Besides the whopping amount of talent in the latest Spike Lee Joint (is he still calling his films that?), there is also a healthy dose of good intention. Spike Lee is a true artist, he doesn’t follow any particular path, he doesn’t play the marketing or Hollywood game, in fact he never has.
The moment Love & Mercy goes from a moderately interesting film occurs gently. Here I thought the musical biopic had sung its last note, then producer turned director Bill Pohlad offers up something systematically different by way of the editing room and perfect casting. The real strong point of Love & Mercy is the trio
When director David Cronenberg is good, he is really good, but when he is bad, it’s difficult to sit through his films. A History of Violence will always be his modern masterpiece in my mind, and often his best work has been with Viggo Mortensen (Eastern Promises, A Dangerous Method). Mortensen dropped out of this