This is now the third (3rd) work from Tomm Moore (all of them co-directed by this is the first time with Ross Stewart) with previous works including The Secret of Kells (2009) and Song of the Sea (2014). This is the best of the three—but like all auteur cinema-- makes the previous two efforts stronger as well (I’m eager to revisit both Kells and Song of the Sea in the wake of the effort here). I used to hold the belief that three films is really where it the counting starts as it signifies a pattern but directors like

A remarkable feature debut from Australian-born Kitty Green. The Assistant starts with an attention to detail you’d see from a realist. Julia Garner plays Jane- the titular character and the film convers one day in her life at work (a long, long day). Green starts capturing the fact that it is still dark outside when she starts her long commute over the bridge to New York City. It is silent opening (there can’t be more than a few dozen pages to the screenplay at that), making coffee, getting organized. Green dedicates 5 minutes of an 88-minute film to this

The reunion of Tolkien and Jackson, over a decade after the start of The Lord of the Rings, fails to live up to the achievement of its predecessor (heavy lies the crown sort of thing here with the expectations). This eight-hour film (broken up into three more commercially digestible chunks) would be a decent enough film by any other comparison (it is in the archives)—but compared to the promise of the 2001-2003 gargantuan masterpiece, it falls woefully short. on its own (which is certainly how you should judge it)- The Hobbit is worthy of praise and study

Like McTiernan’s 1987 entry the year before, Predator, Die Hard is an updated (and modified) western. Instead of The Magnificent Seven (Seven Samurai) it’s Shane here in many ways Clichés are clichés for a reason and Die Hard would go on to be so influential to the action genre that it may seem cliché now—but it isn’t—it’s an architype – a standard and the premise has been copied a hundred time sense (DP Jan de Bont did it pretty well himself in Speed) Pure good and pure evil—much like Shane with Ladd and Palance—we have Willis and Rickman here

Peter Jackson’s magnum opus adaptation of Tolkien is one the seminal works of the 21st century. I’ve seen it a half dozen times at least—and my appreciation for it grows with each revisit. I’ll be treating it as one 10-hour film here as it was shot all at once, and I find it pretty fruitless to talk about the differences between the three separate films except for when it comes to description ambition incarnate-- in storytelling and visuals As I reread some of the initial reviews in 2001 when the film was first released—I’m so impressed with

Pasolini’s sixth feature, second in the “mythical cycle” following Oedipus Rex in 1967. Along with his debut Accattone, Teorema is Pasolini’s greatest achievement thus far in his career in 1968. A very controversial film (name a Pasolini film that isn’t)—thumbs its nose at capitalism, religion--- it contains nudity, and Pasolini points the camera right at Terence Stamp’s crotch for about 10 of the 98 minutes of the film greens in the decor-- every color and ornament chosen-- and this is a very controversial film (name a Pasolini film that isn’t)—thumbs its nose at capitalism, religion--- it contains nudity,

Provocateur Pier Paolo Pasolini officially moved away from the neorealist-leanings in his early work for his fifth feature (and first in color)- Oedipus Rex The is the first in the “mythical cycle” series (Teorema, Porcile, Medea) There is very little dialogue in the film- especially part one (broken up just about exactly half-way through)— a seven minute opening without any spoken dialogue at all (though there is a creative title card giving us the inner monologue dialogue of a toddler). There’s the birth of Oedipus shot through a window, breastfeeding, and an uncomfortable (precisely Pasolini’s aim) long take with

The pictorial beauty of Kurosawa's landscape long shots are masterpiece worthy—Kurosawa makes great use of every extra, color flourish in the frame, and set piece --whether it’s the mountains in the final climax battle, the valley in the opening, or the castle on fire  in the film’s best sequence one of sublime images in the opening of Kurosawa's 27th feature film Second to the stunning long shots-  I have to praise the formal elements Kurosawa goes back to again and again with the shot of the clouds and meditating on dreams and fate (the shot happens 7-8

Sound of Meal is the debut film from Darius Marder—it touts an exquisite use of sound design and lead performance from Riz Ahmed. Marder’s sound design- coupled with some nice camera location choices (often right on Ahmed shoulder) put the viewer in Ahmed’s character’s headspace as he loses his hearing Marder is a former collaborator of Derek Cianfrance- Marder co-wrote The Place Beyond the Pines (2012) Ahmed displays a dedication to the role in both his use of sign language- and his drumming skills—hard not to think of Miles Teller’s work in Whiplash The opening four minutes are magnificent-

There are three previous archiveable versions of Louisa May Alcott’s Little Women-- but Gerwig’s version is utterly distinct and cinematically spectacular—the only one remotely close in quality (and they’re all in the archives) is Cukor’ s 1933 version with Katharine Hepburn -- and Gerwig's version is head and shoulders above the others From the opening shot (a wonderful setting of the frame as Saoirse Ronan’s Jo is about to walk into the publishing office) this is an improved Gerwig behind the camera from her debut in 2017. This isn’t just about rich characterizations, top-shelf acting and screenwriting like Lady

Precise, captivating and confident - Rian Johnson is in full control here It is the auteur's fifth feature film- the narrative twist like Looper with the biting dialogue of his debut Brick  even when you've solved the mystery- the writing and storytelling craft on display rewards a rewatch opens with the establishing shot of the mansion and the dogs running in slow-motion opens with the establishing shot of the mansion and the dogs running in slow-motion It entertains, yes, but there’s high storytelling and acting craft on display as well, and the film has something to

If it wasn’t already clear with his twin disappointments 2005 (no matter what redeeming qualities Tideland has it is hard to say it isn’t a disappointment)—The Imaginarium of Doctor Parnassus confirms that the Gilliam from the 1980’s and 1990’s isn’t coming back. The run he had from 1985-1998 (from Brazil to Fear and Loathing that’s MP, MS, MS, MS, MS) is over and his best work is behind. And that’s ok—that happens- this is still clearly inspired auteur cinema (this is his first original source material in years)- even if it doesn’t fully land. Imagination, surrealism vs. reality It