A very strong film for the class action-lawsuit legal/drama subgenre Much more of a triumph for Julia Roberts (her Oscar--- in a year with Ellen Burstyn in Requiem for a Dream among others) than for

It is eerily similar to The Shape of Water- the mark of an auteur- tragically sad, a meditation on escapism The performances are great—Maribel Verdu from Y Tu Mama Tambien- Sergi Lopez as Vidal “You

An intelligent and engaging take on both social issues and the crime genre This could change as I get my hands on some of his 50’s films (particularly those with Losey) but for now this

Currently (2018) ranked #73 on TSPDT. I’m not there but this is my second viewing (first in 10 years) and a revelation—it’s the first film of Ozu’s I think you could argue is a masterpiece

Is “minor” Greenaway but only because the narrative is so weak- it’s so splendid visually and distinctively Greenaway—even defiantly so- he clearly doesn’t give a rip Julia Ormond’s first film (Legends of the Fall), Ralph

An absolutely loaded mise-en-scene. Anderson, the reigning master of mise-en-scene, décor and set design has plenty of wall-art still frame selections here to choose from The narrative and sprawling ensemble are equally dense-- I think,

A strong opening with “masks people where” conversation and a woman trying to give her daughter away for a better life Person name in chapter breaks and then breaking into like a Sex, Lies and

I don’t think Soderbergh’s remake from 2001 is close to his best work but it’s still slightly superior to the original Ocean’s 11 here Apparently they shot this film during the day as the Rat

The one and only film from opera director Leonard Kastle He famously hated Bonnie and Clyde for being so glamorous and beautiful so this is his answer- “real” people and a 1970 doc-like stark black

A superior formal work—poetic and beautiful Post-WW2 of course with his cohorts Sakamoto in Ryu in support but it’s really a simple story of Kinuyo Tanaka (superb) who has to prostitute herself to pay for

It’s a minor revelation for me- first time seeing it since theater in 2007 when I liked it as an entertaining movie, but was largely oblivious to Soderbergh’s clear mise-en-scene brilliance on display--  it's an art

It’s a blending of Ozu’s brilliant style and a bit of post WWII neo-realism—truly works Ryu and Sakamoto in support here but Chôko Iida is superb in the lead performance—full arc, gruff and indifferent at