Before Midnight, like its predecessors, is a masterpiece, and I have a feeling I’ll be holding it near and dear to my heart for the rest of my life.
It’s ebullient and joyous but still laced without the proper amount of pain and pathos, everything working in incandescent tandem with its various pieces in order to make the movie come alive to its own free-flowing beat. Make no mistake, Frances Ha is a stunning achievement, an exercise in pure cinema that’s as rare as it is spectacular.
In the House is an incredible work of art that remembers the greatest stories start from the most blasé of scenarios, and that even when the ending to the tale borders on perfection the ultimate destination a masterpiece is headed for is for future generations to determine its value and worth for themselves.
If anyone tries to tell you more about director Steven Soderbergh’s (Traffic, Magic Mike) new thriller Side Effects (2013) other than that hush them up as quickly as you can. With an intricate, densely plotted script by Scott Z. Burns (Contagion, The Informant!), the movie never goes where you expect it to, does things you do not anticipate and moves its characters into some incredible (and incredibly surprising) situations.