Speed dating joseph elmore
For over 60 years, the now-87-year-old author has been working at a prodigious rate, cranking out countless short stories and novels, often funny, intricately plotted crime tales, frequently set in his hometown of Detroit, and full of eccentric characters, sparkling dialogue and brutal violence.Stephen King called him “the great American writer,” and Martin Amis once told him at a live event “Your prose makes Raymond Chandler look clumsy.” It’s no surprise, given the nature of his writing, that Leonard has long appealed to Hollywood and his work has been gracing the screen in various forms for over 50 years.It’s also fatally miscast at almost every point: Wilson’s quippy-shtick overwhelms the rest of the picture, Foster (a former model and TV presenter in her acting debut as the femme fatale) couldn’t act if her life depended on it, and the rest of the cast seem to have been assembled entirely at random: Charlie Sheen! Directed by Abel Ferrera (who would bounce back soon after with “King of New York” and “Bad Lieutenant“), the film stars the hot-off “Robocop” Peter Weller as George Moran, an army vet who served in the oft-forgotten 1965 invasion of the Dominican Republic.Returning to Santo Domingo to find the teenage sniper who saved his life back in the day, he instead encounters his ex, Mary (Kelly Mc Gillis, who had such an awful time time making the film with Ferrera that she essentially left the spotlight altogether), who’s now unhappily married to a psychotic former general.But the trouble is that Ferrera seems to only prick up his interest when there’s sex involved — grubby, misogynistic sex at that — and at every other point, he seems to have simply pointed a camera at the actors and let them at it.While the studio did cut Ferrera’s film nearly in half by the time it was released, even then, it’s hard to imagine that there’s some hidden masterpiece of a cut out there.As you might expect from its Z-list cast, it’s pretty dreadful.
It’s a decent set-up (reminiscent of Hitchcock’s “I Confess“), but despite some vaguely interesting inner-church intrigue (Kienzle himself was a priest who left the church in protest of their attitude towards divorce), the film doesn’t do much with it.
We couldn’t be bigger fans of Leonard, and so to mark the Criterion release of “ To Yuma,” we’ve gone back and watched every major big-screen Leonard adaptation (excepting anything made for TV — see the bottom of the piece for more), and ranked them from worst to best. Have a look below to find out and let us know your own favorite Leonard adaptation in the comments section. “Be Cool” (2005)You know when a band reunites years after their prime for a cash-grab tour followed by an album significantly worse than anything they did before, which serves only to sully the reputation of their earlier work? A decade after the success of “Get Shorty” revived interest in Elmore Leonard on screen, John Travolta returned to the role of Chilli Palmer in an adaptation of the writer’s 1999 sequel novel (itself inspired by the success of the earlier movie), which sees him getting out of the movie industry and helping Edie, the widow (Uma Thurman) of a recently-deceased record mogul pal (James Woods), fend off the attentions of thuggish managers Nick and Raji (Harvey Keitel and Vince Vaughn) and gangster-turned-super-producer Sin (Cedric the Entertainer), while also plotting stardom for singing sensation Linda Moon (Christina Milian).
But what seemed effortless when Scott Frank and Barry Sonnenfeld were in charge feels desperately, hopelessly strained the second time around.
The film is languid as it is, so while Ferrera’s ideal version might actually make sense in a way that the released version doesn’t, it’s unlikely to be any more involving. “The Rosary Murders” (1987)A rare screenwriter-for-hire gig for Leonard, “The Rosary Murders” was pretty much done as a favor.
Robert Laurel, a fellow Detroit native, had picked up the rights to one of William X.