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

The narrative storytelling is fascinating—a collage, kaleidoscope—impressionistic biopic that avoids the dry conventional biopic like the plague (sort of the anti-Ray or Walk the Line) Haynes sets it up early with a montage of his

You can’t watch the film or discuss the film without mentioning the work of Douglas Sirk—Haynes entirely apes his style—this doesn’t have John Waters Cry Baby irony and pastiche—it’s no PT Anderson “doing” Scorsese with

Dean’s lead debut, first archiveable film, first nom, and the only film that was released prior to his death in Sep 1955 First film for Kazan in color and widescreen Trademark yellow sweater for Dean

Stylistically unambitious but successful musical stage adaptation I admire the black and white drawing credits William Daniels (John Adams) and Howard Da Silva (Ben Franklin) are inspired—funny, believable in their roles—Daniels best know for playing

I’ve seen Haynes’ Safe three times now and it’s gone from a Recommend, to a HR, and now I believe it to be a Must-See top 5 of the year quality film. It’s his strongest

There are three short films or episodes intercut- there’s a Zelig-like fake documentary, a 50’s B Sci-Fi film and a prison film—it’s connected to DW Griffith’s Intolerance and this style would be used again in

Davies is timeless- this movie could’ve come out in 1935, 1955 or 1985. Shot in Kodak 65--- interiors shot digitally—apparently Davies had been wanting to make it for 18 years— The narrative surrounds one woman’s

I’ve watched each of their films several times now and A Night at the Opera is their second best effort- behind only 1933’s Duck Soup- this is the film directly following so clearly they were

It’s Ozu’s final film and another near remake of his beloved Late Spring—this time we’re back with Ryu as the father but instead of outside pressure in the form of matchmakers—we have the old school