A D & Jeremy Talk about Movies: Source Code, Friends, Woody Allen, The Man from London, Sucker Punch, Zardoz, Tron, Willow, and Shoot ‘Em Up

[Last weekend, while en route to Abu Dhabi, my good friend Jeremy swung by my cold-water Chicago flat. After a lengthy Indian-wrestling match, we headed downtown to the AMC River East 21, where we caught a screening of Duncan Jones’s latest film, Source Code. Two hours later, expelled into the brisk April evening, we hunkered down at the nearest Applebee’s and, after ordering multiple appetizers and pitchers of Stella Artois, recorded the following conversation.]

A D: Jeremy, did you like Source Code?

Jeremy: It didn’t offend me.

That’s high praise. I can envision it emblazoned across the film’s poster (which is hideous and which did offend me).

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Arthur Penn’s Night Moves

Well, Arthur Penn died. He was of course a great director. And of course everyone will be talking about how great Bonnie and Clyde (1967) is—and it is great. It’s one of the most important of American films; along with John Boorman’s Point Blank (1967), it essentially kick-started 1970s cinema, and that decade’s auteur-driven New Hollywood.

But, for my money, Penn’s best movie was Night Moves (1975).

Night Moves is, at the moment, my favorite 1970s Hollywood film—well, besides Days of Heaven (1978) and Annie Hall (1977)…

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