Then you made “The Truth about Charlie,” the whole point of which was to make a case for Thandie Newton to be this generation’s Audrey Hepburn.
Perhaps after squandering his Oscar and Indie cred on such slight efforts as Beloved, The Truth About Charlie, and The Manchurian Candidate (the last two unnecessary remakes), he decided to rediscover his cinematic muse.
And while Demme's recent remakes of old spy thrillers (The Truth About Charlie, The Manchurian Candidate) have been muddled flops, that doesn't seem to trouble the director one bit—he just trains his ever-curious camera on what's next.
In Demme’s last personal fiction film, The Truth About Charlie (I’m not counting his Manchurian Candidate remake), the overflowing humanismmulticultural musicians everywhere you looked, and the camera made you lookoverwhelmed the narrative.
Moving down the line, when was the last time director Jonathan Demme (2002's " The Truth About Charlie ") has been this loose yet assured in his filmmaking craft?