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Overlookedby Ari
I figured the only appropriate introduction to the central feature of The Aspect Ratio would be something easily accessible and entertaining, yet interesting enough and somewhat indicative of the material we hope to eventually present. The ultimate aim of focusing this website on analysis is to hopefully bring something provocative to the film community, and to accomplish that in the most engaging and exciting way possible. In Focus will mostly revolve around in-depth reviews of specific films, retrospectives, lists, and a continuous series of different subjects. For example: Articles will include The Noir Series, The Neo-Realist Series, The Animation series and so on and so forth. The idea is to eventually create one of the most comprehensive catalogues of film analysis on the internet, with the widest variety of content. Lists are perhaps the most enjoyable way to compile a broad range of interesting content in one place, so a list is where we’ll begin. This list is simple enough. There have been plenty of noteworthy movies released this decade so far - some that received a wealth of praise and attention, and some that were unfortunately overshadowed or ignored. The following selections represent what I feel are ten American movies that deserve much more recognition. Undertow - David Gordon Green One of the most difficult things to comprehend about contemporary film is how David Gordon Green is so under-appreciated. Here is one of the most naturally talented and genuinely exciting filmmakers working today, releasing one exquisitely made “Sometimes it’s the strange things that stick with you the longest”, one of the characters muses at the beginning of the film. This line is a fair description of what this picture feels like - a collision of peculiarities and oddities created from a fairly horrific circumstance that forever alters the lives of two young brothers living in the south. Part old-fashioned thriller, part adventure/odyssey, part coming-of-age drama, Undertow fuses simple, classical storytelling arcs into a sincerely affecting amalgam of cinematic sensibilities. Densely layered, yet subtly effective, David Gordon Green creates an honest and beautiful portrait of troubled youth and family tension set against an adventurous and metaphorical journey. This is a movie with real artistic expression, and that sense of depth and feeling is what makes it matter. John Munn (Dermot Mulroney) and his two sons Chris (Jamie Bell) and Tim (Devon Alan) live a quiet, secluded, not particularly healthy life in Georgia, working to survive and hoping for better times. The family is a small but relatively strong unit despite their problems, with only Chris acting up in response to his personal anxiety. When John’s ex-con brother Deel (Josh Lucas) reunites with his long lost family searching for his father’s hidden treasure, past experiences and old tensions are unearthed, and tragic loss and bloodshed ensues. The terror leads the children on a perilous and aimless quest for help, and it’s here that Undertow becomes something far more profound than one might initially expect. David Gordon Green is a thematic storyteller more than anything, and he expertly weaves the meaning into his characters and stories. The performances are great across the board, especially the mature, impressive work by Jamie Bell. Undertow is a striking work, as piercing as the unfortunate accident that opens the film. This is excellent work.
All the Real Girls - David Gordon Green While Undertow may be Green’s most thrilling and satisfying film, All the Real Girls is his most emotionally draining and moving. What’s fascinating and inspiring about Gordon Green is how talented he is at such a young age. He was twenty-nine when This isn’t a film about unrealistic experiences, artificial and self-indulgent conversations, or superficial optimism. All the Real Girls is straightforward and honest about the joy, innocence, laughter, confusion, and pain that defines the nature of young love. And while the story is told with Green’s trademark cinematic eloquences (poetic imagery, deliberate pacing) it’s easily his most accessible film. Paul (Paul Schneider) lives a simple, rather uninspired life in a small town in the South (Green’s favorite setting) with his small group of friends and lonely, unsuccessful mother (Patricia Clarkson). He's a relatively matured, well-meaning young man who’s learned from his seedy, womanizing past to grow into a more responsible adult, especially when he becomes infatuated with his best friend’s sister, Noel (Zooey Deschanel). The two begin a very sweet and innocent relationship, the exact opposite of what Paul's past experiences have been. In Noel, he sees the sort of tenderness and warmth he previously shunned; and finally understands and values it. Noel sees heart and security and an attraction she’s never experienced in Paul, and feels confident and fulfilled in his company. Of course, the very notion of dreamy, untouched innocence is left for the more unrealistic portraits of young love, and certain events transpire between Paul and Noel that shake the foundation of their love and turn things into a much more complex puzzle. The transition between innocence and trauma is handled with great care and feeling, grounding the entire story in a believable and affecting realism. Most impressive about All the Real Girls is how Green uses the generally expected moments of the genre to great effect within the first half of the film. The silly and awkward things young lovers do with each other to express their affection is present, but it’s done without the melodramatic carelessness of something like Elizabethtown. Everything feels like something Green genuinely experienced, whether he actually did or not. It’s maturely written and beautifully acted. The performances by Zooey Deschanel and Paul Schneider are, quite frankly, perfect. It would be dishonest to give all the credit to Gordon Green for the realism of All the Real Girls when both actors express themselves with such charisma, depth, and delicacy. Their work is exceptional, whether it’s Paul dancing like a lunatic on a bowling lane (my favorite sequence) or Noel desperately trying to explain her love at the darkest of moments. This is profound work, arguably the best on-screen couple of recent years. Like Undertow, this film has an incredibly small audience. Hopefully time will reward David Gordon Green for his invaluable contribution to film. All the Real Girls is a great film that only improves on subsequent viewing. Tremendous work.
I Heart Huckabess - David O. Russell Philosophical studies in film naturally divide audiences simply because philosophical content isn’t usually regarded as entertainment. It’s a fascinating irony considering how universal philosophic questioning is and always has been for several Well, so much for wishful thinking. Unfortunately, Russell’s witty, hilarious, and surprisingly touching existential comedy left people more perplexed than ever. The relentlessly labyrinthine syntax, debating existential and nihilistic issues of trying to comprehend just what the hell our insignificant lives mean in the grand infinity of time and space is certainly not mainstream, but Russell mixes it with such light-hearted fun that it makes it impossible to NOT enjoy! As a comedy, I Heart Huckabees is priceless. It contains some of the most charming and entertaining characters, impeccable work by a tremendous cast, and instantly classic lines of dialogue. On top of that, it’s a densely layered and thoughtful philosophical exploration, one that you can’t help but get caught up in. The basic plot is fairly simple: Albert Markoviski (Jason Schwartzman) is looking for an answer to a strange coincidence he’s encountered and hires two existential detectives, Bernard (Dustin Hoffman) and Vivian (Lily Tomlin), to unravel the nature of his existence. This case leads into his work as an environmentalist where he competes with the slimy, corporate Brad Stand (Jude Law) and introduces him to a fellow philosophically confused friend, Tommy (Mark Wahlberg). Issues bleed over into the lives of all involved, including Brad’s model girlfriend, Dawn (Naomi Watts) and the dark, mysterious figure, Caterine Vauban (Isabelle Huppert) - bent on converting the young Albert to a place of meaninglessness. Okay, maybe that’s not the simplest plot ever conceived, but it is terribly fun watching the characters do everything in their power to understand the nature of....well, everything. Particularly amusing is the evolution of Jude Law’s character, easily the best work he’s done in a very accomplished career. “How am I not myself?”, indeed. Dustin Hoffman and Lily Tomlin give lively, effortlessly enjoyable performances as the existential/detective couple, and Schwartzman and Wahlberg are absolutely unforgettable as the pair of soul-searching misfits. “Is it a crime to look at Lange?”. Underlining the peculiar nature of the film is the wonderfully playful score by the talented Jon Brion. David O. Russell is one of the smartest filmmakers working today, and I Heart Huckabees may just be his most pleasurable feat. That’s no minor accomplishment, considering he has a flawless filmography that includes Spanking the Monkey, Flirting with Disaster, and Three Kings.
Gangs of New York - Martin Scorsese Gangs of New York is not a perfect film. It’s not Scorsese’s best film. It’s not the best film of the decade. It is, however, a very good historical epic made with meticulous detail and skillful craftsmanship, not to mention the source of arguably the most First of all, this is a film by Martin Scorsese, who always releases something professional and worthwhile at the very least (excluding Roger Corman exploitation shlock Boxcar Bertha). I’ve seen all of Scorsese’s films, and not once have I ever been inclined to dismiss something as completely worthless. His films that are generally regarded as “lesser works”, like New York, New York or The Color of Money or Kundun, still exemplify his usual mastery in one way or another, whether it’s the ambitious scope, well directed performances, or startling visual sensibilities. Scorsese is an extraordinary filmmaker, and he always brings something worthy to his films. Gangs of New York is, more than anything (and most historical epics) about a specific piece of history and how it defined a place and people of America, only to be completely dwarfed by the changes that re-shaped the country. Less about the surface conflict that drives the film (a standard revenge story) and more about the transition of a time and a place, Gangs of New York tells a sprawling tale of a city in strife between the gangs, tribes, immigrants, and politicians trying to hold their ground in the small Five Points section. Set against the threat of the Civil War, Scorsese presents a fascinating glimpse of New York just before it completely explodes. As passionate about the smallest details to accurately recreate the period as he is about the epic characters that inhabit it, Scorsese mounts a fairly spectacular picture of a very different time in our history. This film covers a lot of material, and it’s a testament to Scorsese’s abilities that he manages to complete the undertaking with such thrilling results. Of course, when you have a character as commanding as Bill the Butcher, it helps. The shortcomings of Gangs of New York prevent it from reaching the masterwork status it admirably attempts to reach, but they’re not strong enough to seriously affect the film's overall outcome. The performances by the main leads are uneven, mostly because Cameron Diaz isn’t remotely as talented as Day-Lewis or DiCaprio. It’s also difficult for really any actor in this film to keep up with Day-Lewis, simply because his performance as the Butcher is so instantly iconic. It’s one of the minor distractions, along with the tedious romance, but nothing profound enough to ruin the many great moments. The production design by Dante Ferretti makes the film worthy on its own, and it’s only complimented by the rich cinematography by Michael Ballhaus. The technical side of Gangs of New York is flawless. It’s highly skilled work by extremely talented filmmakers, and their effort is more than apparent on-screen. As for the revenge story, it’s a plot-device to move the story, and on that basis, it works. The film is more about tribal warfare over territory than anything else, and how two groups living in a small section of New York stick to ancient ritual, while the rest of the city worries about more significant dangers. I find it interesting how the conflict between these gangs spanning over a decade is eventually swamped by the Civil War and its effect on New York's citizens. The transition between ritualist battle and new-world conflict is intriguing and riveting. The riots are some of the best sequences of Scorsese’s career, and only a director and editor (the always amazing Thelma Schoonmaker) of immense power could so smoothly handle it. Riots and chaos all over the city, and a tribal battle caught in-between. Amazing. For something so complex, Gangs of New York is mighty impressive.
Kiss Kiss Bang Bang - Shane Black This is arguably the most overlooked mainstream comedy of the decade so far. When this movie is finally given a chance, people seem to wonder why it wasn’t an enormous success when it came out. Despite its self-referential, satirical core, Kiss You have the great lead characters: The loser (and narrator) caught in the wrong situation with the wrong people, Harry Lockhart (Robert Downey Jr). The private detective who solves sleazy cases for wealthy Hollywood moguls, Gay Perry (Val Kilmer). The sexy aspiring actress who searches for the truth behind her sister’s supposed suicide, Harmony (Michelle Monaghan). Between these three leads you have comedic gold, and the actors utilize every opportunity Black gives them by completely becoming these pulpy characters. The chemistry between Downey and Kilmer is just as good as the chemisty between Downey and Monaghan. No moments are wasted. No actor is overwhelmed by the other. These are three talented performers doing their best to execute Black’s witty, hilarious banter, and the result is one of the most genuinely pleasing comedic turns the genre has seen. The plot is deliberately convoluted in order to stay true to its pulp/noir influences, and Downey’s (or Black’s, if you will) smarmy voice-over gives it a fresh and energetic new spin. Kiss Kiss Bang Bang feels like something refreshingly new even though it’s just an amalgam of Black’s common storytelling sensibilities. One thing is definite: the genre hasn’t been this exciting in a long time, and Black deserves the wide audience that this film can appeal to. Mostly everyone who eventually sees this thing enjoys it, and hopefully that enthusiasm will continue to carry on. Plus, any movie that has the line “I swear to God, it's like somebody took America by the East Coast, and shook it, and all the normal girls managed to hang on” has to win you over.
Master & Commander: The Far Side of the World - Peter Weir What’s bizarre about this film is that despite the critical acclaim, decent box-office take, and numerous Oscar nominations (including best picture), the immediate enthusiasm quickly fizzled into a mild appreciation. A mild appreciation for what now I feel that this film represents the finest work of Weir’s career, is one of the great dramatic adventures set in a historical context, and simply one of the most engrossing stories brought to the screen this decade so far. Master & Commander is absorbing and compelling from the very outset - and it never lets up, never loses its sense of urgency, and never falls victim to the sentimental melodrama that plagues many of these epic, even though it’s a sentimental (or romantic) look at the world and people of early 19th Century sea-warfare. One of the dramatic advantages of the sea-epic is the level of intimacy between characters stuck aboard a ship, and Weir carefully and wisely structures the entire narrative around that togetherness. The viewer is immersed into this lifestyle, as if part of Captain Jack Aubrey’s (Russell Crowe) crew. Once the film begins, the scope and adventure and lives of these shipmates is real and gripping. The story never bothers with excess or triviality, keeping everything taut and lean. Weir focuses exclusively on the key members of the ship and their mission, never becoming distracted by some of the predictable angles of the historical epic, like useless subplots involving unimportant characters. Everything is precise in Master & Commander, whether it’s Aubrey’s determination to defeat his foe (a French ship called “The Phantom”), the superstition of insecure crew members, or the scientific expedition of the ship’s doctor (Paul Bettany in his best performance). The screenplay is excellent, and the direction and editing is even better. This is one of the most briskly paced adventures of recent memory, showing that length isn’t so much the defining aspect of the epic as dramatic precision is. As for the adventure itself, Weir just about out-classes every other filmmaker working in enormous-budgeted spectacle there is today. This film is as alive and thrilling as the greatest of escapist entertainments. The technical proficiency is masterful and seamless. The visual effects are some of the best in the history of computer generated imagery, beautifully working with the detailed sets and immensely talented cast. Weir found some of the best child actors in the world, and their performances are amazingly real. Russell Crowe gives his best performance since The Insider, acting superbly as the commanding presence that leads the men. This is the kind of character he’s made for, and hopefully he gets to reprise his role in sequels that absolutely need to happen. This is beautiful filmmaking.
The Dreamers - Bernardo Bertolucci Bertolucci has been intrigued by themes surrounding sexual exoticism since his seminal work The Last Tango in Paris, so it’s no surprise that The Dreamers would be one of the most explicit films released in American theaters in a long while. The fact that explicit sexual content prevents a work like this its proper audience is unfortunate. The Dreamers is a wondrous portrait of youthful exuberance set during the turbulent period of a small cultural revolution in France regarding none other than cinema itself. While The Dreamers will certainly appeal to the film-lovers who can more closely identify with the main characters, the story itself is still about the universal concept of young, frantic, desperate expression. Anyone looking for a more artistically made romantic drama will enjoy The Dreamers, regardless of the graphic nature of the sexuality or the many cinematic references. Bertolucci has always been an intriguing filmmaker, and this is easily his most electrifying work since The Last Emperor.
A young American student (Michael Pitt) is in Paris during the time of the French New Wave. It’s the late 60’s, and the world of the film-aficionado is quickly growing because of the French cinematheque. As he states, “only the French would put a movie theater inside a palace”. In this palace, young film-lovers would be chemically affected by the dozens of movies they would see from highly accomplished cinematic masters. It's at the cinematheque that Matthew (Pitt) is introduced to his first two friends in Paris, siblings Theo (Louis Garrel) and Isabelle (Eva Green). Like him, they live for cinema and yearn for artistic revolution. Their friendship seems exciting and joyous at first, except for a strange undercurrent of awkward closeness between the brother and sister. Nothing unusual happens during the first act of the film, just small touches of impending danger every now and then. Once Matthew moves in with his new friends, he discovers a very different relationship between the two - it's a sexual tension that he doesn’t quite understand. And this is when everything starts to spiral out of control. They begin a sexual adventure, experiencing new things and unearthing confusing, eventually unsavory feelings. The sexual release works as an effective metaphor for the trio’s passionate spirit as they watch the world explode around them. The lead actors deserve much praise for their fearless, natural, and absolutely convincing performances. Michael Pitt, Eva Green, and Louis Garrel are remarkable; and not just because they handle the nudity extremely well. These are excellent performances by three very exciting young actors. I particularly enjoy the Keaton vs. Chaplin debate between Pitt and Garrell - one of the most amusing segments in the entire film. Bertolucci lets the actors shine in their roles, and he only compliments their work with his masterful visuals. The Dreamers came and went quickly during its theatrical release, and unfortunately received only a tad more attention when it hit dvd. This is inspired and ambitious filmmaking.
Munich - Steven Spielberg Political baggage and excessive controversy can overwhelm a movie, especially when it’s directed by the most commercially successful and accessible filmmaker in the history of cinema. And like most politically controversial films, the movie is extremely Munich represents something special in his body of work - something completely different from anything he’s ever done. This is not only his most complex film to date, but his most demanding, his most powerful, and his most cinematic. As a work of art (which it is), Munich does an amazing job of reflecting the themes that make it so complex, while working tremendously well as the entertainment that defines the thriller. Removed from the political upheaval that surrounded its release, Munich is a very direct and effective 70’s inspired thriller that works in the same way as movies like The Day of the Jackal, The Spy who came in from the Cold, and The Parallax View. This is the best screenplay Spielberg has had since Jaws. The sophistication of the characters and themes and the impressively structured plot make for one hell of a movie. Pacing is one of the most important factors of any thriller, and Spielberg and editor Michael Kahn do exceptional work at gradually raising the tension as the situations get more and more complex. The rhythm of the violence is what takes its toll on the main character and the audience. It’s repetitive because the very conflict that created the movie is repetitive. It’s violence followed by violence followed by violence, in an endless cycle of bloodshed and hatred. Since he’s perhaps the greatest filmmaker of set-pieces that ever lived, each new assassination in Munich is expertly filmed, performed, and executed. The hotel bombing is one of the most startling moments. The entire film is incredibly well-crafted, with much credit due to cinematographer Janusz Kaminski and production designer Rick Carter. Brilliant work. Munich is not the most overly political film ever made, and hopefully more people, including its initial detractors, will give it another chance now that it’s removed from the outrageous hype that accompanied its release.
Before Sunset - Richard Linklater If David Gordon Green is the most overlooked American filmmaker working today, Richard Linklater is the second. Linklater is an intriguing voice in the world of film, and movies like Before Sunset demonstrate how vital he is. Sometimes the It’s been almost a decade since Ethan Hawke and Julie Delpy’s characters last met each other in Before Sunrise. On tour in Paris to promote his new book (an autobiographical look at the events that transpired in Sunrise), the two characters are suddenly reunited. The reunion is awkward and nervous at first, but then as the two former lovers begin to talk, things start picking up. It begins very casually; friendly affection, silly jokes, catching up on what they do for a living - then it becomes more personal, more intimate. While the writing is extremely smart (one of the best screenplays written this decade), it’s the little details in the performances that make the experience so special. Body language plays a huge part in this film, and both Hawke and Delpy brilliantly display the warmth, affection, hesitation, uncertainty, and subtle sexuality that forms their bond. For instance, Delpy’s outfit is obviously something sexy and attractive - something that her long lost lover would (or should) clearly notice. Also watch as Hawke uses the opportunity of a joke to make physical contact with her. It’s playful on the surface, but something deeper in actuality. Their conversation is real. Whether it’s about politics or religion or past relationships, the interaction is honest and adult without diving into the emotional extravagancies that usually end up falling flat in romantic dramas. There’s a greater sense of urgency in a few individual sequences than there are in some whole movies. The way Linklater gradually lets the conversation become more serious and emotional is what really demonstrates his confidence as a filmmaker. When the characters finally let everything out, it’s genuinely powerful. Delpy’s song at the end is classic. The ending is, simply put, unforgettable. Like All the Real Girls, this movie is among the finest examples of the genre. This is Richard Linklater’s masterpiece.
Match Point - Woody Allen Sometimes a movie comes along with an intelligence, immediacy, and brutal honesty that leaves its viewer shocked, shaken, and dizzy on the potential of brilliant filmmaking. The veterans of the 70’s are showing their worth in a new era of Christopher Wilton (Jonathon Rhys in last year’s best performance) is a young tennis instructor and former professional who gives lessons for a modest living, but has larger plans for a successful future. We’re introduced to a confident, well-spoken (who isn’t in a Woody Allen film?), but ultimately unsatisfied individual from a lower-class family who dreams of accomplishing something important and significant. He’s smart and knowledgable, the kind of Dostoevsky-reading, opera-loving idealist that represents many of the characteristics we’ve come to expect from Woody Allen's characters. However, he’s also extremely charming in a steely sort of way, much more forward and brash than the typically neurotic Allen lead. He’s unsure and conflicted, but not entirely insecure. At the outset of the story, Wilton meets Tom Hewett, a wealthy young man in need of serious tennis lessons, and ends up casually bonding over similar interests, most notably opera. After a friendly chat, Tom invites him to the opera with his family, where he’s introduced to his father (Brian Cox), mother (Penelope Wilton), and sister, Chloe (Emily Mortimer), who immediately takes a liking to him. They start a very sweet relationship that pleases her family and provides Wilton with some excellent financial opportunities. At a lovely day-time gathering at her family estate, Wilton is introduced to many wealthy friends, but one particular person catches his eye. He finds a beautiful young American woman (Scarlett Johansson) at a ping-pong table beating up on guests. He’s stunned by her beauty and immediately risks embarrassment to make an aggressive pass at her, only to find out that she’s engaged to Tom. Ouch. He handles the situation rather smoothly, but is forever changed by his necessity to have her. This, of course, is the first of many complications. As time passes and the two characters become closer, it’s clear that both of them share a lustful reaction to each other, but understand the consequences of putting their personal lives in jeopardy. Or do they? Wilton realizes how uncertain his personal strength might be when faced with what he truly desires. He lusts for Johansson, and his determination to have her eventually leads to a classic sequence of passion. This passion fizzles away quickly though, as Johansson considers the consequences and detaches herself from anything that has to do with him. Then, suddenly, she and Tom call off the marriage, and she disappears. In response, Wilton marries Chloe, which allows him to join her father’s business and make enormous amounts of money. Chloe wants children, so he’s obviously hesitant since he enjoys her company in a friendly manner rather than that of a passionate lover. And when Johannson returns and a full-on affair ensues, Match Point becomes an entirely new monster, something much darker and tragic than one might initially expect. The tension builds and builds and builds. Allen doesn’t allow a breather, a moment’s rest or any unrealistic, compromised sequence to break the relentless narrative and disturbing emotional brutality. This is the most dramatic of drama’s, the most thrilling of thrillers. The performances are amazing, and the actors deserve enormous praise for delivering Allen’s dialogue and nuance with tremendous energy. Match Point isn’t just the best Woody Allen movie of the last decade, it’s one of his absolute best films. Period. |
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feature after another to perhaps the most limited audience possible. David Gordon Green isn’t just underrated, he’s barely known. How a filmmaker that possesses the ability to create genuine art is so non-existent in the realm of honored American directors is beyond reason. This isn’t a case of a filmmaker unfairly receiving critical hostility (since most critics, especially Roger Ebert, champion his work). This is a director that simply isn’t exposed outside the world of independent film and the few critics who take it seriously. Or is it a case of a filmmaker that confounds studio executives and receives the bare minimum of support because of it? Whatever the case, David Gordon Green deserves much more appreciation than he’s getting, and his majestic adventure/thriller, Undertow, is a film that should be garnering a lot more attention.
he made Undertow. Twenty-seven for this film. That’s an incredibly young age to be so accomplished. His films have an emotional sophistication that is considerably lacking in most American films, especially the ones that are most synonymous with the romantic drama. What usually winds up being fairly mundane, shallow, and perfunctory in the romance genre is given a stronger emotional weight and immediacy in Green’s All the Real Girls.
centuries. For whatever strange reason, philosophy doesn’t easily translate to cinematic narrative. The initial expectation of such deep, metaphysical content is something heavy and deadly serious, so you’d think David O. Russell would strike gold by translating these ideas into a comedy.
theatrically epic screen-performance cinema has seen since the days of Richard Burton. And that counts for something. Scorsese’s dream project may not have exceeded the enormous anticipation it created, but to become a victim of such resentment is completely undeserving when so much of the film is resoundingly successful.
Kiss Bang Bang is a very accessible and entertaining Hollywood comedy/thriller by the man who essentially redefined the genre in the 80’s. It’s smartly written and fast-paced, with a considerable amount of violence and hysterical comedic antics. Basically, everything that made Black's earlier movies so much fun. However, with Kiss Kiss Bang Bang, Black ups the ante with more entertaining characters and outrageous scenarios, providing the viewer with one amusing anecdote after another.
seems to be considered a solid, if not spectacular Russell Crowe vehicle. It’s always fascinating to watch how a movie’s shelf-life treats it, and in the case of Master & Commander, it’s unfortunately sinking (excuse the blatant pun) into the realm of forgotten classics. 
different once removed from all the commotion. One thing was certainly unfair about the vitriol aimed at Spielberg: faulting him for having the ambition to do something brave and new in his career. People are entitled to agree or disagree with the film itself, but undermining Spielberg’s attempt to evolve as a filmmaker is simply ridiculous. The fact that he insists on challenging himself is admirable and inspiring, and I hope he continues to do so for the rest of his career.
smallest and shortest stories have the most feeling, and this is certainly the case with this movie. Before Sunset is what I consider to be a perfect film. Not a single flaw. Not a single wasted moment. Not one distraction or sequence that doesn’t serve or take away from the story that’s being told. Before Sunset is lean and simple - an eighty minute conversation that has to be one of the most realistic, interesting, and emotional I’ve seen. Two characters simply talking for the entire duration of the movie, yet touching on the arcs and transitions and feelings that make cinema such a powerful form of art. Before Sunset isn’t a movie that goes out of its way to stun you, and because of that, it ends up doing so.
filmmaking, and that worth is incredibly important for the stability of the medium. Woody Allen, one of the greatest and influential minds of the last thirty years, brought us a perfect example of why classical storytelling is the essence of cinema in a time when technology is running rampant throughout the industry. Match Point is a strong reminder of how edgy and bold movies can be, how quintessential complex and intellectual storytelling is at a time when so many filmmakers insist on safe, simplistic formula. This is a flawless work of emotional upheaval and morality, with an especially dark outlook on personal anguish and happiness.