Production earmarked for Marbella, Spain, by mid-2024 pending SAG-AFTRA strike resolution.
Passage Pictures led by Uri Singer, has secured rights to bring Peter Viertel’s 1984 novel American Skin to the big screen.
Production has been earmarked for Marbella, Spain, by mid-2024 pending the resolution of the SAG-AFTRA strike.
Singer has brought on rising Spanish filmmaker and shorts and commercials director Mariano Schoendorff Ares to adapt the screenplay and direct.
American Skin explores the expatriate lifestyle and cultural clashes along the Costa del Sol. The story centres on David Brandt, a handsome Californian who arrives in Marbella hoping to soothe...
Passage Pictures led by Uri Singer, has secured rights to bring Peter Viertel’s 1984 novel American Skin to the big screen.
Production has been earmarked for Marbella, Spain, by mid-2024 pending the resolution of the SAG-AFTRA strike.
Singer has brought on rising Spanish filmmaker and shorts and commercials director Mariano Schoendorff Ares to adapt the screenplay and direct.
American Skin explores the expatriate lifestyle and cultural clashes along the Costa del Sol. The story centres on David Brandt, a handsome Californian who arrives in Marbella hoping to soothe...
- 10/16/2023
- by Jeremy Kay
- ScreenDaily
Exclusive: Jeff Fahey has signed on to star in the Salvadoran civil war drama Fireflies at El Mozote, which starts principal photography on location in El Salvador in November.
Written and directed by Ernesto Melara, the flick is set in 1980s El Salvador and recounts the story of a 10-year-old boy who survives the massacre of his village and his quest to bring justice to his dead family in the middle of a bloody civil war.
Elias Axume is producing for Premiere Entertainment, which handles worldwide sales, with Moctesuma Esparza, and Bob Yari. Premiere’s Carlos Rincon is an executive producer. Arturo Menendez is co-producing.
Fahey is best known for roles in films like Clint Eastwood’s White Hunter Black Heart. He has also been a regular fixture in Robert Rodriguez’s films, including Planet Terror, Machete,...
Written and directed by Ernesto Melara, the flick is set in 1980s El Salvador and recounts the story of a 10-year-old boy who survives the massacre of his village and his quest to bring justice to his dead family in the middle of a bloody civil war.
Elias Axume is producing for Premiere Entertainment, which handles worldwide sales, with Moctesuma Esparza, and Bob Yari. Premiere’s Carlos Rincon is an executive producer. Arturo Menendez is co-producing.
Fahey is best known for roles in films like Clint Eastwood’s White Hunter Black Heart. He has also been a regular fixture in Robert Rodriguez’s films, including Planet Terror, Machete,...
- 10/24/2022
- by Zac Ntim
- Deadline Film + TV
Clint Eastwood’s 5 Worst and 5 Best Movies as a Director, From ‘The Rookie’ to ‘Unforgiven’ (Photos)
[To clarify, in the best five, it’s Unforgiven as Clint Eastwood‘s best (making Bronco Billy fifth best), and on the worst list, it’s The Rookie as the worst (making Jersey Boys fifth worst)]
The Best
“Unforgiven” (1992): Clint Eastwood held on to screenwriter David Webb Peoples’ revisionist western until the time was right, and the result was an Oscar-bestowed turning point. Evocatively, suspensefully detailing a desperate widower’s reckoning with his savage past, it tracked powerfully as both a pungent deflating of merrily violent western myths and a scarily tense depiction of how, as Eastwood’s killer tells a scared young man, “We all have it comin,” kid.” By the end, each gunshot is Eastwood mercy-killing a genre he loves, and knocking us to our senses about bloody movie justice.
“Million Dollar Baby” (2004): A poor young female boxer (Hilary Swank) wants to fight. The trainer (Eastwood) reluctantly trains. Punches await, small, and huge. An unabashedly rich-in-feeling movie about toughness,...
The Best
“Unforgiven” (1992): Clint Eastwood held on to screenwriter David Webb Peoples’ revisionist western until the time was right, and the result was an Oscar-bestowed turning point. Evocatively, suspensefully detailing a desperate widower’s reckoning with his savage past, it tracked powerfully as both a pungent deflating of merrily violent western myths and a scarily tense depiction of how, as Eastwood’s killer tells a scared young man, “We all have it comin,” kid.” By the end, each gunshot is Eastwood mercy-killing a genre he loves, and knocking us to our senses about bloody movie justice.
“Million Dollar Baby” (2004): A poor young female boxer (Hilary Swank) wants to fight. The trainer (Eastwood) reluctantly trains. Punches await, small, and huge. An unabashedly rich-in-feeling movie about toughness,...
- 9/13/2021
- by Robert Abele
- The Wrap
Cinematographer Jack N. Green is proof that nice guys sometimes finish first — even in Hollywood.
Born in 1939, the San Francisco native traveled a long-rising arc in his career, which includes distinguished stints shooting aerial sequences for documentaries and some of the most iconic films of the 1960s, eventually becoming director of photography on a run of Clint Eastwood movies and more recent comedies such as “The 40-Year-Old Virgin,” “Hot Tub Time Machine” and two “Diary of a Wimpy Kid” movies.
Green’s parents, Trudy and John Sr., had a shared fascination for photography and rigged up a home darkroom that made a strong artistic impact on their son.
Graduating from high school and barber college at 17, Green planned to make that job his career. But all that changed when he was befriended by shop regular Joe Dieves, a former World War II combat cameraman. Enamored of Dieves’ stories, Green soon joined him,...
Born in 1939, the San Francisco native traveled a long-rising arc in his career, which includes distinguished stints shooting aerial sequences for documentaries and some of the most iconic films of the 1960s, eventually becoming director of photography on a run of Clint Eastwood movies and more recent comedies such as “The 40-Year-Old Virgin,” “Hot Tub Time Machine” and two “Diary of a Wimpy Kid” movies.
Green’s parents, Trudy and John Sr., had a shared fascination for photography and rigged up a home darkroom that made a strong artistic impact on their son.
Graduating from high school and barber college at 17, Green planned to make that job his career. But all that changed when he was befriended by shop regular Joe Dieves, a former World War II combat cameraman. Enamored of Dieves’ stories, Green soon joined him,...
- 8/2/2019
- by James C. Udel
- Variety Film + TV
No matter what they do to Los Angeles, and lately they’ve done quite a lot with all the traffic, hyper-development, and electric scooters, they can’t get rid of the movie ghosts. The accumulated haunt of a century-old industry, those pop up in nooks and crannies, sometimes where you least expect them. There are a couple next door to Katy Perry’s coveted convent-house in Los Feliz, for instance. That’s where the Manson family killed the Labiancas a night after murdering Sharon Tate and friends, setting off Hollywood’s Helter Skelter panic. The address on the curb has been changed. But the ghosts are still there.
A mostly gentler sort stalk one of my favorite memory pockets, Santa Monica Canyon. Geographically, that’s a leafy trough that runs between the Pacific Palisades district of Los Angeles and the City of Santa Monica. It has identity issues. The postal addresses,...
A mostly gentler sort stalk one of my favorite memory pockets, Santa Monica Canyon. Geographically, that’s a leafy trough that runs between the Pacific Palisades district of Los Angeles and the City of Santa Monica. It has identity issues. The postal addresses,...
- 9/16/2018
- by Michael Cieply
- Deadline Film + TV
Clint Eastwood is back in the nation’s theaters once again, but you won’t see him on screen. His latest film, “The 15:17 to Paris” is a biographical suspense drama based on the 2015 terrorist attack on a Thalys train headed to Paris. Three American soldiers (Spencer Stone, Anthony Sadler and Alek Skarlatos) thwarted the terrorist and were declared heroes by the French Government. In a bold move, Eastwood cast the trio of heroes to play themselves in the film, but as a director, Eastwood is no stranger to bold moves.
For over half a century Eastwood has been one of the world’s greatest movie stars. Comfortable in both westerns and contemporary roles, his measured growl of a voice has been a key part in creating such iconic characters as The Man With No Name and Dirty Harry.
SEEOscar Best Director Gallery: Every Winner In Academy Award History
However...
For over half a century Eastwood has been one of the world’s greatest movie stars. Comfortable in both westerns and contemporary roles, his measured growl of a voice has been a key part in creating such iconic characters as The Man With No Name and Dirty Harry.
SEEOscar Best Director Gallery: Every Winner In Academy Award History
However...
- 2/26/2018
- by Tom O'Brien and Chris Beachum
- Gold Derby
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday. (The answer to the second, “What is the best film in theaters right now?”, can be found at the end of this post.)
This week’s question: In honor of this week’s “The 15:17 to Paris,” what is Clint Eastwood’s greatest film (either as an actor, or as a director)?
Richard Brody (@tnyfrontrow), The New Yorker
Almost impossible to choose, but something especially energized and deep-rooted results when a great filmmaker makes a movie about the practice of filmmaking, and something even more energized about Eastwood’s own incarnation of a John Huston-oidal director, as a vain blowhard and a squanderer, in “White Hunter Black Heart”; it’s the movie of a Hollywood filmmaker thinking equivocally about his industry and his confrontation with its ingrained practices and legends. Yet...
This week’s question: In honor of this week’s “The 15:17 to Paris,” what is Clint Eastwood’s greatest film (either as an actor, or as a director)?
Richard Brody (@tnyfrontrow), The New Yorker
Almost impossible to choose, but something especially energized and deep-rooted results when a great filmmaker makes a movie about the practice of filmmaking, and something even more energized about Eastwood’s own incarnation of a John Huston-oidal director, as a vain blowhard and a squanderer, in “White Hunter Black Heart”; it’s the movie of a Hollywood filmmaker thinking equivocally about his industry and his confrontation with its ingrained practices and legends. Yet...
- 2/5/2018
- by David Ehrlich
- Indiewire
Directors’ trademarks is a series of articles that examines the “signatures” that filmmakers leave behind in their work. This month, we’re examining the trademark style and calling signs of Clint Eastwood as director.
Clint Eastwood became an american film star in the 1960’s thanks to his acting performances in a number of western films. As he began to branch out with new roles in front of the camera, he sought out to have more creative input into the types of film projects that he would be involved in. One way he was able to accomplish this was by creating his own production company which eventually allowed him to work behind the camera as director. His first film as director was 1971’s Play Misty For Me, which was well received by critics and did well at the box office. HIs second film as director was High Plains Drifter (1973), in which he also starred.
Clint Eastwood became an american film star in the 1960’s thanks to his acting performances in a number of western films. As he began to branch out with new roles in front of the camera, he sought out to have more creative input into the types of film projects that he would be involved in. One way he was able to accomplish this was by creating his own production company which eventually allowed him to work behind the camera as director. His first film as director was 1971’s Play Misty For Me, which was well received by critics and did well at the box office. HIs second film as director was High Plains Drifter (1973), in which he also starred.
- 9/28/2016
- by feeds@cinelinx.com (G.S. Perno)
- Cinelinx
All week long our writers will debate: Which was the greatest film year of the past half century. Click here for a complete list of our essays. How to decide in the grand scheme of things which film year stands above all others? History gives us no clear methodology to unravel this thorny but extremely important question. Is it the year with the highest average score of movies? So a year that averages out to a B + might be the winner over a field strewn with B’s, despite a few A +’s. Or do a few masterpieces lift up a year so far that whatever else happened beyond those three or four films is of no consequence? Both measures are worthy, and the winner by either of those would certainly be a year not to be sneezed at. But I contend the only true measure of a year’s...
- 4/27/2015
- by Richard Rushfield
- Hitfix
Chicago – “Clint Eastwood: 20 Film Collection” is a great Father’s Day gift that’s nonetheless a bit difficult to describe. It’s not exactly a greatest hits collection of its legendary star since it’s missing some of his most iconic films and includes some of his most notable failures. At the same time, every Eastwood fan would be happy to have at least half of these films in their collection and there’s no better way to do it then this set. It also may allow for some reevaluation and reappreciation of some of Eastwood’s less-beloved movies. I wish that Warner Bros. had taken the opportunity to upgrade a few Eastwood films that still need HD restoration but there’s enough brilliance in this box that it’s tough to complain.
Rating: 4.0/5.0
Which ones are the classics in this impressively-packaged set? There are undeniable, iconic ones like “Dirty Harry,...
Rating: 4.0/5.0
Which ones are the classics in this impressively-packaged set? There are undeniable, iconic ones like “Dirty Harry,...
- 6/5/2013
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Warner Brothers has just dropped word on a two new collections dedicated to the work of American film icon Clint Eastwood. The two collections (one on DVD, the other on Blu-ray) will feature a new documentary by Eastwood biographer Richard Schickel, along with a copy of the new non-directed Eastwood film Trouble with the Curve.
A portion of the news release is below:
Burbank, Calif., February 11, 2013 – Clint Eastwood’s illustrious motion picture career has spanned more than half a century and touched generations of filmgoers. The filmmaker/actor has received five Academy Awards®and his films have grossed more than $2 billion at the domestic box office. This year marks the 38th anniversary of the relationship between Warner Bros., Clint Eastwood and Malpaso Productions, which has culminated in more than 40 films made for the studio. Now, in honor of Warner’s year-long 90th anniversary celebration, Warner Bros. Home Entertainment will release two new Eastwood Collections,...
A portion of the news release is below:
Burbank, Calif., February 11, 2013 – Clint Eastwood’s illustrious motion picture career has spanned more than half a century and touched generations of filmgoers. The filmmaker/actor has received five Academy Awards®and his films have grossed more than $2 billion at the domestic box office. This year marks the 38th anniversary of the relationship between Warner Bros., Clint Eastwood and Malpaso Productions, which has culminated in more than 40 films made for the studio. Now, in honor of Warner’s year-long 90th anniversary celebration, Warner Bros. Home Entertainment will release two new Eastwood Collections,...
- 2/12/2013
- by Nick Allen
- The Scorecard Review
Willem Dafoe is magnificent as a lone hunter in this gripping existential drama set in the wilds of Tasmania
Hunting is a longstanding metaphor in the movies. From the great explorer films of the early years such as The Lost World and King Kong, through to westerns, and later classics such as The Deer Hunter and White Hunter Black Heart, directors have used nature and the chase to depict man confronting his inner self, wrestling with his wild ego and his civilised id.
The latest of these is The Hunter, an Australian film set entirely in one of the last great wildernesses, Tasmania. Not to be confused with Steve McQueen's last film of the same name (although I'm sure echoes are intended), it's based on a book by Julia Leigh, the writer who made her own debut as a film-maker at Cannes in 2011 with the neo-feminist erotic curio Sleeping Beauty.
Hunting is a longstanding metaphor in the movies. From the great explorer films of the early years such as The Lost World and King Kong, through to westerns, and later classics such as The Deer Hunter and White Hunter Black Heart, directors have used nature and the chase to depict man confronting his inner self, wrestling with his wild ego and his civilised id.
The latest of these is The Hunter, an Australian film set entirely in one of the last great wildernesses, Tasmania. Not to be confused with Steve McQueen's last film of the same name (although I'm sure echoes are intended), it's based on a book by Julia Leigh, the writer who made her own debut as a film-maker at Cannes in 2011 with the neo-feminist erotic curio Sleeping Beauty.
- 7/7/2012
- by Jason Solomons
- The Guardian - Film News
Willem Dafoe is magnificent as a lone hunter in this gripping existential drama set in the wilds of Tasmania
Hunting is a longstanding metaphor in the movies. From the great explorer films of the early years such as The Lost World and King Kong, through to westerns, and later classics such as The Deer Hunter and White Hunter Black Heart, directors have used nature and the chase to depict man confronting his inner self, wrestling with his wild ego and his civilised id.
The latest of these is The Hunter, an Australian film set entirely in one of the last great wildernesses, Tasmania. Not to be confused with Steve McQueen's last film of the same name (although I'm sure echoes are intended), it's based on a book by Julia Leigh, the writer who made her own debut as a film-maker at Cannes in 2011 with the neo-feminist erotic curio Sleeping Beauty.
Hunting is a longstanding metaphor in the movies. From the great explorer films of the early years such as The Lost World and King Kong, through to westerns, and later classics such as The Deer Hunter and White Hunter Black Heart, directors have used nature and the chase to depict man confronting his inner self, wrestling with his wild ego and his civilised id.
The latest of these is The Hunter, an Australian film set entirely in one of the last great wildernesses, Tasmania. Not to be confused with Steve McQueen's last film of the same name (although I'm sure echoes are intended), it's based on a book by Julia Leigh, the writer who made her own debut as a film-maker at Cannes in 2011 with the neo-feminist erotic curio Sleeping Beauty.
- 7/7/2012
- by Jason Solomons
- The Guardian - Film News
by Nick Schager
[This week's "Retro Active" pick is inspired by Willem Dafoe's ignoble expedition in The Hunter.]
Clint Eastwood's surgical dissection of the iconic alpha-male persona that made him the '70s biggest box-office draw began as early as 1980's Bronco Billy (if not before, lest we forget the goofball shenanigans of 1978's Every Which Way But Loose and its sequel). Yet that critical modus operandi, which would gradually come to dominate his latter body of work (up to 2008's Gran Torino), began in earnest with White Hunter Black Heart, an adaptation of Peter Viertel's novel based on his experiences as a screenwriter on John Huston's The African Queen. It is, on the face of it, a wholly uncharacteristic vehicle for Eastwood, who not only helms the film but stars as John Wilson, a blustery, boozy movie director-cum-adventurer whom the star embodies with the same swagger, fierceness and drawn-out drawl of the legendary Huston. Devoid of serious action or genre accouterments,...
[This week's "Retro Active" pick is inspired by Willem Dafoe's ignoble expedition in The Hunter.]
Clint Eastwood's surgical dissection of the iconic alpha-male persona that made him the '70s biggest box-office draw began as early as 1980's Bronco Billy (if not before, lest we forget the goofball shenanigans of 1978's Every Which Way But Loose and its sequel). Yet that critical modus operandi, which would gradually come to dominate his latter body of work (up to 2008's Gran Torino), began in earnest with White Hunter Black Heart, an adaptation of Peter Viertel's novel based on his experiences as a screenwriter on John Huston's The African Queen. It is, on the face of it, a wholly uncharacteristic vehicle for Eastwood, who not only helms the film but stars as John Wilson, a blustery, boozy movie director-cum-adventurer whom the star embodies with the same swagger, fierceness and drawn-out drawl of the legendary Huston. Devoid of serious action or genre accouterments,...
- 4/5/2012
- GreenCine Daily
In honor of Jeff, Who Lives At Home, the gang at Wamg put together a different kind of Top Ten Ten Tuesday. This Friday, Paramount Vantage and Indian Paintbrush are bringing to the screen Jay Duplass’ and Mark Duplass’ story of Jeff (Jason Segel). On his way to the store to buy wood glue, Jeff looks for signs from the universe to determine his path. However, a series of comedic and unexpected events leads him to cross paths with his family in the strangest of locations and circumstances. Jeff just may find the meaning of his life… and if he’s lucky, pick up the wood glue as well.
So who’s game for a Top Ten Jeffs in Movies? We came up with a list of our favorite “Jeffs” and boy are they a busy lot. As you can see below, these guys have run the gamut between film,...
So who’s game for a Top Ten Jeffs in Movies? We came up with a list of our favorite “Jeffs” and boy are they a busy lot. As you can see below, these guys have run the gamut between film,...
- 3/15/2012
- by Movie Geeks
- WeAreMovieGeeks.com
Clint Eastwood is set to premiere his latest directorial effort, Hereafter, as part of Tiff’s Special Presentations lineup up this September.
The debut marks the first time in 20 years that the octogenarian icon has chosen the Toronto film festival as a venue for one of his films. Eastwood’s last picture to hit the big screen at Tiff was 1990’s White Hunter Black Heart.
Along with the Eastwood announcement, Tiff confirmed that Massy Tadjedin's Last Night, a romantic drama starring Keira Knightley, Eva Mendes and Sam Worthington will serve as the closing night film.
Read on for a full list of the other Galas and Special Presentations announced today (all either world, international or North American premieres) including films from Danny Boyle, John Sayles, Guillem Morales and Stefano Incerti and featuring on-screen appearances by James Franco, Jennifer Connelly, Will Ferrell, Joaquin Phoenix, Ed Harris, Toni Servillo, Mickey Rourke,...
The debut marks the first time in 20 years that the octogenarian icon has chosen the Toronto film festival as a venue for one of his films. Eastwood’s last picture to hit the big screen at Tiff was 1990’s White Hunter Black Heart.
Along with the Eastwood announcement, Tiff confirmed that Massy Tadjedin's Last Night, a romantic drama starring Keira Knightley, Eva Mendes and Sam Worthington will serve as the closing night film.
Read on for a full list of the other Galas and Special Presentations announced today (all either world, international or North American premieres) including films from Danny Boyle, John Sayles, Guillem Morales and Stefano Incerti and featuring on-screen appearances by James Franco, Jennifer Connelly, Will Ferrell, Joaquin Phoenix, Ed Harris, Toni Servillo, Mickey Rourke,...
- 8/17/2010
- by Emma Badame
- Cineplex
Shakespearean actor who played many familiar roles on film and television
Few actors can claim to have played most of Shakespeare's clowns and made some of them funny, but Geoffrey Hutchings, who has died of meningitis aged 71, did just that. An associate artist with the Royal Shakespeare Company, he played Launce, Bottom, Feste, one of the Dromios and even the impossible Lavache in Trevor Nunn's great "Crimean war" All's Well That Ends Well, with Peggy Ashcroft making her RSC farewell as the Countess of Rousillon. Hutchings brought an individual quality of asperity and crackle to everything he did, and was noted early on as a character actor of uncommon personality: small, slight, but always ferocious, he was like a terrier with a dangerous bark.
He grasped Autolycus, for instance, that wandering snapper-up of unconsidered trifles, in Ronald Eyre's 1981 The Winter's Tale at Stratford-upon-Avon, and transformed him into a...
Few actors can claim to have played most of Shakespeare's clowns and made some of them funny, but Geoffrey Hutchings, who has died of meningitis aged 71, did just that. An associate artist with the Royal Shakespeare Company, he played Launce, Bottom, Feste, one of the Dromios and even the impossible Lavache in Trevor Nunn's great "Crimean war" All's Well That Ends Well, with Peggy Ashcroft making her RSC farewell as the Countess of Rousillon. Hutchings brought an individual quality of asperity and crackle to everything he did, and was noted early on as a character actor of uncommon personality: small, slight, but always ferocious, he was like a terrier with a dangerous bark.
He grasped Autolycus, for instance, that wandering snapper-up of unconsidered trifles, in Ronald Eyre's 1981 The Winter's Tale at Stratford-upon-Avon, and transformed him into a...
- 7/11/2010
- by Michael Coveney
- The Guardian - Film News
On February 16, 2010, Warner Bros. is planning to release a 19-disc collection of 35 films that were either acted, directed, or both, by Clint Eastwood. The package is entitled “Clint Eastwood: 35 Films, 35 Years at Warner Bros.,” and will contain features that span from 1968’s Where Eagles Dare to last year’s Gran Torino. The 35th film will be a short documentary by film critic Richard Schickel called “The Eastwood Factor,” which is a play on the original title for Invictus, which was “The Human Factor.”
“I’ve known Clint for most of the time he’s been at Warner Bros.,” said Schickel. “I was fortunate to be able to wander around the Warner lot with him and hear his reminiscences. To be able to show him in the places where he works and lives and feels most comfortable is, I think, a unique opportunity.”
The package has a beginning price of...
“I’ve known Clint for most of the time he’s been at Warner Bros.,” said Schickel. “I was fortunate to be able to wander around the Warner lot with him and hear his reminiscences. To be able to show him in the places where he works and lives and feels most comfortable is, I think, a unique opportunity.”
The package has a beginning price of...
- 12/1/2009
- by Nick Allen
- The Scorecard Review
A Serious Man may be getting rave reviews – but it's like nothing the Coens have made before. Joe Queenan on weird one-offs and the directors who make them
About halfway through the very funny, very disturbing, very ethnic new film A Serious Man, the modern-day Job who is the serious man in question climbs up on to the roof of his ghastly 1960s Minneapolis suburban home and tries to adjust the antenna to improve his TV reception. Beleaguered on all fronts – conjugally, professionally, medically – Larry Gopnik, a dorky physics professor who may be about to lose his job and is very likely to lose his family, is a bright, principled Jewish man whose children have begged him to fix the antenna so they can watch F Troop, an idiotic 1960s comedy. Many of Larry's travails unfold as songs from Jefferson Airplane's seminal 1967 LP Surrealistic Pillow play in the background.
About halfway through the very funny, very disturbing, very ethnic new film A Serious Man, the modern-day Job who is the serious man in question climbs up on to the roof of his ghastly 1960s Minneapolis suburban home and tries to adjust the antenna to improve his TV reception. Beleaguered on all fronts – conjugally, professionally, medically – Larry Gopnik, a dorky physics professor who may be about to lose his job and is very likely to lose his family, is a bright, principled Jewish man whose children have begged him to fix the antenna so they can watch F Troop, an idiotic 1960s comedy. Many of Larry's travails unfold as songs from Jefferson Airplane's seminal 1967 LP Surrealistic Pillow play in the background.
- 11/29/2009
- by Joe Queenan
- The Guardian - Film News
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