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  • sex, lies, and videotape

    sex, lies, and videotape

    With the 1998 commentary, a conversation between Soderberg and ...Neil Labute? Naturally Steven is more entertaining (of course he is) but it’s really mostly valuable for learning what’s important to a technician like SS. And he’s a technician on the script as much as the production or post. He even talks about the math of scripts. Fascinating talent, and brain. A real hero if I’m honest with you. “There must be some reason I’ve got so many of his movies,”…

  • The Player

    The Player

    Everybody thinks everybody else is stupider than them, we get it, but this is better than I remembered. Zooms-R-Us, as ever, but the reverse shot becomes important after the stunt opening oner that never flags. Too many caricatures, on a writing level, but the actors are great at being human, somehow, even weirdo Lyle Lovett. If art is so important, Bob, why are you making this so tongue-in-cheek? Does this side of the business still exist like this? How many…

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  • Uncut Gems

    Uncut Gems

    Volcanic slipperiness across anamorphic tableaux, somehow new age-y, a lot of inside-out thinking, boundaries, pointedly addicted to its own supply of crazy. One-ups PTA on borrowing from Altman by using the old man's audio layering ideas to build a cacophonic world. Khondji is a master at making it look like there weren't actual lights; no idea how they kept anamorphic lenses in focus on the steadicam so well. Still, less about "images" so much as composition and energy. All the…

  • The Irishman

    The Irishman

    August and hilarious, front-loaded with laughs despite the nursing home brackets, you may not need the film but it is as worthy an old man picture as any heretofore. The highway of the mind is mapped and abandoned. There’s talk of going from A to B but from the first the path is associative, a Texaco triggering memories. The idea of the past more than the actual past; history is theater. A hand broken, a gut punched. Stolen steaks engineer…