Everything about the film works together to create one of the best films of the past few years.
Not exact matches
Personally, this
film would have
worked as great action - packed short
film that stuffed
everything into
about 20 minutes.
The unit's
work was top secret, its members» experiences, recounted in this
film, fascinating above all for what they tell
about the determined inventiveness, the all - out ambition to try
everything, characteristic of that war effort.
Ridley Scott «s 2012 prequel remains divisive and the public details
about the new
film paint the picture of a production that keeps
everything that
worked in that first
film while quietly throwing away
everything that did not.
Everything about Neighbors 2 feels like you saw it already, because you did, but the reason the first
film was so well - received is because the gags really
worked, and so seeing them again with very slight variations is still pretty amusing a lot of the time.
He talks
about why the movie took years to make, his decision to only screen on 35 mm,
working with John Hawkes, and
everything else you need to know
about one of the most unique
film releases of the year.
I don't pretend to understand
everything about «Hidden Figures»,
about three brilliant women who
worked for NASA in the early 1960's, but instead of being put off, I found myself intrigued, even wanting to know more
about the
work they did following the events of this
film.
Even setting aside my opinion that it's Anderson's coldest and least funny
work to date, the
film defies
everything we know
about commercial filmmaking, using an eclectic cast light on star power, an eccentric title, a period setting, international flavor, an R rating, and a versatile narrative that seems secondary to production design.
Unfortunately things haven't
worked out, with his music for the disastrous Battlefield Earth being every bit as bad as
everything else
about the
film and his career seemingly never really recovering.
While this
works for
about 85 % off the
film, there is a courtroom scene
about 70 minutes in that changed
everything for me.
The studio, though, is reportedly hoping Chase's
film will headline its 2012 campaign, with specific mention from Deadline for James Gandolfini, reuniting here with his «Sopranos» helmer as «a post-war, post-Depression Era parent who has
worked hard to give his son
everything he didn't have but now feels some jealousy
about the free - wheeling life the boy gets to experience.»
by Walter Chaw As a huge admirer of John Sayles's middle - period body of
work — a period marked by such pictures as Matewan, Eight Men Out, and Lone Star (still my pick for the best American
film of the Nineties)-- it pains me to look at something like Honeydripper and recognize in it
everything I like
about Sayles side - by - side with
everything that's fast making him irrelevant.
At first glance
everything about this
film spells Oscar consideration (Brolin was nominated for his
work on Milk, Reitman is a four - time nominee and Winslet is of course a winner and six - time nominee) and yet no nods were forthcoming this year and, frankly, it's not hard to see why.
(There's an amazing moment of recognition, late in the
film, when she looks into a mirror and realizes that
everything she's
worked for is
about to be lost, and we see the determination that has carried her for years begin to melt away.)
Okayafrica recently caught up with artist Wangechi Mutu for a private tour of A Fantastic Journey — her ongoing exhibition at the Brooklyn Museum — and a chat
about the collected body of
work, which includes Mutu's animated short
film The End Of Eating
Everything starring Santigold.
Even by the standards of our age of appropriation, when
works of art cannibalise each other as a matter of course,
everything about this
film feels dated and second hand.