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The Devil's Advocate by L.E. Parker7/4/2023 ![]() Al Pacino as Satan in The Devil’s Advocate, riding the New York subway, informing a man who has just pulled a knife on him that the man’s wife is at home, splayed merrily across their green bedspread and enjoying a crack orgy with his best friend (“You ain’t right, man,” says the rattled aggressor, backing off. His great themes, however, and his great scenes, go unremarked: George Clooney as Michael Clayton, at the end of his rope, receiving some silent and inexplicable dispensation from three horses on a pre-dawn hillside in Westchester, N.Y. Gilroy’s knack for plotting-perhaps the least of his gifts-is discussed at length, and he is allowed to talk some rather tedious Hollywood shop, bitching about directors and so on. Or is it simply that Max has no affection for Gilroy’s movies? His piece trundles us steadily through the Gilroy oeuvre, from Dolores Claiborne (Gilroy’s adaptation of a Stephen King novel) and The Devil’s Advocate (which he rewrote) to the Bourne trilogy (which he scripted), and then to Michael Clayton and this year’s Duplicity (both of which he wrote and directed). Max’s recent profile of writer-director Tony Gilroy. ![]() ![]() ![]() Such, at least, must be the excuses for D.T. ![]()
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