We may never understand why Paul Newman had to wait nearly three decades to receive his Oscar for playing “Fast Eddie” Felson in The Hustler. The Oscar went to Maximillian Schell that year – a strong performance that really should have been in the Supporting Actor category – and Schell didn’t create an icon the way Newman did. His belated Oscar for Scorsese’s not-quite-a-sequel The Color of Money felt almost like an apology, and with The Hustler now available in glorious Blu-ray, it only confirms just how terrific he was. Hit the jump for my full review.
Paul Dano’s career has been defined by strong performances opposite award-winning actors. The stunning list of his high-profile onscreen pairings range from his breakthrough, Indie Spirit Award-winning turn for Best Debut Performance in 2001’s L.I.E. as the target of a pedophile, played by fellow nominee Brian Cox, to his portrayal of a nihilistic teen as part of Little Miss Sunshine’s 2007 SAG Award winning ensemble where he shared a backseat in the Hoover’s family van with Alan Arkin in the 76-year-old’s Oscar-winning performance, to his performance of a preacher and his twin (Paul and Eli Sunday) opposite eventual Oscar-winner Daniel Day-Lewis’ unhinged oil man Daniel Plainview in Paul Thomas Anderson’s There Will Be Blood.
Collider caught up with the 26-year-old to discuss his latest big screen partnership in The Extra Man, which opened in Los Angeles this past weekend to continue its national rollout, opposite Kevin Kline. Hit the jump for the interview’s transcript and audio, along with stories of his early work with several Oscar winners, Daniel Day-Lewis’ intensity, whether he’ll work on Paul Thomas Anderson’s latest film, his take on the Broadway musical adaptation of Little Miss Sunshine and the danger of dressing in drag, on screen.
Ray Parker Jr. has continued to work. You wouldn’t probably know it unless you were a fan. But he put out an album in 2006. At this point, not only is Ray Parker Jr. not afraid of no ghosts, no one is afraid of no ghosts. People may be more afraid of Ray Parker Jr. than ghosts. We like in a post-scared of no ghosts culture. It is hard to know how good busting makes someone feel, though.
Ghostbusters is a bona-fide “classic” now. It’s a loosey-goosey movie, it’s tightly put together, but it feels free. The set pieces never feel stuck in their boxes, and the comedians seem to bring their own sensibilities to the material. Directed by Ivan Reitman from a script by Harold Ramis and Dan Ayroyd, it moves at a quick clip and balances the boo scares with the jokes successfully. It’s one of the film effects driven comedies that works as a comedy first. But it’s Bill Murray’s movie.
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