By Pauline Kael The New Yorker, February 14 , 1970P. 114 Review of the film "End of the Road," an adaptation of John Barth's story, by Dennis McGuire, Terry Southern and Aram Avakian.
Aside from A History of Violence, there was The Road, the adaptation of Cormac McCarthy's novel of a father and son in a grey post-apocalyptic world.
Or you can take your medicine straight in the form of The Road, an adaptation of Cormac McCarthy's novel about a father and son trudging through a world scarred by environmental collapse.
"On the Road," an adaptation of the Jack Kerouac novel by the director Walter Salles, was poorly received at the Cannes film festival in May, but arrived here with some changes and did fine with Toronto's voracious film fans.
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She appeared in musical theater pieces, including "Sgt. Pepper's Lonely Hearts Club Band on the Road," an adaptation of the Beatles' album, and William Finn's "In Trousers," the first of a trilogy of plays about a young gay man named Marvin.
A slight, thoughtful presence, he's bearded in preparation for his role in The Road, an adaptation of Cormac McCarthy's post-apocalyptic novel, co-starring Charlize Theron; he has just completed Ed Harris's western Appaloosa, and Good, from the CP Taylor play set in 1930s Germany.
The Road, an adaptation of Cormac McCarthy's bleak post-apocalyptic novel, is also scheduled for an Oscar-friendly release in October.
Having played a supporting part in On The Road, an adaptation of the novel by Beat writer Jack Kerouac, Stewart chose its Toronto screening to re-emerge.
