David Thomson

Stanley Kauffmann on Films: The Whole Thing
June 09, 2011

Stanley Kauffmann is on temporary leave. This review was written by David Thomson. The Tree of LifeFox Searchlight The Greatest virtue of Terrence Malick’s new film may be the controversy attending it. Whatever we think of The Tree of Life as a show or a work of art, there are going to be defenders and doubters driven to join a fierce debate that turns on these questions: “Very well, in 2011, with the movies on life support, what should an ambitious American motion picture look and feel like? What should it do to us? And what do we require of this strange medium?

David Thomson on Films: Hollywood Hopeful
June 07, 2011

You feel it’s a story you’ve heard before, but that’s often the way in Los Angeles where there are more scripts than cars on the street. This happened at a cottage on Benedict Canyon, one of those roads that wind down from the crest of Mulholland Drive to Sunset Boulevard. The cottage was tucked into the hillside, overgrown with ivy, shrubberies, and bad karma. It looked like the forsaken or forgotten house in a fairy story. Over a period of time, a neighbor noticed that its delivery box was crammed with more and more junk mail. So she decided to break into the house.

David Thomson on Films: ‘Midnight in Paris’
June 01, 2011

Opening in May and reaching out into the early summer, Woody Allen’s Midnight in Paris is an artful and shameless encouragement of going back to Paris. I suppose that’s better than artless and shameful, but, from a director who is aged 75 now, wouldn’t it be nice to feel some age and regret, to say nothing of this being the last time he’ll see Paris with the euro stronger than a two-day old croissant?

David Thomson on Films: Who Killed Jack Sparrow?
May 21, 2011

The other day, I was talking to another film critic about the Pirates of the Caribbean franchise. This was in the dawn before the fourth film, On Stranger Tides, had opened. My friend said he had seen the three previous films, but he couldn’t recall a single scene or incident from them. “And yet, when we see the fourth,” I suggested, “everything will seem entirely predictable and familiar from the past.” Oblivion without surprise: I suppose that’s a definition of both the experience of Alzheimer’s and our relationship with that saucy (if not over-sauced) Jack Sparrow.

David Thomson on Films: ‘The Arbor’
May 20, 2011

What do “documentary” and “newsreel” hope to mean in this benighted age of the Internet, when information threatens to overwhelm intelligence? Though the genre is still hard to fund and difficult to make, there is no doubt but that, in the last 20 years, more documentaries have been getting limited theatrical release. So an orthodox complacency reigns that this is “a good thing.” But is the age of Michael Moore, Ken Burns, Werner Herzog, Frederick Wiseman, and movies like Charles Ferguson’s Inside Job really useful and critical of how we are being run?

David Thomson on Films: ‘The Beaver’
May 10, 2011

There are things wrong with The Beaver, starting with the gamble of giving that title to a Mel Gibson picture in the moment of his lowest public esteem. The considerable courage in making his character a profound depressive is not adequately explained—in life, depressives are often suffering because they don’t understand their problem, but, in drama, it’s hard to offer just a numb stare to such questions. We expect explanation, where depression sees only chaos. In addition, as this story trails away it tries to slip a facile feel-good disguise over its persuasive claim that life is shit.

David Thomson on Films: Remembering Marie-France Pisier
May 09, 2011

She drowned in her own swimming pool in the south of France, aged 66. Marie-France Pisier had an immense, composed beauty, with a marble air of absolute assurance. In her brow and her gaze, serenity seemed on the point of becoming a mask. But she was made for drama, and even melodrama. Though she had the look of a Parisian socialite, so much about her was unexpected: She was born in Dalat, in Indo-China, the daughter of a French colonial governor. In fact, she only came to live in France at the age of twelve.

David Thomson on Films: ‘Jane Eyre’
May 06, 2011

Cary Fukunaga’s Jane Eyre opened over a month ago, but it’s staying in theaters and word-of-mouth is building. As well it might. There have been too many film adaptations of the Charlotte Bronte novel (published in 1847), and some of us have wearied of keeping up with them all. So I neglected the picture when it opened, but was stirred into action by my wife, Lucy Gray, who told me it was wonderful. She was right—she usually is.

David Thomson on Films: ‘The Conspirator’
April 19, 2011

Once upon a time—in the era of Sidney Lumet’s 12 Angry Men (1957), say—Robert Redford’s The Conspirator could have been the kind of movie that liberal high-school teachers expected their students to see. It’s good for you.

David Thomson on Films: Remembering Farley Granger
April 08, 2011

They are the two of the oddest men in an American movie of the early 1950s, and, somehow, their oddity is excused by the fact that they meet. Neither one on his own could have sustained a picture. I’m talking about Guy Haines and Bruno Anthony in Alfred Hitchcock’s Strangers on a Train (1951). The title suggests an accidental meeting, but, once the bump has happened, we don’t credit chance. Bruno is in charge from the start. You can’t look back on the movie and think he wasn’t tracking Guy.

Pages