An incredibly tight thriller—85 minutes—and until the finale it feels like we’re pretty close to real time so it adds to the intimacyRobert Yeoman as the director of photography—Wes Anderson’s guy—proof here more that Wes

Doggedly nihilistic, immaculately photographed (Lucien Ballard as DP) and perfectly performed by the talented ensemble of actors The transcendent trait though, and what makes it a top 100 all-time film, is the editing—yes- the freeze

First off, it is one movie- and Ebert would agree with me: “It's not a sequel but a continuation and completion, filmed at the same time; now that we know the whole story” I’m also

A sharply written black comedy—with moments of levity in some incredibly dour circumstances (dealing with a father with dementia) Nominations for Laura Linney’s performance and Tamara Jenkins screenplay—if you add Philip Seymour Hoffman’s performance those

Kenneth Lonergan cements himself as one of the great screenwriters of the 21st centuryAn achievement for Casey Affleck in his Oscar-winning role (his “I can’t beat it” is devastating). With the flashback structure it’s sort

A varied work from Varda—has elements that touches her documentary/realism roots (we have abortion and suicide in the first half hour), her photography background (some great montages of women in b/w photography in the opening),

Strong writing (from a John Cheever short story—the “Chekov of the suburbs”) and a big-time lead performance from Burt Lancaster help a hit and miss Frank Perry behind the cameraA meditation on mid-life crisis and

A subtle character study—a story of first love and additionThe final shot sticks with you—it’s a giant door opening—sounds simple- but given the context of the film, her awakening, naivety (not just sexual, but about

3.0 (two in theater in January 2013 and once May 2017) It’s a brilliant and very entertaining film Robert Richardson as the DP does some fantastic work here- and I certainly wish this, not hateful

Jarmusch tackles the horror genre or Vampire sub-genre with full confidence in his mood-piece style, formal aesthetic and relaxed approach—much like his take on the thriller genre in The Limits of Control, crime genre in

The opening shot- incredible- 8-9 minute long floating tracking shot. There’s staging and choreography with the fighting, mud, in and out of tents, intelligent writing, and it finishes with the catapult set piece phenomenal 8-minute