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Jack Mathews

January 20, 1991 | Information for this issue was compiled by David Pecchia and Kirk Honeycutt.
SPRING Spring, like puberty, is an awkward time. The studios don't want to open a potentially big movie in April or May for fear of squandering the millions they might make by waiting until school is out. On the other hand, there is the chance that a big-audience movie will catch on in spring and thunder right on into summer--last year, such lightning struck both "Teenage Mutant Ninja Turtles" and "The Hunt for Red October." "Turtle" fans will not be disappointed. As soon as the producers recovered from the shock of having one of the year's biggest blockbusters on their hands, they rushed a sequel into production, and it will show up almost a year to the day after the original.
August 20, 1989
In the July 23 article, "Just How Far Can (or Should) Movies Go?," Jack Mathews questions whether any film can top "Dog Day Afternoon" (1975) or "Slap Shot" (1977) for the amount of F-words used. Brian DePalma's "Scarface" (1983) knocks them both out of the arena. VICTORIA VIDAL Studio City
October 1, 1988 | Jack Mathews
What a week for San Diego arts! A $6-million week. On Monday, the City Council approved $3 million in bed-tax money for the partial funding of Mayor Maureen O'Connor's 1989 Soviet arts and culture festival. On Friday, philanthropist Muriel Gluck announced a $3-million gift intended for the arts education of San Diego youth. And, by the way, $45 million in transient-occupancy tax money was approved for the refurbishment of structures in Balboa Park.
September 17, 1988 | JACK MATHEWS
John Guinn, the classical music critic for the Detroit Free Press when I was there (for the '78 and '79 model years), kept a sign over his desk that said, "Critics can't even make music with their hind legs." I love that line. It manages to be funny, clever and mean-spirited all at the same time, sort of a bumper sticker for had-it-up-to-here eggheads.
August 27, 1988 | JACK MATHEWS
Shortly after Mayor Maureen O'Connor and her retinue of San Diego arts leaders returned from their Faberge egg hunt in the Soviet Union, a local TV station began running a series of promos hyping its upcoming series on the trip. At one point in the promo, there was a tight shot of the mayor, from a low angle, staring up and around at what appeared to be the ceiling of an immense cathedral.
April 24, 1988
The trouble with Oscar exists perhaps only with writers such as Jack Mathews. He mentions the Oscar turning into a "tribute of colossal insignificance" and then goes on to suggest deleting some of the categories, including best foreign-language film category. The best of traditions should be immune to change. Having grown up in Southern California, I've enjoyed the "Oscar Tradition" all my life. GUSTANO ACOSTA Ontario
September 6, 1987 | Larry Ceplair, Ceplair is the author of "The Inquisition in Hollywood" (Doubleday) and the just-released "Under the Shadow of War: Fascism, Anti-Fascism, and Marxists, 1918-1939" (Columbia University Press)
Jack Mathews, a film columnist for The Times, has, according to the jacket copy for "The Battle of Brazil," told "the real story of Terry Gilliam's victory over Hollywood to release his landmark film." Although one might debate the terms "real" and "landmark," Mathews has provided a clear, factual account of the highly publicized struggle for editing control of "Brazil" between director Gilliam and Universal Pictures boss Sidney Sheinberg.
June 6, 1987
According to Jack Mathews, Robby Benson's new movie, "Do It Up," represents the first time a movie has been shot on video and transferred to film for theatrical release ("Enter the Age of Video-Made Movies," June 1). This may be true if you overlook "Norman, Is That You?," "Harlow," "The TAMI Show," "Hamlet" and the unforgettable "Oh, Calcutta!" Publicists are paid to have short memories--Oliver Stone wants to forget "Seizure" (1974) and so "The Hand" becomes his first film as a director; later he is proud of "Platoon" and so that becomes his first film.
September 12, 1986 | JACK MATHEWS
So, Toto pulled back the curtain, revealing to the horror of everyone who believed in him that the Wizard of Oz was not a wizard at all. It was Ted Turner turning the knobs and making all the noise. It's been a few months since Turner left the Emerald City, with the film libraries of MGM, RKO and early Warner Bros. in tow. He had come here not long before, saying he wanted to make movies like the old Hollywood classics.
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