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There's a candy-man quality to Rob Lowe himself. He has no weight, no density. It's not that he's a bad actor—it's that he doesn't suggest a real person. (1986)
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There are some people who are too French for their own good. (1977)
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The ulimate princess fantasy is to be so glamorously sensitive and beautiful that you have to be taken care of; you are simply too sensitive for this world—you see the truth and you suffer more than ordinary people, and can't function. (1972)
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Shelley Duvall melts indifference. You're unable to repress your response; you go right to her in delight, saying "I'm yours." (1974)
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Film students looking at old movies seem to find it exciting when cheap B thriller or an exploitation picture has art qualities, and they often make draggy, empty short films that aren't interested in anything but imitating those pictures and their "great shots." (1961)
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David Byrne has a withdrawn, disembodied, sci-fi quality, and though there's something unknowable and almost autistic about him, he makes autism fun. (1984)
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[TAXI DRIVER] This movie, too, has an erotic aura. There is practically no sex in it, but no sex can be as disturbing as sex. And that’s what it’s about: the absence of sex—bottled-up, impacted energy and emotion, with a blood-splattering release. (1976)
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I didn’t dislike AMERICAN BEAUTY—I hated it. It’s not that it’s badly made—it isn’t. It has snappy rhythms and Kevin Spacey’s line readings are very smart, and Annette Bening is skillful in the scene where she beats up on herself. But the picture is a con. (1999)
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I didn’t dislike AMERICAN BEAUTY—I hated it. It’s not that it’s badly made—it isn’t. It has snappy rhythms and Kevin Spacey’s line readings are very smart, and Annette Bening is skillful in the scene where she beats up on herself. But the picture is a con. (1999)
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[GOODFELLAS] It's about being a guy and guys getting high on being a guy. (1990)
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[BLUE VELVET] Possibly the only coming-of-age movie in which sex has the danger and the heightened excitement of a horror picture. It's the fantasy (rather than the plot) that's organic, and there's no sticky-sweet lost innocence, because the darkness was always there, inside.
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There's a candy-man quality to Rob Lowe himself. He has no weight, no density. It's not that he's a bad actor—it's that he doesn't suggest a real person. (1986)
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Movies that are consciously life-affirming are to be consciously avoided. (1985)
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If they don't have interests outside films, how can they evaluate what goes on in films? (1963)
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Do men in the movies always have to burn the dinner so we'll know they're straight? (1991)
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It's so silly, because without criticism, you're completely at the mercy of the advertisers. The influence of the critic is so small compared with the power of the advertiser. (1980)
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It's a simple mistake in the arts to assume that anything that moves us must be a masterpiece, that we wouldn't be affected if it weren't great. (1966)
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I go into the movie, I watch it, and I ask myself what happened to me.
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Shelley Duvall may be the closest thing we’ve ever come to a female Buster Keaton; her eccentric grace is like his—it seems to come from the inside out. And the exaggerated sensitivity in her face might be called an equivalent of his mask of isolation. (1980)
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There are some people who are too French for their own good. (1977)
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[GOODFELLAS] It's about being a guy and guys getting high on being a guy. (1990)
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I didn’t dislike AMERICAN BEAUTY—I hated it. It’s not that it’s badly made—it isn’t. It has snappy rhythms and Kevin Spacey’s line readings are very smart, and Annette Bening is skillful in the scene where she beats up on herself. But the picture is a con. (1999)
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[FALSTAFF] Welles has directed a sequence, the battle of Shrewsbury, which is unlike anything he has ever done before, indeed unlike any battle ever done on the screen before. It ranks with the best of Griffith, John Ford, Eisenstein, Kurosawa—that is, with the best ever done.
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[David Byrne] He's a handsome, freaky golem. When he dances, it isn't as if he were moving the suit—the suit seems to move him. (1984)
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I’ve managed to write about movies for a lifetime without ever writing about the Academy Awards. That’s a great source of pride. (1998)
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The really bad movies you can write about with some passion and anger. It’s the mediocre ones that wear you down. They’re disgusting to write about because you can feel yourself slipping into the same mediocrity and stupidity. (1992)
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There are no forebears or influences that would help to explain Shelley Duvall's acting; she doesn't seem to owe anything to anyone. She's an original who has her own limpid way of doing things—a simplicity that isn't marred by conventional acting technique. (1980)
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Maybe the most revolutionary thing that can be done in movies is to make them decently again. (1968)
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Barry Lyndon is a coffee-table movie; we might as well be at a three-hour slide show for art-history majors. (1975)
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The auteur theory is an attempt by adult males to justify staying inside the small range of experience of their boyhood and adolescence. (1963)
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John Candy is perfectly named; he's a mountainous lollipop of a man, and preposterously lovable. (1984)
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[The Oscars] It is what it is. Besides, it’s much more fun to bitch about it and look at the clothes. (1998)
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It's depressing after all these years to find that some people think a critic's job is to be in synch with popular taste. It's depressing how many critics think that's a critic's job. (1991)
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[The Oscars] It is what it is. Besides, it’s much more fun to bitch about it and look at the clothes. (1998)
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RAIN MAN is Dustin Hoffman humping one note on a piano for two hours and eleven minutes. It's his dream role. (1988)
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RAIN MAN is Dustin Hoffman humping one note on a piano for two hours and eleven minutes. It's his dream role. (1988)
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Movies that are consciously life-affirming are to be consciously avoided. (1985)
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[Paul Thomas Anderson] I don't fully understand what he's up to, or know if he's up to anything yet. He might just be feeling his oats. But his movies are fun to watch. He has something. (2001)
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What man in his forties but Woody Allen could pass off a predilection for teen-agers as a quest for true values? (1980)
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What man in his forties but Woody Allen could pass off a predilection for teen-agers as a quest for true values? (1980)
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BARRY LYNDON is a masterpiece in every insignificant detail. Kubrick isn't taking pictures in order to make movies, he's making movies in order to take pictures. (1975)
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[REPO MAN] A movie like this, with nothing positive in it, can make you feel good. (1984)
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How completely has mass culture subverted even the role of the critic when listeners suggest that because the movies a critic reviews favorably are unpopular and hard to find, that the critic must be playing some snobbish game with himself and the public? (1963)
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Film students looking at old movies seem to find it exciting when cheap B thriller or an exploitation picture has art qualities, and they often make draggy, empty short films that aren't interested in anything but imitating those pictures and their "great shots." (1961)
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I don't trust anyone who doesn't admit having at some time in his life enjoyed trashy American movies; I don't trust any of the tastes of people who were born with such good taste that they didn't need to find their way through trash. (1969)
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People who don't go to movies are always complaining about how violent and dirty they are. (1982)
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CHARLIE BROWN is a parasitical film whose makers had no real idea of how to present the "Peanuts" material. Seeing the picture in an audience full of disappointed children is very depressing. (1970)
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He is a good critic if he helps people understand more about the work than they could see for themselves; he is a great critic, if by his understanding and feeling for the work, by his passion, he can excite people so that they want to experience more of the art that is there.
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Tina Turner is what Ken Russell has always needed in a performer: she starts at climax and keeps going. In TOMMY, her Acid Queen was like pure, concentrated acid sex—the high may have even gotten too high for some viewers, and scared them. (1975)
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David Byrne is so white he's almost mock-white, and so are his jerky, long-necked, mechanical-man movements. He seems fleshless, bloodless; he might almost be a black man's parody of how a clean-cut white man moves. (1984)
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If you could see the “artist’s intentions” you’d probably wish you couldn’t anyway. Nothing is so deathly to enjoyment as the relentless march of a movie to fulfill its obvious purpose. This is, indeed, almost a defining characteristic of the hack director. (1969)
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I don't trust anyone who doesn't admit having at some time in his life enjoyed trashy American movies; I don't trust any of the tastes of people who were born with such good taste that they didn't need to find their way through trash. (1969)
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[AUSTIN POWERS] Mini-Me was a brilliant idea, although I don't know that he did as much with it as he might have. (2001)
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I think De Palma has sprung to the place that Altman achieved with films such as MCCABE & MRS. MILLER and NASHVILLE and that Coppola reached with the two GODFATHER movies—that is, to the place where genre is transcended and what we're moved by is an artist's vision. (1981)
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Andre Braugher on HOMICIDE is about as good as acting gets. (1994)
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The more money these "wholesome" movies make, the less wholesome will the state of American movies be. (1966)
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If you disagree about too many movies, it's very hard to sustain a friendship. (1994)
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I'm disposed to like Prince, the twenty-six-year-old pansexual star of PURPLE RAIN, because he is, as a friend of mine put it, "the fulfillment of everything that people like Jerry Falwell say rock 'n' roll will do to the youth of America." (1984)
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[BLOW OUT] Travolta, who appeared to have lost his way after SATURDAY NIGHT FEVER, makes his own leap—right back to the top, where he belongs. Playing an adult (his first), and an intelligent one, he has a vibrating physical sensitivity like that of the very young Brando. (1981)
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Half of the reason that people become interested in movies in the first place is sex and dating and everything connected with eroticism on the screen. I felt that not to deal with all of that in its most naked form was to shirk part of what's involved in being a critic. (2001)
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[Nicolas Cage] He does some of the way-out stuff that you love actors in silent movies for doing, and he makes it work with sound. (1988)
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Criticism is an art, not a science, and a critic who follows rules will fail in one of his most important functions: perceiving what is original and important in new work and helping others to see. (1963)
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The auteur theory is an attempt by adult males to justify staying inside the small range of experience of their boyhood and adolescence. (1963)
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Paul Newman looks almost obscenely healthy—as if he never missed his ten hours of sleep a night. (1973)
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Bob Dylan wants to be buried in an unmarked grave. Of course. That's why he's made a four-hour movie about himself and his pilgrimage. (1978)
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[BARRY LYNDON] One's response will probably depend on one's tolerance for the Kubrick message that people are disgusting but things are lovely. (1975)
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I loved what Tarantino did with Bridget Fonda and Robert De Niro in that sequence in JACKIE BROWN where she keeps goading him and goading him until he pulls out his gun and shoots her dead. It's so surprising, it's perfect. It's a wonderful sequence. I liked that movie. (2001)
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[PEE-WEE'S BIG ADVENTURE] As the movie goes on there's something touching in his petulant weirdness, and sometimes, when his makeup isn't quite as thick and stylized as usual, you may feel that you can perceive a sensitivity, a gentleness, in him. (1985)
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I sometimes read these very well-educated critics writing their hearts out on crap, and I'm depressed because they're wasting so much first-rate intellect on such low-grade material. (2001)
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I don't trust anyone who doesn't admit having at some time in his life enjoyed trashy American movies; I don't trust any of the tastes of people who were born with such good taste that they didn't need to find their way through trash. (1969)
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There has never been another ingénue like Shelley Duvall...She's so natural that she seems bizarrely original. (1974)
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Beware of producers who speak with pride about creating roles for women. (1976)
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I've been referred to in print as a "cunt" by people I'd praised. The first time was by John Huston. We'd been friends and I'd defended him for years. But I wrote that NIGHT OF THE IGUANA was a lousy movie. So he called me a "cunt" to an interviewer. (1989)
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Barry Lyndon is a coffee-table movie; we might as well be at a three-hour slide show for art-history majors. (1975)
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There's no other powerhouse like Mitchum. This great bullfrog with the puffy eyes and the gut that becomes an honorary chest has been in movies for almost thirty years, and he's still so strong a masculine presence that he knocks younger men off the screen. (1971)
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It is an insult to an artist to praise his bad work along with his good; it indicates that you are incapable of judging either. (1963)
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THIEF is the only film I've ever seen in which the pulsating suspense music lifts the roof of your head off when there isn't much action on the screen but stops when something is about to happen. (1981)
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[Jonathan Demme] I can't think of any other director who is so instinctively and democratically interested in everybody he shows you. (1986)
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This may be one of the contradictions in capitalism that Marx did not foresee: the conglomerates that control the mass media are now selling "youth" the violent overthrow of the Establishment for the suicidally simple reason that they can find and develop a demand for it. (1969)
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How many films that we once groaned at do we now hear referred to nostalgically? When the bad is followed by the worse, even the bad seems good. (1956)
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I'm interested in how the press condescends to any movie that has a sexual context. Take CRUISING: they treat it as if it were preposterous or simply exploitation, and they deny their own emotions. (1980)
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[Shelley Duvall] She doesn't appear to project—she's just there. Yet you feel as if you read her every thought; she convinces you that she has no veils and nothing hidden. Her charm appears to be totally without affectation. (1974)
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They felt that if homosexuality were not a crime it would spread. (The assumption seems to be that heterosexuality couldn't hold its own in a free market.) (1962)
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[MCCABE & MRS. MILLER] Will a large enough American public accept American movies that are delicate and understated and searching—movies that don’t resolve all the feelings they touch, that don’t aim at leaving us satisfied, the way a three-ring circus satisfies? (1971)
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When we championed trash culture we had no idea it would become the only culture. (2001)
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David Lynch might turn out to be the first populist surrealist—a Frank Capra of dream logic. (1986)
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Horses are extremely photogenic, so a Western always has something going for it. (1985)
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Unpretentiousness shouldn't be used as a virtue. (1976)
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Is there anything safer than TV-style seriousness—i.e., delivering the conventional wisdom as if it were the deeply important truth? (1986)
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Certain big American movies have reached a kind of stasis. By turning movies into toys, STAR WARS has had a bad effect on the executives. They want hits of that magnitude and they're afraid of adult subject matter or anything witty. (1982)
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[The Oscars] I can’t be said to hate them. I just think they’re irrelevant to criticism. Generally they’re just a popularity contest, but the Oscars are also a great spectacle full of irony and satire. (1998)
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There's nothing under PULP FICTION, no serious undercurrents. And I didn't find any of the important "statements" I had read about in the reviews, but it's got a crazy good humor. Tarantino has a flair for pop dialogue, and a flair for casting. He used wonderful people. (1994)
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Shelley Duvall may be the closest thing we’ve ever come to a female Buster Keaton; her eccentric grace is like his—it seems to come from the inside out. And the exaggerated sensitivity in her face might be called an equivalent of his mask of isolation. (1980)
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I’ve managed to write about movies for a lifetime without ever writing about the Academy Awards. That’s a great source of pride. (1998)
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Godard's characters are most alive (and most appealing) just because they don't conceive of the day after tomorrow; they have no careers, no plans, only fantasies of roles they could play—of careers, thefts, romance, politics, adventure, pleasure, a life like in the movies.
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[The Oscars] I can’t be said to hate them. I just think they’re irrelevant to criticism. Generally they’re just a popularity contest, but the Oscars are also a great spectacle full of irony and satire. (1998)
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Do men in the movies always have to burn the dinner so we'll know they're straight? (1991)
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We don't go to the movies just for good movies. (1968)
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We're overdosed on American pop culture. We could stand a little something else. (1994)
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The cumulative effect of the STAR WARS trilogy has been devastating to American movies. The fact that those movies made so much money...and could be marketed all over the world makes it that much more difficult for somebody to do something very personal and expressive. (1989)
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