The poster plays up the stars- Redford as big as they come in 1973 and Streisand a cross-over movie and music star and sensation Two Oscars—one for the title song and one for the score—

It’s nearly unbearably tragic. It’s a gut-punch that wallops you like a Rossellini’s Germany Year Zero or Schindler’s List – roots-- Akiyuki Nosaka’s autobiographical novel Ebert’s great movies “deserves to be amongst the best war

It’s the fourth archiveable film from Reitman (Juno, Up in the Air, Young Adult)—third with screenwriter Diablo Cody (those three minus Up in the Air) and second with Theron (Young Adult) The ending surprised me

Lee, now 61 years old, gives us his strongest effort since 2002’s The 25th Hour Adore the shot reverse double-dolly close-up (very near the end after John David Washington and Laura Harrier decide to break

  Published on: Oct 9, 2017  It doesn’t have the overarching formal visual pleasures of little miss sunshine- dayton and faris previous archiveable effort but it’s a return to the archives and return to form I

I’m archiving the film after one viewing but I had some problems with it. It’s uneven. Franky there are too many very good scenes between great actors for me to ignore and not archive but

I’m hoping Martel’s formal approach continues to grow on me with repeat viewings because she’s not really interested in narrative (which is fine on its own) and when you combine that with the largely unspecial

More than anything I appreciate the brashness of it—from Cruise probably first and foremost and from Chris McQuarrie as well- they went for it in terms of degree of difficulty and stunt and set piece

It has aesthetic connective tissue with Ophuls (again The Shining) and a spirit of middle-finger cinema related to Luis Bunuel- a film of the highest artistic quality and I’m leaning towards masterpiece status (first time

It’s a masterpiece that may combine the best work of both David Fincher and Aaron Sorkin Hard to top Travers: “The Social Network lights up a dim movie sky with flares of startling brilliance. Director

Very impressed with Leitch’s exercise in style 80’s Berlin-chic, drenched in neon in every scene—nods to Refn’s Drive Strong supporting cast but it’s Charlize Theron’s show- she’s impeccable- nods to Delon in Le Samourai and

Another very solid film from Debra Granik (Down to the Bone in 2004 and Winter’s Bone in 2010)- clearly she can create atmosphere and gets strong performances (whether it is Vera Farminga, Jennifer Lawrence or