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  • Blade Runner

    Blade Runner

    Still garners more of an intellectual appreciation and respect than any sort of emotional engagement from me. Seeing it on the big screen magnifies the accomplishment that is the visual effects. Scott skillfully mines the material for grace notes, evoking moral and existential questions in the midst of a barebones plot.

    Ford's performance is distractingly bad. Not so much in his line readings, but in the scenes that could be loosely described as "action sequences", he severely overplays his reactions. That works for movies like Raiders and Star Wars while being sorely out of place here.

  • Too Late

    Too Late

    If I'd been aware of the style and structure of the movie -- five scenes, out of order, shot in 20-minute-long single takes-- I would have been highly skeptical, if not outright discouraged from giving it a chance.

    And yet it works. Sometimes in spite of itself (any attempt made to simulate a shot-reverse shot aesthetic is painful), but it works all the same. The achronology somehow heightens the emotion of Sampson's journey, and Hawkes just kills it. Everyone does, for that matter. A real delight.

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  • I Can't Sleep

    I Can't Sleep

    ★★★★

    Like Haneke's 71 FRAGMENTS...*, but good (nay, great.) Denis cares, and permits even her most despicable character a sense of humanity and feeling. The three outsiders that comprise the core cast--a woman who's just come to town, a father who yearns to return home, and his brother who's still getting a sense of his identity--each have a piece of their respective "stories" withheld, enticing the viewer to fill in the gaps with their worst suspicions. Right from the outset, we…

  • Two Lovers

    Two Lovers

    ★★★★½

    The desire to nurture, the comfort in being nurtured, the fear of being alone.