The Da Vinci Code for pretentious people. Luckily, I happen to enjoy The Da Vinci Code.
Typically impeccable set design, lighting, and cinematography, but it often lacks the sheer power of Greenaway’s best work. Also, I just don’t think Freeman is suited for this dialogue. One of Greenaway’s lightest and least opaque, which is still in its own way very fun and enjoyable.
Handsomely mounted and entirely devoid of any kind of substance. Note to my cisgender friends, this is coming from a real life Certified Trans Woman™: you don't have to pretend to like this movie anymore. It's not very good.
Full review here: dimthehouselights.com/2015/12/the-danish-girl/
Compared to its obvious sister piece, The Fog of War (a masterpiece of documentary filmmaking), The Unknown Known can seem frustratingly elusive and indirect. Rumsfeld seems almost pathologically incapable of answering a question straight, and his near-constant denial of basic facts (even when shown to him directly) is maddening at times. However, Errol Morris is a great filmmaker, and he uses this slippery quality to express the very character of the man he's sat down to interview. In every evasive…