The in medias res opening is a dazzler- a long tracking shot through a cluttered (stunning mise-en-scene) basement. There are bicycle wheels in the frame, lights hanging in the foreground, objects- it’s Ozu and it’s

It’s both an important film (probably the most easy to point to singular bridge between noir and the French new wave) and a fantastic work of art without the important influence associated Heavily influenced by

Ivory (and Merchant/Ivory)’s 3rd feature It’s airy and delicate- takes it’s time with the romance and building the atmosphere (shot on location in India) of the traveling players Love the gorgeous sculpture montage in the

I’ve seen it twice (which is not nearly enough for Weerasethakul but where I’m at right now it’s a step down from Syndromes and a Century (2006) and Uncle Boonmee (2010) which were his two

  The opening is as strong as anything in 2010 (which puts it up there with the decade) or Weerasethakul. A beautiful short story of a bull (or water buffalo?) tied to a tree post

A visual atom bomb from Weerasethakul—his most accomplished and formally magnificent film to date. If you combine all the most gorgeous images from this, Tropical Malady and Blissfully Yours--- 8 of the 10 from Syndromes

Quote opening about how we’re all wild animals and then the images of the soldiers smiling and posing over a kill background making shorts works here combining works 10 minutes in before the credits and

Ranked #599 on TSPDT Almost entirely static camera Weerasethakul's background in shorts works combining vastly different segments here Greens all over the place—the first third of the film is at a clinic which is largely

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