The special features
section of the film starts off with an enjoyable full - length audio commentary with director Tim Story (only on the theatrical cut) and four deleted scenes showing off some of Jimmy Fallon's funnier scenes.
Not exact matches
After a strong
start, the
film's middle
section sags into the most benign
of observations about Edward and Florence and the elements that have pulled them together.
The look
of the
film is visual ambrosia from
start to finish, especially the Bespin
section of the
film.
So says professional killer Jackie Cogan at one point in Killing Them Softly, the third
film by New Zealander Andrew Dominik - and considering the filmmaker's efforts to establish a connection between the events in the movie and the economic crisis
started in the late 2000s thanks to the greed and lack
of scruples
of Wall Street, it is easy to see Cogan as an ordinary employee
of any company complaining about the lack
of vision
of his bosses and, on the other hand, the big bankers as Armani - dressing versions
of the violent mobsters who inhabit the crime
section of the newspapers.
Unfortunately, their playful camaraderie isn't exploited nearly as much as it could be, because while the movie is incredibly lively in its opening and closing minutes (including one
of the most ridiculous action sequences ever
filmed), that sense
of high - energy fun is absent for most
of the middle
section, when it
starts to take itself too seriously.
She got her chance at the University
Of Iowa, where she double - majored in journalism and
film,
started freelancing reviews to the university's newspaper, and wound up running its Arts & Entertainment
section while giving herself a crash course in cinema via VHS and Roger Ebert's Movie Home Companion.
We're very excited to announce that,
starting from the beginning
of June, we're reopening the Short
Films Showcase
section of our website to open our doors for aspiring filmmakers to submit their short
films for review and analysis.
Alas, the
film starts to change clothes before growing into them and while the SXSW
section provides some
of the biggest laughs (Frank's most likeable song is a personal favorite
of mine,) they ultimately can't compensate for the transparently calculated conclusion and message, which brings the whole self - awareness aspect right back on centre stage.
This inherent likability carries the
film forwards in
sections, in which Citizenfour could easily have
started to drag, once the initial pace
of the
film tails off.
If you want to dive even further into the
film's production, the
section «Image and Design» offers additional material,
starting with «Production Design,» which is comprised
of the featurette «Production Design Primer: Arthur Max» (9 min.)
Some
of those pacing issues still apply here as the
film starts to drag again in the middle
section.