Suspicions of gross sentimentality confirmed.

James Bowman analyzes the political agenda behind Clint Eastwood's Million Dollar Baby, and the basis for denial of said agenda by both Eastwood and the critics at large. (With bonus Arthur Miller content, in conjunction with the previous post.)

I don't want to see Clint on-screen anymore unless he's shooting people. Preferably without the weepy self-torment.

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