As I’m not the biggest fan of director Alexander Payne (About Schmidt, Election, and even less of one of Paul Giamatti (Saving Mr. Banks, Straight Outta Compton), I was lukewarm, at best, about seeing The Holders, a reunion of the director/actor duo that combined for 2004’s Sideways, a beloved critic and audience favorite, but a film I suffered through for 20 minutes before deciding that it was not for me. Sideways was a movie I was sure I would not enjoy, but I attempted it anyway because of the hype. I was miserable. After watching the trailer for The Holdovers, I anticipated a similar type of dread. However, I was willing to give this one a chance after hearing from critics and audiences that this film, while heartfelt and poignant, still maintained some edge.
Category Archives: Tate Donovan
Worth (2020)
More often than not, movies that attempt to capitalize on the tragedy of real-life events have mountains to climb over that other movies don’t even have to navigate. The greater the tragedy (at least when it comes to the loss of human life), the closer the attempt to reap any profit from the tragedy through music, literature, art, film, or other types of storytelling expression to the actual event itself presents an even steeper cliff to escalate.
Argo (2012)
Ben Affleck continues to hone his craft as a masterful director while re-establishing himself as one of Hollywood’s leading men on the screen. After some misfires (Pearl Harbor, Daredevil) and downright flubs (Gigli, Surviving Christmas) during the early part of the decade, Affleck stepped to the other side of the camera for the first time and directed the critically acclaimed Gone Baby Gone. In 2010, he directed and starred in the stirring action-drama The Town. As great as both of those movies were, Affleck was not recognized for either with an Academy Award nomination. That will change this year as Argo is destined for Best Picture and Best Director Academy Award nominations.
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