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
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 is Charlize Theron’s show- she’s impeccable- nods to Delon in Le Samourai
Cinematic opulence- Baz would do it all better in 2001’s Moulin Rouge!, his masterpiece, but this is more than just a flawed rough draft—it’s a gorgeous and inspired precursor The opening is a jaw-dropper—Luhrmann showing
It’s one of the more beautiful 16mm films (blown up to 35) I’ve seen. It has Haynes penchant and skill for gorgeous framing, lighting, and overall mise-en-scene From Patricia Highsmith’s “price of salt” as source
Robert De Niro James Stewart Marlon Brando Humphrey Bogart Jack Nicholson Al Pacino Daniel Day-Lewis Toshiro Mifune Charlie Chaplin Cary Grant Marcello Mastroianni John Wayne Henry Fonda Paul Newman William Holden Klaus Kinski Dustin Hoffman
Ingrid Bergman Katharine Hepburn Meryl Streep Giulietta Masina Lillian Gish Jeanne Moreau Liv Ullman Catherine Deneuve Marlene Dietrich Barbara Stanwyck Faye Dunaway Diane Keaton Juliette Binoche Julie Christie Julianne Moore Audrey Hepburn Judy Garland Sissy
It’s a family portrait with a bittersweet tone that is in the archives largely on the basis of the two performances from Johnny Depp and Leonardo DiCaprio The rest of the ensemble is strong as
With a second watch I’m not sure if some of the flimsier connective tissue will meld—or float apart—but either way it’s a wildly innovative, intelligent, and aspiring film While being wholly original (excited to see
A slow-burn period epic (sometimes romance) with great photography and a meditative approach based in realism Great photography of the countryside, wheat fields—Van Gogh or Monet paintings—photography by Caroline Champetier—worked on Holy Motors Never shows
best film: Raging Bull. Scorsese’s supreme masterpiece has moved to my #4 film of all-time. The opening credits, the battle with Sugar Ray (my god that lighting) and the slow-motion drive-by sequence with Frank Vincent
best film: Vertigo. There are four Jimmy Stewart masterpiece films to choose from including It’s a Wonderful Life, Rear Window, The Man Who Shot Liberty Valance, and Vertigo. Hitchcock’s Vertigo recently passed Citizen Kane on
