At Film Comment, praise for an overlooked director and one of the most famous movie stars who still hasn’t gotten his due, as Nick Pinkerton looks at the career of Gerd Oswald (“In depicting incessant small-talk as a kind of water torture drip on a delicate sensibility, [Crime of Passion] pulls up just short of R.W. Fassbinder and Michael Fengler’s 1970 Why Does Herr R. Run Amok? And the connection between these two German filmmakers a generation apart, both deeply invested in the experience of domestic despair, is not so obscure as it may seem—both favor compositions with characters facing front-forward, creating an effect both confrontational and alienating.”). While Sheila O’Malley offers her latest fine defense of Elvis Presley on screen even when he’s not strumming a guitar (“In the final years of Presley’s contract, nobody was paying attention anymore. Sadly, some of his best movies come from this period. Many of them are not musicals, outside of the title songs. There’s a looseness to them, a roiling chaos lacking in the Elvis Formula movies. Presley is unleashed, his persona naturally expanding to include more eccentric shadings.”)
“Kendig is nobody’s idea of a superspy, though. He’s not slick. He’s not even smooth. What he is is the smartest guy in almost every room he puts himself in. Intelligence is a key component of the Matthau persona. His incarnation of The Odd Couple überslob Oscar Madison is the only one that makes you believe the character really could be a newspaper writer. In The Fortune Cookie, his due-for-a-comeuppance shyster is a little too smart for his own good. And so on.” Glenn Kenny has a few insightful lines about Hopscotch’s bridging the ’70s paranoia thriller and the gung-ho ’80s variations, and some deserved nice words for Ronald Neame, but he never pretends the film’s chief attraction could be anything other than Walter Matthau. Singing, yet.