Borrowing many of its elements from previous films in the series, excluding the things that made those films exciting to younger eyes (scale, memorable locations, interesting concepts). While I felt the straight-to-DVD "Mewtwo Returns" fairly matched the theatrical films that came before it, Pokemon 4Ever does feel like an afterthought in comparison. The colors aren't as vibrant, the concepts aren't as unique, and the story and the way its told isn't as epic as it had been in previous films.…

Welcoming back the South Pole to cinema is Richard E. Byrd, the Expedition Commander of the real life journey that this documentary follows. But while Byrd was the face of the expedition and provides the awkwardly endearing opening speech, the two who deserve the most credit for the film are cinematographers Willard Van der Veer and Joseph T. Rucker, two news cameramen who were fortunate enough to get their own intertitles and be seen on camera due to their importance…

Tarkovsky is a bit different from other slow cinema artists that dominate other parts of the world. Like filmmakers such as Bela Tarr and Lav Diaz, Tarkovsky holds shots for long periods of time, perhaps with more camera movement than the others, yet when Tarr and Diaz move their shots, they match the mood out of necessity. Their films are slow, so their camera movements are slow as well, makes sense, and they do it spectacularly. Tarkovsky moves his camera…

Sátántangó may be this film's only rival in terms of quality, yet they are near polar opposites, with Sátántangó achieving mood through slow, sprawling, dense story-telling, and Marketa Lazarová punching with every scene of action and dialogue; as flashy and bombastic as possible.

Of course this is all a personal perspective, but if I were to visualize a potential "peak" of film perfection, Sátántangó and Marketa Lazarová are the only films that seemed to attempt that jump. Neither film is…