Darling Companion is so intent on not taking anyone to task or coming up with sights or sounds an audience might find potentially off-putting it ends up swimming in some incredibly banal waters.
As courtships go, The Five-Year Engagement didn’t have enough oomph to get me to the alter, making me something of a runaway bride as I exited the theatre and found myself wishing I would have eloped with a different motion picture altogether.
If not for a final scene that left me vacillating between perplexed, bewildered, enchanted and annoyed (not necessarily in the that order), I’d probably be calling Jennifer Westfeldt’s directorial debut Friends with Kids an early contender for one of 2012’s best films.
Jean Cocteau’s Beauty and the Beast is a true classic in every sense of the word.
The Edge of Heaven isn’t just a movie to watch, it’s also one to cherish.
Atonement is a revelation, maybe even an instant classic.
I can’t help but think that the vibe Elizabethtown generates and the mood it creates are both only going to get better with time.
Always an astonishing visual craftsman, House of Flying Daggers is as impressive as anything Yimou’s ever done. The shifting colors and landscapes flow in and out of one another like a dreamy netherworld, while the tiniest woodland sounds sparkle and hum with the majesty of a symphonic orchestra.
It’s a beautiful screenplay overflowing with moments of such sudden, tight-fisted insanity that frequently knocked my socks off, all of its coupled with a poignant purity that’s beyond terrific. As early-year movies go, Eternal Sunshine of the Spotless Mind isn’t just a surprise, it’s a bona fide cinematic miracle I’m not ever going to forget.