Full Cast And Crew

In this installment of Sacred Cows, I take a fresh and possibly first look at 'Die Hard', John McTiernan's action classic that I can't remember if I ever actually saw before.  
It turns out there is plenty of subversive stuff going on beneath all the action, and it's no wonder that the film did such boffo box office...and also all the more disappointing that it went on to spawn such apparently uninspired sequels; something all the more ironic given the original film's general distaste for Capitalism, greed, and middle-manager icompetence.
It ALSO turns out that the love story at the center of 'Die Hard' might just be a little more surprising than the film would at first blush own up to.
Join me, won't you?? You know all the famous lines, but let's kick the tires on 'Die Hard' and find out if it's GOATed status is deserved...or deserving of a 40-story free fall off the Nakatomi Tower.

SEQUELS...
In this episode, I take a look at one of the most infamous film debacles of all time: John Boorman's ill-advised, poorly conceived, crowd-displeasing follow-up to one of the greatest and most popular horror films ever made.
How could it go wrong? From the start, throughout, and even after release. Let me count the ways.
Also, a bit on our current moment of performative reclamation of movies that are just demonstrably awful. Resist!

One of the great newspaper movies, a great NYC location movie, a great set-dressing movie, a great acting movie...on and on. The Paper deserves more recognition; it's aged particularly well as a love letter to and from a very particular time in the media business.

Summer's rapidly ending and it's time to get back to the FCAC rhythm and routine.  Some thoughts on the passing of Dolly Parton and some UK crime shows I've been watching of late, notably the Apple TV series 'Criminal Record'.

Joan Micklin Silver's 1988 NYC love-letter/romantic comedy Crossing Delancey is one of the superlative NYC films of all time.
And watching it today, it's hard not to mourn the loss of the sense of collective experience as New Yorkers she puts onscreen, given our current situation in the City of so much divisive rhetoric and violence.
And this film righteously upends the conventions of its genre and allows a fantastic collage of actors to shine in roles as notable for their refusal to stereotype as they are for their humor and depth of feeling.
Rachel Syme's great essay City Girl, about Crossing Delancey