January 2018 It’s a top-notch intelligent screenplay and clearly Spielberg has hired two of the best to lead the cast (and the ensemble is very good as well)—but his choice to put this film on

Third or fourth time viewing- caught it on the big screen Picturesque-- still-frame beauty Miyazaki, if he hadn’t already, firmly cements himself as a master of surrealism—as far as cinema- along the likes of Luis

January 2018 1.0 It’s one of the highlights of 2017 because of the cast, the photography (by Sayombhu Mukdeeprom (who regularly works with Apichatpong Weerasethakul which may be why much of this film feels like

Coogler’s second archiveable film under the age of 30 Coogler’s direction and screenplay touches and uses the iconography, archetypes and clichés but executives it all so flawlessly Fruitvale Station announced the arrival and both Coogler

Max Steiner riffing off of and using Bach music and a tremendous performance by Peter Lorre are the show here and the reason the film squeaks into the archives A great crane shot down into

Bennett Miller’s sophomore effort here proves his debut, 2005’s Capote was no one-man acting triumph—this is another excellent film Miller pulled out all the stops when putting this film together. He grabs Brad Pitt- one

A very talented cast (sans William Baldwin in lead), gorgeous set-pieces, and a strong early Hans Zimmer score carry this film into the archives despite a weak screenplay 3 Oscar noms for effects Could lose

Very Hitchcockian’- a train-bound thriller with Margaret Lockwood just like Hitch’s 1938 success The Lady Vanishes 7th and final collaboration of Lockwood and Reed- I can’t say I’ve seen or archives any of the others/previous

It’s more of an actors showcase than Howard’s End- which is not a compliment – I love the film but the acting is still probably better in Howard’s End. Long flashbacks and letters between Hopkins

electricity on the stage thanks to Aronofsky's DP Matthew Libatique and raw intimacy in the dramatic off-stage scenes thanks to two (or three if you count sam elliott) powerhouse performances you can definitely see the

I’m fairly confident after one viewing that It’s up not up to Whiplash, Chazelle’s breakout second feature, and I’m positive it doesn’t touch La La Land his stylistic sonic boom 2016 masterpiece Shot in 16mm

It’s peak Merchant/Ivory- A Room With a View is there, too Handsomely mounted by Ivory, Oscar-Winning script from Ruth Prawer Jhabvala, and the cast is phenomenal- Redgrave is great in her small role, Bonham Carter-