The older I get, the more I find myself impressed by Audrey Hepburn as an actor who was great in spite of her packaging; by the evolution of her raw and untrained talent over the span of her relatively short career; and most of all, by the undeniably prickly undercurrent of her most iconic films.
Sneakers is a film about a lot of things: ever-advancing modern technology, personal privacy in the earliest days of the digital age, still-frosty international relations of the post-Cold War era, guys being dudes, and the ways in which the American government—to put it broadly—sucks.
If much of Fonda’s life both before and after Klute was marked by losses of her own identity as she attempted to mold herself into whatever the dominant man in her life wanted, Klute captures a rare and specific transitional moment.
When I watch Harry and Sally stroll through Central Park, I think to myself, If I could just find a way to crawl inside this movie, inside this version of New York, I could be okay.
Where in previous summers Paul Simon’s Concert in the Park was a gleeful way to keep post-concert blues at bay between shows, now it’s a constant battle to try not to cry while listening to it.
Mike Nichols' Working Girl, at its heart, is a film that examines the nuances of the intersection of class and feminism, packaged slyly in the form of a light-hearted, girl power-flavored workplace comedy.
Book Club plants itself firmly in a chaotic-good alignment chart position, full of well-meaning spirit that occasionally goes completely off the rails.
Actress and director Lee Grant reflects on her 70 year career in Hollywood.
I love difficult women. I like ladies who talk back with abandon, the ones who don’t give in without a fight, the headstrong, selfish broads with hearts of gold.