Works from scene to scene - the first is among the greatest ever from Film Noir -, but it's ultimately not as interesting visually as a bunch of its counterparts.
Imagine you being such a John Ford character you can freely give up five years of your life to be roaming around looking for a girl that you barely care about.
Fun thing is, this is both the most genuine sign of affection in all of his Cinema, and the most rigid piece of hierarchy and role fulfilling he's ever done. Every paint a framing, every relation a set of rules defined by tradition, his freest film, and also his…
Not really fair to other studios the way Miyazaki and Ghibli make animation.
Their stories unfold, they are not plots, they are worlds that we gradually get to know and immerse ourselves on every detail. Unlike their American rival (at least everyone makes them to be) in Pixar, there is no formula, every film is a window to some magical place, and each film has their own way of showing us them - something the music always nails, not taking…
Mom is 15 years older than dad. He was a kid when they met, and had me at 24. They broke up when I wasn't even 2, but one of the few positive stories she always told was that he watched Top Gun and wanted to be like Tom Cruise.
I went to watch Maverick with my girlfriend, and left the theater wanting the same thing.
I hope he's still around for the next 30 years so my son (he's just a thought for now, btw) can feel the same.
Tom Cruise didn't just save Cinema. He's one of its last lasting breaths.