Tag Archives: Greg Kinnear

Richard Linklater – Fast Food Nation (2006)

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The plotline follows separate subplots that all coalesce around the meatpacking industry. From the meat company executive sent to investigate charges of shoddy processing, to the processing plant use of illegal immigrant labor, to all the lives that are collaterally touched by each participant in the food chain, the movie examines the entire US ethic of providing a packaged experience better, faster, and cheaper. The movie does not leave out gory details, but instead lets the viewer decide what the end result should be by providing no neat conclusions, nor happy endings, but more importantly imparts a series of possible topics for discussion with a background of how the problem developed and the interdependent parties involved. In total, the film could easily be shown as an instructional video for a college level course in corporate responsibility.

Author: risserob Read More »

Paul Schrader – Auto Focus (2002)

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Review by Michael Hastings (Allmovie)

Quote:
Though Paul Schrader isn’t often tapped to direct scripts other than his own, his touch proves essential to Auto Focus, a true-life tale of sex, celebrity, and videotape that seems tailor-made to the man who dreamed up Taxi Driver and American Gigolo. Schrader’s clinical, detached directorial style proves well-matched to the genial, humorous tone of Michael Gerbosi’s script; it’s like Hardcore without all the proselytizing (and without the sight of George C. Scott in a campy porn-producer costume). What Auto Focus is most interested in is not the narcotizing effects of anonymous sex — though that’s undeniably a big part of it — but the latent homosexuality lurking behind Bob Crane and John Carpenter’s buddy-buddy sexcapades. Finally cast in a role that successfully sends up and subverts his All-American charm, Greg Kinnear perfectly captures Crane’s kid-in-a-candy-store sexual awakening; meanwhile, Willem Dafoe underlines the desperation at the heart of the swinging lifestyle. Schrader overplays his hand in the film’s “downward spiral” sequences, switching to hand-held camera and bleached-out film stock, but even those minor technical miscalculations don’t detract from the film’s portrait of Crane as a man whose determination to lead the unobserved life ultimately led to his death. Read More »