Pauline Kael
Pauline Kael
Pauline Kaelwas an American film critic who wrote for The New Yorker magazine from 1968 to 1991. Earlier in her career, her work appeared in City Lights, McCall's and The New Republic...
NationalityAmerican
ProfessionJournalist
Date of Birth19 June 1919
CountryUnited States of America
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The words ""Kiss Kiss Bang Bang"" which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies
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The words ''Kiss Kiss Bang Bang,'' which I saw on an Italian movie poster, are perhaps the briefest statement imaginable of the basic appeal of movies. This appeal is what attracts us, and ultimately what makes us despair when we begin to understand how seldom movies are more than this.
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The worst thing about movie-making is that it's like life: nobody can go back to correct the mistakes.
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A good movie can take you out of your dull funk and the hopelessness that so often goes with slipping into a theatre; a good movie can make you feel alive again, in contact, not just lost in another city. Good movies make you care, make you believe in possibilities again.
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Good movies make you care, make you believe in possibilities again.
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We may be reaching the end of the era in which individual movies meant something to people. In the new era, movies may just mean a barrage of images.
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Movies have been doing so much of the same thing - in slightly different ways - for so long that few of the possibilities of this great hybrid art have yet been explored.
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Economy, speed, nervousness, and desperation produce the final wasteful, semi-incoherent movies we see.
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When I see those ads with the quote 'You'll have to see this picture twice,' I know it's the kind of picture I don't want to see once.
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This movie is a toupee made up to look like honest baldness.
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If you're afraid of movies that excite your senses, you're afraid of movies.
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At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact desensitizing us.
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tasteful and colossal are - in movies, at least - basically antipathetic.
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There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counter-balance: the freedom of the press to say that there's anything conceivably damaging in these films - the freedom to analyze their implications. ... How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?