The combination of Hiller, Lemmon, Miller and Jones no doubt is what makes this a Criterion selection. I can’t argue with this. As a film, it may not be a classic, but it is worth exploring.
As if a critic knows what’s worth creating. “To learn silence,” indeed.
This pawn knows its own potential, but also realizes it takes the sacrifice and support of other pieces to help her reach her goal.
There are so many moments that inspire tears in Little Women. These tears are happy as well as sad. They are a reminder that life is short and it’s the quality of life that matters. In controlling their reactions to challenges, Jo and their sisters begin to own their stories. It’s our luck that they allowed us to share in the glory of their lives. This is one of the year’s best.
I am pretty sure most of those reading will not agree with my number 1, or even my number 9. That’s okay though. Let me know your own list or thoughts in the comments.
“This is one of the best films of the year. It’s also one of the best mystery films I remember seeing. My daughter solved it about midway through. She just wasn’t sure how she’d solved it until Johnson let us all see. “
The ending sends chills through me every time. Especially today, knowing that the end of El Camino is the last time I will ever see the deep story told within the eyes of Robert Forster.
“This is one of Soderbergh’s best. Coming directly from Out of Sight and just before Ocean’s 11, it’s easy for The Limey to get lost in the shuffle. Don’t let too this one pass you by. “
“Brad Pitt has simply never been better. If he doesn’t exactly expand his range to 12 Monkeys range, his portrayal is spot on. He’s carries the load, quite literally. “
Keeping the characters to a minimum in no way diminishes the effectiveness of the story. This is dystopian future story telling at its best. It makes us think about more than the story. It makes us think about who we are and what we could be.
John Shaft is the urban answer to the motto “Don’t Tread on Me.” It’s a remarkable statement that no doubt has lead many critics who live in big cities to blanch at the apparent crudity espoused by the filmmakers. Now in their 5th film and going on 5 decades. All it really does is show the difference between those who prefer a nanny state and those who’d rather think of it as a distant uncle they see once in a while.
“This may not ascend to the highs of Bohemian Rhapsody. It deserves to, though. We don’t have a martyr here. We have a survivor who moved past the stage of needing love from those who’d never give it to him. What he finds is a way to be his own friend. From there, he woke up to the world and embraced it. As he let it embrace him.”
“After four Avengers films, they’ve finally made the perfect one. There’s but one overly gratuitous moment for me. It easily washes out, though, when the rest of the film feels so comfortable, so tense and anything but inevitable.”
“This film is a definite display of two of the best filmmakers of their time in Joel and Ethan Coen. They show all of the range that would later be used to make some of the films which I really enjoyed, even if there were still those weird one offs that still haven’t grabbed me. “
“This is just the tip of the iceberg that goes down into the depths of a deep sea of the human condition. If there is one film that shows a completely honest viewpoint of life on the border of so many things.”
“Every once in a while, something comes along that opens your eyes to a new way of viewing cinema. Star Wars did this for me first back when I was 6 years old. Goodfellas did it in 1991. Now we have this…a comic book cartoon movie.”