Stephen Hunter
Stephen Hunter
Stephen Hunteris an American novelist, essayist, and Pulitzer Prize-winning film critic...
NationalityAmerican
ProfessionNovelist
Date of Birth25 March 1946
CityKansas City, MO
CountryUnited States of America
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Since I'm a story-oriented critic, sometimes it's difficult to discuss issues without defining them. At the same time, I try not to give away anything that hasn't been given away in first half, in TV commercials, or that isn't obvious from the set-up of the movie. My editors are aware of this tendency of mine and read carefully for spoilers.
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But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
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I never feel so utterly fraudulent as when I review a movie whose charms impress all in the world and I simply do not get it. The other variant is that I love something the world disdains. This has had severe career consequences: I am still famous - or notorious - in certain quarters where I am recalled as the man who liked 'Hudson Hawk.'
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Considered purely as effects-driven filmed drama, 'The Day After Tomorrow' checks in somewhere in the middle of one of Hollywood's most absurd and least lamented dead genres, the disaster pic of the '70s. It's a little better than 'Earthquake' but not as good as 'The Towering Inferno,' because it doesn't star Steve McQueen and Paul Newman.
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Among our many crimes as an imperialistic exploiter of other nations' cultures, stealing their movies ranks lower than selling them cigarettes but higher than killing their game. If you've seen big stupid American versions of France's 'Three Men and a Cradle' or, recently, Japan's 'Shall We Dance?,' you can only mutter: 'Guilty, guilty, guilty.'
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By the '50s and '60s, war movies had become big and impersonal. They almost never bothered to characterize the Japanese enemy as particularly evil; in fact, they never bothered to characterize him at all.
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Now, I am about to be nailed as the man who disliked 'Howl's Moving Castle.' Lord, give me strength! Also, IT, please disconnect the e-mail thing.
'Memoirs of a Geisha' is everything you'd expect it to be: beautiful, mesmerizing, tasteful, Japanese. It's just not very hot.
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The director of 'Independence Day,' 'Godzilla' and 'The Patriot' has certain attributes, all of which are given full vent in 'The Day After Tomorrow.' He's crude, stupid, slick, cornball, predictable, laughable, relentless, trivial and, the sum of all these, ridiculous. He's never made a movie you could believe and he still hasn't.
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I remember the early 1980s, when I first got one of these fabulous film critic jobs. The downside was sitting through 'Splatteria III: The Dismembering of the Clampett Clan' or 'The Oklahoma Meatgrinder Massacre' or some such. The headaches unleashed by watching attractive kids die week after week after week cannot be imagined.
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Within an ensemble, like in sports, if you do your little job, it makes everybody look good.
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'Shall We Dance?' takes a small, exquisite Japanese movie and turns it into a big, stupid American movie. Still, it must be said that as glossy and overproduced as the thing is, it's a good big, stupid American movie.
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I've actually published two compilations, if only barely. Hire a private detective and possibly you'll be able to locate them. One was called 'Violent Screen,' and the other 'Now Playing at the Valencia.' Bantam and Simon and Schuster.
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By my count, of the more than 600 English-language World War II movies made since 1940, only four have even acknowledged the humanity of the soldiers of Nippon. There may be a few I've missed, but not many.