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Lost Men.('Michael Clayton' and 'Into the Wild')(Movie review)

The New Yorker

| October 08, 2007 | Denby, David | COPYRIGHT 2007 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

It's forever being drummed into us that movies are a visual medium. Screenwriters are chastised with this half-truth all the time; they may be told to keep dialogue terse or suggestive or to drop lines altogether. After the movie is shot, directors may cut good as well as bad dialogue. There are financial reasons, it turns out, to hold back on talk. Most big American movies are made for the international market, and the more "visual" the film, the easier it goes down in Montevideo and Kuala Lumpur. The screenwriter Tony Gilroy was no doubt reined in during his service to the three Bourne movies, in which Matt Damon and the director Paul Greengrass (in the last two films) ...

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