Thursday, June 27 2002
The book, published in 1971 (originally entitled 'Addie Pray') caught the interest of Hollywood and renowned director, Peter Bogdanovich, who made Brown's story into an overwhelmingly successful film, starring Ryan O'Neal and his daughter, Tatum, and called it 'Paper Moon'. The rest, as they say, is history.
His misanthropy is always legitimised by a political motivation (in the case of this book, a kind of anarchic eco-awareness), so it never quite veers into the ranting to which it nevertheless approximates.
The Sex Pistols staged a reunion in 1996 that met with mixed reviews and are scheduled to reform this summer. Both comebacks have prompted the question 'How can you do a Sex Pistols show without Sid Vicious'"
Gordon brings to his subject a fan's admiration for the music without abandoning a historian's dedication to detail. His language is rich and evocative, particularly when he conjures up the sound of one of Muddy's most famous works.
The book itself, eschewing the traditional memoir's approach to laying out the facts and hoping -- simply by the act of writing -- to come to terms with a life, makes no claim at understanding, or for that matter, judgment.
In Cal Cunningham, Colapinto has created a character so urbanely amoral and artlessly adept at deception of self and others that he could have stepped out of the pages of 'The Portrait of Dorian Gray'.
Because modern art is really about modern humanity's struggle to overcome the artistic prisons of the past and you need to know that.
The only real knock on '20 Million Miles to Earth' is one that more or less dogged Harryhausen throughout his career: his creations are more animate and sometimes infinitely more interesting than their live actor costars.
Think Troma's 'Toxic Avenger' or Full Moon's 'Puppetmaster' with naked teenagers and you're there.
It's all a saggy, inept mess. And it really makes you long for Michael Keaton and 'The Banana Boat Song'.
This is The City, so often viewed as anonymous and unfriendly, especially in children's programming, at its best.
It is clear about what it is, a study of affect that is also affected.
Where [the ghost] becomes a relatively benign presence for Carlos and the other boys ['The Devil's Backbone'], the same cannot be said for the living adults.