<\/p>\n
Rex Reed, the longtime movie critic and celebrity interviewer known for his contrarian attitude and eloquent, vicious jabs of his pen, died Tuesday. He was 87. <\/p>\n
The journalist died at his Manhattan home after a short illness, publicist Sean Katz told the Associated Press on behalf of Reed\u2019s friend William Kapfer. Reed died in his sleep, according to his New York Observer editor, Merin Curotto.<\/p>\n
Reed was nothing if not consistent in his swipes at acclaimed actors and directors alike \u2014 the newer the acclaim, the more likely the criticism. <\/p>\n
\u201cFor me, it ended in the \u201840s,\u201d Reed told former Times columnist<\/a> Patrick Goldstein in 2003. \u201cI have more fun watching Vincente Minnelli musicals and Michael Curtiz crime thrillers than anything I see today. If J. Lo is the new Rita Hayworth, then let me off uptown.\u201d<\/p>\n Goldstein noted that the \u201cpioneer of the skewering star profile has a bitchy integrity that has remained constant through decades of shifting critical fashion.\u201d<\/p>\n \u201cI like just as many films as I dislike,\u201d Reed told the New York Times<\/a> in 2018. \u201cBut I think we\u2019re drowning in mediocrity. I just try as hard as I can to raise the level of consciousness. It\u2019s so hard to get people to see good films.\u201d<\/p>\n Born in Fort Worth, Texas, on Oct. 2, 1938, Reed was an only child who grew up watching movies. Initially, he would present reviews to his mother\u2019s bridge club. He studied journalism at Louisiana State University and was a columnist for the school paper, the Daily Reveille, and for Baton Rouge\u2019s Morning Observer. <\/p>\n \u201cI interviewed anybody who came to the South to make a movie \u2014 and there were many of them because movies were being shot on location in plantation houses in Mississippi and Louisiana,\u201d he told the New York Observer in 2024. \u201cI remember when Angela Lansbury and Paul Newman and Lee Remick and Joanne Woodward and Orson Welles came to Baton Rouge and made a film called \u2018The Long, Hot Summer.\u2019 I got to meet every single one of those people. Angela Lansbury and I became great friends.\u201d<\/p>\n Reed headed for New York City immediately after college and worked a series of odd jobs. Though he couldn\u2019t get a job as a New York Times copy boy, he landed one of his first professional pieces in the city\u2019s paper of record after crashing the Venice Film Festival in fall 1965 and faking his way through interviews with Buster Keaton and \u201cBreathless\u201d actor Jean-Paul Belmondo. <\/p>\n He wrote up the Keaton interview and sent it blindly to NYT. (Reed\u2019s interview wound up being Keaton\u2019s last.) The Belmondo piece went to the now-defunct New York Herald Tribune. <\/p>\n \u201cWhen I got back to New York, I had two stories in the same Sunday, and I was the talk of the town,\u201d Reed told the Los Angeles Times in 2003.<\/p>\n Those were the kinds of interviews that wound up in his 1968 collection \u201cDo You Sleep in the Nude?,\u201d allegedly named for a question he said he once asked Ava Gardner. <\/p>\n Reed wrote for many publications in the ensuing years, including Vogue, Esquire, GQ and Women\u2019s Wear Daily, before landing at the New York Observer when it was founded as a print weekly in 1987. <\/p>\n \u201cI took the lowest form of journalism \u2014 the celebrity interview \u2014 and did something with it,\u201d Reed told his Observer editor<\/a> Curotto in 2024. \u201cI think I elevated the genre in the Times, Esquire, New York Magazine … . And for a little boy who had no money and didn\u2019t know a living soul who was famous to come to New York and make a name in journalism, that was no small achievement.\u201d<\/p>\n He wasn\u2019t one to cut stars slack for their bad behavior. Early in his career, when Barbra Streisand showed up 3\u00bd hours late for an interview, Reed described the scene thusly: \u201cShe plotzes into a chair with her legs spread out, bites into a green banana and says, \u2018OK, ya got 20 minutes, whaddya want to know?\u2019\u201d He chased Warren Beatty around for an interview before \u201cBonnie and Clyde\u201d came out in 1967, eventually writing for Esquire, \u201cInterviewing Warren is like asking a hemophiliac for a pint of blood.\u201d<\/p>\n Years later, in a 2013 review of \u201cIdentity Thief\u201d for the New York Observer \u2014 which he joined when it launched in 1987 \u2014 he called star Melissa McCarthy<\/a> \u201ccacophonous,\u201d \u201ctractor-sized,\u201d a \u201chumongous creep\u201d and a \u201chippo.\u201d<\/p>\n \u201cMcCarthy is a gimmick comedian who has devoted her short career to being obese and obnoxious with equal success,\u201d Reed wrote<\/a>. \u201cPoor Jason Bateman. How did an actor so charming, talented, attractive and versatile get stuck in so much dreck?\u201d<\/p>\n Reed often went against the popular grain, calling out critical hits for what he saw as their fatal flaws. And he wasn\u2019t unaware that he was bucking the tide, writing in late 2017<\/a> about \u201cThe Shape of Water,\u201d \u201cHere I am again, out on a limb with a saw in my hand. I\u2019ve been here before, but never have I disagreed with quite so many colleagues (including a few I actually respect) about the same movie. But as the year draws to a close, I remain aghast at the way critics have not only embraced but slobbered over \u2018The Shape of Water.\u2019\u201d<\/p>\n The film would, a few months later, win four Oscars, including those for directing and best picture. <\/p>\n Reed\u2019s take on it? \u201c[T]he more I try to find some kind of justifiable meaning and relevance, the more I find \u2018The Shape of Water\u2019 a loopy, lunkheaded load of drivel,\u201d he wrote. \u201cNot as stupid and pointless as that other critically overrated piece of junk \u2018Get Out,\u2019 but determined to go down trying.\u201d<\/p>\n After Marlee Matlin won the 1987 Oscar for actress in a lead role for her work in \u201cChildren of a Lesser God,\u201d Reed declared that she had won only because of a \u201cpity vote.\u201d He said nominating her was a waste because there weren\u2019t many roles for a \u201cdeaf mute\u201d to perform. <\/p>\n Matlin said years later that she couldn\u2019t forget Reed\u2019s words. \u201cThat stupid, f\u2014ing …,\u201d Matlin told The Times\u2019 columnist<\/a> Glenn Whipp many years later, in 2021. \u201cClearly authenticity wasn\u2019t in his vocabulary.\u201d<\/p>\n Reed was an occasional actor himself, making a cameo in the 1978 version of \u201cSuperman\u201d and performing small parts in a few films in the 1970s and \u201880s. He also hosted \u201cAt the Movies\u201d for a while, taking a seat across from fellow critic Bill Harris, and served as a panelist on \u201cThe Gong Show.\u201d <\/p>\n He was openly gay but declared himself free of relationships, \u201cexcept friends.\u201d <\/p>\n \u201cLove is not something that I\u2019ve been really good at,\u201d he told the New York Times in 2018. \u201cI think people are intimidated by people with opinions.\u201d<\/p>\n Reed lived from 1969 until his death at the Dakota in Manhattan in a two-bedroom, two-bath apartment he bought for $30,000. <\/p>\n