment whose sole positive feature is its view of the windows in a nicer housing complex across the way.

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