Every family starts in Eden and ends in oblivion.
This is so great.
And thanks to the movie gods for giving us Adam Driver.
Nope no idea what was going on here, but thank you Jane Campion for the reminder that Winslet is one of the best at what she does. I may not have known what was happening, but I always felt like Winslet did and that was enough.
Had the strange thought that this would make a good pairing with Fury Road. Or that this is somehow what Fury Road would look like as a two hander chamber drama. With Winslet as…
Opening 20 minutes uneven (under-rehearsed?) Kidman in particular doesn't seem to have a handle on the character, and the pacing and tone feels off somehow. Theatrical and performative. Mary Louise Parker, usually so reliable, seems at sea.
But then Barbara Hershey shows up and immediately it's a different and much better film.
Kidman much stronger as the film goes on.
Malkovich a lot of fun, but not an asset to the film. Anachronistic somehow? Scenes between him and…
Sometimes all you get from a great artist is a sketch. And sometimes it’s just a sketch of a rooster. And even after staring at it for a couple of hours, you still can’t tell if there’s anything special about it because it’s just a rooster.
But you know what’s great? Every time Eastwood says “kid.” He says it like 75 times and I’d cherished every one of them.
Hey, lookee here, it’s a Coen Brothers movie that’s wiser, funnier and more moving on a revisit. And I loved it the first time.
Brolin was robbed. Should have won an Oscar for this performance. (Looks at nominees. Um yeah, Brolin should have won that in a walk.)
The moment when Mannix decides to trust Hobie. What a picture!
Trying to imagine any other Marvel superhero getting assigned a comic sidekick for their origin story movie. Struck me as a badly judged misstep here, with Akwafina’s Katy undermining the stakes of every scene she appeared in which was unfortunately most of them. Disappointed to find this pretty generic or at least familiar from a narrative standpoint with only occasionally engaging action.
No Country 2007.
McCarthy’s No Country 2005.
And yet ‘87’s Raising Arizona is somehow a gonzo dry run for No Country?
The childless couple in the remote trailer.
The valuable asset that comes into their possession.
The supernaturally homicidal bounty hunter.
The memorable encounter with the elderly rural gas station owner (“not unless round is funny”).
Am I missing anything?
Anyway Raising Arizona is so great. I hadn’t seen it in 30 years or more.
The 13-year-old’s first time (howled…