COMING OUT AND COMING DOWN
How many times must we be subjected to opening montages of the New York City skyline before filmmakers realize that it’s a trite and pretentious device? True, Woody Allen's memorable introductory sequence to Manhattan, which displays every famous hotspot under the sun against George Gershwin’s inimitable "Rhapsody in Blue," holds its own as a lyrical expression of urbanity. But that's Woody Allen; his movies are off-putting when they’re not in New York. The first few minutes of Gray Matters showcase a slew of familiar architectural sights from the metropolitan area, with all the pizazz of a tourist brochure. It's enough to set eyes rolling even before the plot kicks in; and in this case, that’s saying something.
Read the rest of the review in The Reeler...
Grey Matters
How many times must we be subjected to opening montages of the New York City skyline before filmmakers realize that it’s a trite and pretentious device? True, Woody Allen's memorable introductory sequence to Manhattan, which displays every famous hotspot under the sun against George Gershwin’s inimitable "Rhapsody in Blue," holds its own as a lyrical expression of urbanity. But that's Woody Allen; his movies are off-putting when they’re not in New York. The first few minutes of Gray Matters showcase a slew of familiar architectural sights from the metropolitan area, with all the pizazz of a tourist brochure. It's enough to set eyes rolling even before the plot kicks in; and in this case, that’s saying something.
Read the rest of the review in The Reeler...
posted by Eric Kohn at 1:58 PM
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