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  • Inception

    Inception

    ★★★★

    Nolan isn't in the business of hanging lampshades, but the storyboard-driven plot and the wish-fulfillment visuals achieve the same distancing. A really cool movie.

  • 6 Underground

    6 Underground

    A continual fascination of Bay's late-period filmography is his earnest and evident desire to say something. You can catch glimpses of it, though never once captured in a single entry, and it doesn't seem as dumb as his tastes. Yet his ability to control every single frame only grows with each outing. The man's unerring ability to capture trees has somehow allowed him to stumble on smart observations about the ecology. Yet just once I'd like him to pull the camera back and actually frame the forest.

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  • Moonlight

    Moonlight

    This review may contain spoilers. I can handle the truth.

    In Moonlight, the camera has a tight depth of field. Bodies and objects blur close to the lens, and backgrounds and horizons feel distant.

    The camera moves, though, in almost every way it can. It tilts and weaves, in the opening, or casts its view around like an eager child. Several times it plants itself amid a circle of young men, like an anxious participant in the conversation. Sometimes it examines the scene at a remove, or follows a few…

  • Ghost in the Shell

    Ghost in the Shell

    "That was you, wasn't it?"

    Much of the dialogue in A Ghost in the Shell can be pulled out and admired, unhooked like a necklace adorning the sturdy police procedural beneath. More rare are the lines that rely on context, like the question above. If there is a criticism to be made of Oshii's approach to Ito's words, it is that the characters' observations - the Puppetmaster's, in particular - often feel separate from the action at hand. The proceedings…