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  • The Long Gray Line

    The Long Gray Line

    Weirdly makes me feel more strongly for The Sun Shines Bright. The community development that takes place in My Darling Clementine and How Green Was My Valley is very subtly taken to task here: Marty contributes to something bigger than himself, and indeed eventually bigger than his own life and generation, but the staging and structure make West Point seem insular as much as they make it feel big and important. What I like about The Sun Shines Bright is…

  • Goodbye, Dragon Inn

    Goodbye, Dragon Inn

    ★★★★★

    At points, this almost resembles something in the vein of Kubelka: the flickering of light and sound or the movements of silhouettes take precedence over the approximation of life, even abstract parts of life. Even so, all the sensory satisfactions are "haunted" by the lingering presence of the human labor needed to create them. But we haven't yet made an accommodating world, so the potential for sense and free expression becomes marked with hesitation and roofs that can't keep the rain out.

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  • Paterson

    Paterson

    TIFF programmer: "Can you talk about some of the philosophy behind this movie?"

    Jim Jarmusch: "No."

  • Miami Vice

    Miami Vice

    ★★★★½

    With the possible exception of Heat, all the Michael Mann films contain nightmarish sequences. There's something uncanny and intimidating about the way his characters are dwarfed by architecture or bathed in unnaturally colored light (Manhunter possibly being the prime example, the closest thing he's made to an actual horror movie). It always serves the tension of the moment in a way that seems rooted in the characters' subjectivity, but also makes them seem small and vulnerable. His films contain self-consciously…