“This” is being Assistant to the Regional Manager (Dwight Schrute) at a paper company that, even if it can survive the death of paper and Schrute leadership, does not have any room for advancement. That is not enough, nor should it be for anyone, let alone a young father.
Brian De Palma was worried about doing another Hispanic drug kingpin movie after Scarface. But the story and the acting in Carlito’s Way go in such a different direction that there ended up being few similarities between the two films. This is a personal look at one man’s attempt at redemption. Scarface, on the other hand, is a saga about one man’s one-way trip to hell.
A sampling of new or recent books on the Civil War suggests that this bygone conflict is still relevant to the lives, hopes and fears of the American people in the twenty-first century. If anything, some of the new research and analysis of the Civil War shows that the terrible ordeal of 1861 to 1865 is more meaningful than it has ever been.
To appreciate just how well director Stuart Rosenberg and writer Vincent Patrick captured wiseguy street corner ethos in this classic mob tale, you have to understand the meaning of an Italian phrase that has come to define the way certain mobsters act. The phrase is faccia una bella figura. Literally, it means “make a good impression.” But in fact the phrase conveys much more. It describes an attitude, an approach to life that is more typically found in the southern half of Italy, especially in Naples and points south.
If there’s one thing Revolution has done wrong, and it’s done so, so many things wrong, it’s been the sidelining of Captain Tom Neville. Thankfully, “The Love Boat” at least attempts to remedy this problem by putting Neville close to the forefront as he joins Miles as a representative from the Georgia Federation.
Cagney, along with Edward G. Robinson, Paul Muni and, later, Humphrey Bogart, invented the film gangster. Each brought a sense of the street and gritty realism. For Cagney, that came naturally. He grew up on Manhattan’s Lower East Side and had to drop out of college after one semester when his father died. He knew how to be tough, in an argument or in a rumble.
Sir Ben Kingsley becomes the ruthless Logan in Sexy Beast, and he’s 90 percent of the reason to watch the movie. The plotline here is straightforward, nothing special really. The action is sporadic. The supporting cast is strong—led by British veteran Ray Winstone, who’s actually the film’s lead, and Ian McShane, who can always dial up ominous. But it’s Kingsley—throwing off Gandhi’s loincloth and round spectacles—who becomes the savage bully you’ll remember long after viewing Sexy Beast.
One of my favorite aspects of The Office (both incarnations) is that we are watching sad people. Not damaged in the way the gang from Community are/were, but normal and pathetic. Painfully average. When the show started obtaining some popularity around the second or third season, this aspect kind of floundered. But “Livin’ The Dream” brings it back and moves forward many long-running story lines.
In the early 1980’s, Chicago’s Steppenwolf Theater and others with a similar aesthetic, gave American theater a shot of testosterone it desperately needed at the time. Self-identified as “rock and roll theater”, Steppenwolf’s style was raw and confrontational, its narratives populated by virile, troubled archetypes. The language was rooted in the American lexicon, a poetry of the streets.