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[A+], “Deadline USA” (1952)Somewhat forgotten these days, “Deadline U.S.A” is far from perfect, particularly after an ending that disappears somewhat up itself, more interested in telling you over and over again how important journalism is than in telling a story. Indeed, while some of Stone’s work from the period has aged quickly, “Talk Radio” only seems to have become more relevant over time, an early look at the fissure-deep divisions that make up our politics now. By Victor B. Cline In early 1972 the Surgeon General’s Office of the United States National Institutes of Health announced that for the first time scientific evidence had been assembled from a number of behavioral studies that showed a causal link between the exposure of children to televised violence and their subsequent aggressive behavior. Why Are You Sad? BillMoyers.com encourages conversation and debate around issues, events and ideas related to content on Moyers & Company and the BillMoyers.com website. Skip Dine Young, Ph.D., is a professor of psychology at Hanover College in Indiana and a licensed clinical psychologist. So he endows a multi-million-dollar contract for a hit – on himself. The complete explanation for the shootings in Aurora during The Dark Knight Rises will likely remain a mystery, but the images from the movie itself are at least part of the picture. At the time, it seemed like science-fiction: sixteen years on, with reality TV still dominating the airwaves, it’s anything but. That infuriating question is asked often by Glass in the film, here played by the young Darth Vader himself, Hayden Christensen, skillfully showing the manipulative nature of this fascinating character. Privacy Policy, The folksy, charismatic Smith, Thomson contends, “is the real threat in the film” while Senator Paine “is the best-written, best-acted, and most interesting figure.”, To comment on this post, connect with us on, Pix or It Didn’t Happen: Facebook vs. the Truth, “Extreme Indifference to the Value of Human Life”. There’s also a terrific central performance from Michael Keaton; one that displays his tremendous charm and comic timing. In the case of this Hal Ashby movie, adapted by Jerzy Kozinski from his novel of the same name, the blank-page-who-walks is named Chance (Peter Sellers), a live-in gardener for a rich old man who finds himself adrift in the streets of Washington, DC, after his employer dies. They have both been the subject of a documentary style known as 'cinema verite.' [C], “Five Star Final” (1931)The relationship between Hollywood and the tabloids has always been one of two mutually parasitic figures biting each other’s feeding hands, and 1931’s “Five Star Final” might be one of the earliest examples of filmmakers setting their targets on the savagery of the gutter press. A capsule review is by no means enough to capture the film in full —we could go on for another few thousand words without drawing breath. Bogosian himself stars, as he did on Broadway, plays Barry Champlain, a Jewish liberal who takes great delight (egged on by his team, which includes Alec Baldwin and John C. McGinley) in winding up his listeners, to the point where he’s now getting death threats. Christopher Buckley’s grinning deconstruction of lobbying was transformed by writer-director Jason Reitman (Ivan’s son) into an acerbic farce which lays out like a buffet table the vagaries of advocating what’s impossible to justify. Find out more about BillMoyers.com's privacy policy and terms of service. The plot sees ambitious prosecutor Elliot Rosen (Bob Balaban) leaking information to reporter Megan Carter (Sally Field) implicating local liquor magnate Michael Gallagher (Paul Newman) in the murder of  a local union figure. Its depiction of a faintly sleazy New York tabloid (basically The New York Post) has in places a ring of authenticity to it (David Koepp co-wrote the script with brother Stephen, a writer at the New York Times), and for a film over two decades old, it’s strangely prescient about the situations newspapers now find themselves in. The opening of the 'Star Wars VII: The Force Awakens' is an opportunity to reflect on the cultural and personal meaning of the 'Star Wars' Universe then and now. New movies (such as "Into the Wild" or "The Perks of Being a Wallflower") are often easier for these viewers to identify with, and they have the power of immediacy and currency. It’s the kind of existence-spanning scope that true-life biopics tend to stumble over, but Welles’ playful filmmaking and ingenious structure build up to a full portrait of a man who’s a very thinly veiled take on true-life media baron William Randolph Hearst (who set out to ruin Welles’ career as vengeance, and is believed by many to have succeeded). Based on the novel by Joyce Maynard (whose later work “Labor Day” was brought to the screen in rather more tepid form last year thanks to Jason Reitman) and adapted by “The Graduate” scribe Buck Henry, the film sees Kidman star as Suzanne Stone, an ambitious aspiring news reporter who marries a local man (Matt Dillon), only to enlist the help of a group of local high school kids (Joaquin Phoenix, Casey Affleck, Alison Folland) to kill him. Mackendrick directs the picture immaculately, with the film proving one of the all-time great NYC pictures, despite, or because of, being made by an outsider. Jane falls for the handsome but brainless anchor-in-training Tom Grunick (William Hurt), while her longtime friend Aaron Altman (Albert Brooks) pines away. [A], “While The City Sleeps” (1956)Fritz Lang’s penultimate Hollywood picture (shot and released almost simultaneously with “Beyond A Reasonable Doubt,” with which it makes a pretty coherent double-bill), “While The City Sleeps” also serves as an interesting bookend to the director’s “M,” once again returning to the subject of the hunt for a killer. [C], “Park Row” (1952)
This early effort from writer/director Sam Fuller, made one year before the solid “Pickup On South Street,” is probably most easily described as “Gangs Of New York” if it were about the newspaper biz of the era instead of turf warfare. "Celes, I was reading one of your articles and noticed a reader mentioning the movie 'Yes Man' in his comment. Featuring a staggering array of comedic talent —Ferrell, Paul Rudd, Christina Applegate, David Koechner, Steve Carell, Vince Vaughn, not to mention the roster that shows up for the television news team royal tumble— at the height of their powers, firing off one liners as if they were going out of style (there was enough outtake footage to construct a crude companion film “Wake Up, Ron Burgundy: The Lost Movie”), “Anchorman” is an absurdist’s delight and a non-sequitur lover’s dream. Here, though, the battle to find the Lipstick Killer menacing New York takes a backseat to the power struggle after the death of … In the movie 'Birdman,' Michael Keaton plays a former movie star who is trying to make a comeback on the New York stage. There’s an admirable pre-Code murkiness to the morality on display here, but the film does feel a bit creaky these days with uninspired direction from LeRoy (“Little Caesar,” made the same year, is much better), and some flat, stagy performances from much of the supporting cast. Are Men More Associated with Brilliance Than Women? Copyright © 2020 Penske Business Media, LLC. (Rent on iTunes, Google play, YouTube, Sony). A Portrait of the Legacy of Trauma in 'Bloodline', Winning Moves in "Searching for Bobby Fischer", The Perks of 'The Perks of Being a Wallflower', 'Nebraska' and the Power of Black & White, Finding Cinematic Inspiration in New Movies, Transcendent Moments: Film in the Age of Social Media, Listening to Prozac While Watching 'Side Effects', Accuracy, Distortion and Truth in Silver Linings Playbook, Praising The Lord of the Rings in Anticipation of The Hobbit, Fear of Flying Monkeys, Blobs, and Frankenweenie, The Dark Side of Movies as Equipment for Living. Please send an email to info@moyersmedia.com. Inspired by the now-defunct papers the New York Sun and the New York World, Bogie plays Ed Hutcheson, the idealistic editor of The Day, a paper on the verge of being sold and shut down. Once a hotshot New York journalist, Douglas’ Chuck Tatum character (fierce and fantastic in one of his best performances) has disgraced himself; his egoistic, boozing and short-cut happy ways have landed him in two-bit New Mexico. It is also a caution to parents who may be tempted to overly identify with their children's success. What do musician Bob Dylan and reality TV star Honey Boo Boo have in common? To his credit (sort of), Nick’s self-aware enough to meet each week with his counterparts in the alcohol and gun lobbies, who jokingly characterize themselves as the “Merchants of Death” or “MOD.”, As jovially pointed as the movie is, you keep wondering throughout whether it disapproves more of Nick or of those, like the senator, who overreach in trying to neutralize his impact. When it’s discovered that many of Glass’ articles have been made up (he later admitted 27 of his 41 published pieces in the bi-monthly were at least partially or completely fabricated), we’re right there on the hunt with the reporters trying to take him, while also seeing the ramifications the investigation has on the staff of The New Republic. The aptly named Chance soon finds himself, literally by accident, living in the home of another wealthy codger, a well-connected mogul named Ben Rand (Melvyn Douglas), whose much younger wife (Shirley MacLaine) is the first of many in their circle to mishear Chance the Gardener’s name as “Chauncey Gardiner.”, Chance’s TV-inspired banalities are taken by Ben as hard-nosed wisdom and the billionaire soon takes on the perpetually obtuse Chance as his protégé and, eventually, putative heir. Shame about the much more hit-and-miss sequel, though… [A], “All The President’s Men” (1976)It’s hard to believe now, but there was a time when a newspaper could change history, when the printed word carried with it the weight of irrevocable truth, and a couple of dogged reporters, through sheer persistence and the application of a little intelligence, could bring down a government. While classic movies have had decades to influence the lives of movies viewers, sometimes it is recent movies that have the most impact, especially among younger viewers. The film’s something of an oddity on this list, matched only by “All The President’s Men” and a few others, in that it shows the newspaper world as mostly a force for good. Frightening images from film can have a powerful impact on kids. One like or a million likes doesn’t give you more personal power to effect the changes you want.

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