Despite not especially caring for either Ryan O’Neal or his daughter, I sincerely enjoyed this movie. Perhaps it was the depression-era look, sound and feel, skillfully accented by costuming, soundtrack and director Peter Bogdanovich’s use of black and white film stock. Perhaps it was the Kansas backdrops. Perhaps it was just that large parts of the movie were genuinely funny. And yeah, it goes downhill a bit after Madeline Kahn’s character makes her unseemly exit, trailing off into grimness and excessive sentimentality by the end. But overall this is still a solid piece of entertainment. Worth seeing
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