It’s a very good film- funny with strong writing. However, about 45 minutes into the film Ray Romano and Holly Hunter come along and elevate the film—and save it from falling into some of the jokes and cliché genre trappings. There are some very tough and genuine scenes here. Hunter especially is exception here- a whirlwind of intelligence, angst and poignancy. She deserves an Oscar nom and keeps the film safely in the archives-- Hunter is such a spitfire "i like wine because of the buzz" and Romano so approachable and genuine-- i love his scenes telling bad jokes

  The lingering camera and long takes gives off a sense of eeriness Half conversations heard for much of the film (not quite the same as Altman’s overlapping dialogue but still)—the premise is a woman (Geraldine Chaplin) stalking a couple without telling you too much- it brings you in I had a tough time with Anthony Perkins as a construction worker Wonderful bluesy score Zoom heavy but not fast zooms- I think it mirrored the content of the film with the long stalking and chase set-up scenes It’s great to see Chaplin so edgy and uninhabited Repetitive formal element

It’s not worthy of the out-of-character 4 star review from travers but it’s a very good film- largely in the archives based on the skill of the writing and the two leads- Hanks and Meg Ryan Certainly you can compare it to an affair to remember- a film sleepless parrots throughout and pays great homage to. It’s a slightly different genre breed (melodrama to romantic comedy) but I’d compare it to love story Oddly enough it’s shot by Sven Nykvist—not his best work though there’s nothing wrong with it Wonderful soundtrack- music from the American songbook—the holidays are a

There’s a tangible impact of 70mm/IMAX cameras and no CGI It’s a walk-out-of-the-theater masterpiece (my 5th of the decade I believe) but you’re not aware of it in the first 20 minutes like birdman or la la land- it takes the entirety of the time and time the finale to fully appreciate Nolan is smart to fill many frames with extras—it not only helps add realism to the dire situation in the narrative but, more importantly, gives such an epic scope and multiple visual focal points to the large landscape, establishing shots, and 70mm/imax longer lens For the beauty

Indelible characters, charming self-awareness and a solid satire is what gets this fringy film in the archives Alicia Silverstone is wonderful and to date would never find a role/film to match this—it was also smart to have Amy Heckerling bring this Jane Austin “Emma” up to date for the 1990’s- She directed fast times at ridgemont high and although this film isn’t as good as the 1982 coming of age drama- it has much in common and strides of its own Rudd is good as is Wallace Shawn and Dan Hedeya as a Robert Shapiro-like shark Beverly Hills litigator.

As you can see on the poster it was the first British sound film but it’s more than just a technological landmark, it’s a damn fine film Early on we see the criminal/suspect on the bed with all of his surroundings- it’s a great shot and an early precursor to the superior version of the same shot (we’d see this trend a lot with early Hitchcock) of the shot of joseph cotton in shadow of a doubt Strongly edited action sequence as we see both cops and criminal reach for a gun Venetian blind b/w lighting work and a

It is a very simple story (fatally so for many critics) told in pure style- extremely experimental visually First off, there is a ton of parallel editing as the film is really a matching of two lovers who break up and come back together Clearly influenced by gene kelly’s 1950’s era films and the demy musicals of the 60’s- specifically the umbrellas of Cherbourg. In that vein, it has much in common with la la land The whole movie seems to float like few films since or before it (perhaps la la land, birdman, gravity, and a few before

It’s the best of the trilogy. Has strong set design and mise-en-scene… early on there are highlights with a waterfall in the background for aided effect and another sequence of gorgeous long barren white trees It borrows a lot from the searchers with the two individuals set against each other from different worlds- harrelson’s character and serkis’s Caesar The “bad ape” voiced by steve zahn is Hank Warden’s “mose harper” character from the searcher to a T. Same humor, voice, and even bald like "mose" Michael Giacchino’s musical score is wonderful- both bombastic and riffs taxi driver at times.

The four main actors are perfectly cast. Locke (who is not a good actor) is spot on as the awkward, shy but pretty girl. Davison is ideal as the wimpy poor man’s Anthony perkins from psycho. Lanchester is spot on as the doting overbearing mother and Ernest Borgnine is great as the powerhouse who just runs all over davison’s “willard” Very good score by Alex North (Spartacus) Davison’s Willard is neutered and pushed around by his family and boss The narrative builds very slowly and believably with his family baggage, growing isolation, and turning to his rats. At first

Without Ledger’s performance I think I’d grade Rises as the slightly superior film to 2008’s the dark knight. This is really hard because I also think Tom Hardy as Bane is absolutely wonderful here and between his physical presence and vocal work (he’s the best in the business right now in this category)—it’s an accomplishment for him and his career It’s larger in scope and epic- Chris Nolan- size. There are more establishing shots, use of IMAX (the jaw-dropper of an opening is a set piece that rivals the best in Nolan’s career) Bale is also superb as the prisoner

I’ve heard many call it the empire strikes back of the trilogy and I like that- it’s the best film of the series (though close) and certainly very bleak The film begins with a trademark Nolan gorgeous establishing shot of the city I admire the terrorism post-9/11 element in the joker character and film. We have hostage videos and cell phone surveillance and certainly a blurry line of good and evil 2 wonderful 360 shots- unlike De Palma or other shots though Nolan chooses to do one revelation and pause at a choice time Absolutely has a gripping narrative

It’s the second of five archiveable “early funny films” from Woody It’s really his take on the Marx brothers duck soup and he uses a stand-in (contemporary for the time) Cuba and Castro instead of freedonia Odessa steps sequence taken from battleship potemkin Great string of vignettes- fake commercials (exercise machine)- clearly an influence on Saturday Night Live which would start a few years later The mugging sequence with a very young stallone on the subway is pure Chaplin- a great silent sequence complete with piano accompaniment It’s a wild film and satire- there’s the random parallel parking on