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Solitary Man

by George Sax
The opening shots of Solitary Man are of Michael Douglas hurrying through Manhattan’s upper East Side streets as Johnny Cash’s late-life recording of Neil Diamond’s ploddingly tuneful song of the same title plays on the track.

Grown Ups

by M. Faust
The original Ocean’s Eleven may have been made because Frank Sinatra wanted a project he could work on with his Rat Pack buddies. But at least they bothered to get a script to work from and a director to hold the project together.

Knight and Day

by M. Faust
Not since Reservoir Dogs has a film’s title done so little to convey to the marquee-gazing prospective ticket buyer a hint as to the movie’s content. It could almost be a marketing test: At this point in a disturbingly dreary summer movie season (and if Hollywood can’t be depended on to generate post-Memorial Day blockbusters, they’re of no use to anyone), everyone is eager to know if any stars can get audiences into theaters on name value alone. That’s why the posters for the film scream “CRUISE” (Tom) and “DIAZ” (Cameron) louder than the title Knight and Day, which I don’t understand even after seeing the movie.

Joan Rivers: A Piece of Work

by M. Faust
“I’ll show you fear,” says Joan Rivers, opening her planner to a page with nothing on it. “If my book ever looked like this, it would mean that nobody wants me, that everything I ever tried to do in life didn’t work, that nobody cared and I’d been totally forgotten.”



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