My second dispatch from Park City muses on the medium - rare pleasures of a well -
done potboiler and when bad movies happen to good intentions.
Not exact matches
There's a reason
potboiler paperbacks don't make good movies — there's too much outlandish plot, even for Hollywood.
While he
does capture the essence of those films in his rhythms, the script feels much more like the
potboiler John Grisham films prevalent in the 1990s.
Doug Liman (Swingers, Go) keeps the film reserved most of the way, although an exciting car chase and shootout at the end
does fuel the action up a notch above most espionage
potboilers.
Starting in 1992, when Hanson made a breakthrough of sorts with the kind of trashy
potboiler that doesn't usually portend future Oscar success:
There's the urban handwringer, the northern version of the post-Katrina New Orleans
potboiler, bubbling with barely concealed schadenfreude: Aren't you glad you don't live here?
Still, that book had
done so little justice to the characters I had loved — or held in extreme dislike (Ashley Wilkes is second only to the Reverend Dimmesdale on my wimpy literary men hate list)-- on the screen that I never
did pick up Gone With the Wind, thinking it would prove another turgid
potboiler.