* Kinda in love with this film's philosophy.
* There are moments in this that feel unstylized in a way I've never seen in anything else Crowe's made. Not a ton - this is mostly well within his wheelhouse - but they're there and kinda shocking in the moment.
* Definitely the best use of music throughout that I've seen from Crowe, which is kinda really saying something.
* The purely visual, unspoken stuff (especially early on) is probably the best filmmaking Crowe's ever managed. Stuff like the opening shots, Deschanel looking out the window as she drives away, the discovery of the vinyls, ect.
* The script can be a little weird sometimes, but I think that's basically par for the course with Crowe. The oddness doesn't work as completely here as it does in Jerry Maguire, though I'd still probably count this as the better film (it's close, though).