Not really a review of this movie but RIP Jonathan Demme all the same. 

There is a wonderful moment in Something Wild, Jonathan Demme’s freewheeling screwball road movie and just about my favourite movie of all time, in which our newly cut-loose yuppie hero, Charles Driggs (Jeff Daniels), in covert hot pursuit of the girl he loves (Melanie Griffith) and the ex-con tough (Ray Liotta) who stole her from him, installs himself in the parking lot of an all-black church in Virginia with a snack and a pair of binoculars, training a tired eye on his marks as they lounge about the pool at a motel across the road. Exhausted, Charlie takes a nap — only to be stirred from…

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It frustrates me when a film establishes itself with a strong premise; one that doesn’t necessarily allow itself to be obviously driven by the Hollywood standards, where things are happening but its pure essence is what remains rewarding. Jonathan Demme’s Something Wild began in such a way where we are introduced to a man with a flaw, which becomes the driving motivation and attraction of a peering stranger, and would fuels them to an adventure that slowly penetrates without plain deconstruction by external forces or inner obligation.

Charlie (Jeff Daniels) belongs in the world of business, one who is recently in a near-pinnacle place, with a recent promotion and a comfortable family. He…

Yes, the soundtrack is great.

The scene where Charlie shows up at the diner and confronts Ray, though, made me so fucking angry. He shows up, and instead of saying, "hey Lulu, let's go, ditch this guy," he speaks to Ray. He says he's taking her back; he spars with Ray over Lulu as if Lulu isn't even there, as if she is literally an object he has to acquire. It's tiresome. Lulu tries hard to redeem the film a few minutes later, throwing Charlie out of the car by the railroad tracks, but of course it doesn't end there. It lets him off the hook. That act of independence is swallowed.

And there's a fight scene with the death…

The climax is great, but it's so radically different from the rest of the movie that it dislodges it ever so slightly from perfection. Still, Something Wild (1986) is Jonathan Demme's finest narrative picture—and his second best overall behind the masterly Stop Making Sense (1984)—purely because it's an absolute pleasure to spend time with. Almost like a less showy Baby Driver (2017), much of its success is owed to its quirky soundtrack that darts from dancehall greats such as Yellowman and Big Youth through British mainstays New Order and Fine Young Cannibals, supplemented by a full live set from the Feelies and a title theme by David Byrne. None of these moments are needle-drops, per se—New Order's "Temptation" plays for…

The climax is great, but it's so radically different from the rest of the movie that it dislodges it ever so slightly from perfection. Still, Something Wild (1986) is Jonathan Demme's finest narrative picture—and his second best overall behind the masterly Stop Making Sense (1984)—purely because it's an absolute pleasure to spend time with. Almost like a less showy Baby Driver (2017), much of its success is owed to its quirky soundtrack that darts from dancehall greats such as Yellowman and Big Youth through British mainstays New Order and Fine Young Cannibals, supplemented by a full live set from the Feelies and a title theme by David Byrne. None of these moments are needle-drops, per se—New Order's "Temptation" plays for…