Now With More Than 3000 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 2500 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Monday, January 19, 2015


Paul Thomas Anderson’s Dead-On-Arrival adaptation of Thomas Pynchon’s verbally dense L.A. detective yarn is a stoner CHINATOWN wannabee.* (It’s a Passion Project - SLAP! - It’s a Vanity Project - SLAP! - It's a Passion Project - SLAP! - It’s a Vanity Project.) Loaded with unlikely actors in unlikely roles, they’re less a cast than a bunch of personal favors called in for the occasion. Joaquin Phoenix, as the blissed out private investigator sorting out ex-lovers, a missing real estate tycoon & a sexually perverted drug organization, gives us his impression of Sean Penn in a Jeff Bridges role, but made up for the old PLANET OF THE APES. (See below) He’s not much worse, or more unhinged than everyone else in the starry cast . . . just less hygienic. If only a couple of jokes clicked, we might get an angle on the possibilities Anderson saw in the material. Instead, with a painstaking gaze, each overly controlled, artfully composed shot puts another nail in the coffin. The poster above got it half right: In Selected Theaters December 12; Nowhere January 9.

WATCH THIS, NOT THAT: *The plot (?) seems closer to THE LONG GOODBYE/’73 than to CHINATOWN/’74; and Robert Altman’s once derided film is a reimagined deconstructed wonder. OR: Maintain the CHINATOWN connection with Robert Towne’s near-miss TEQUILA SUNRISE/’88.

No comments: