Everybody in the episode is performing on one level or another.
More recommendations and recollections are welcome in the comments section.
Tarantino is offering a peculiar form of thrills, for the most part; it’s not always exciting in quite the way one expects a Tarantino film to be exciting.
A token of escape that will never come, a souvenir of a remembered past.
American Casino would seem more suited to print than to a visual medium like film.
Ed, I am daunted. Let’s get that out of the way. This is the last subject I ever expected us to cover—Quentin Tarantino.
One of America’s best living filmmakers, Spike Lee, is also one of its most versatile.
Kore-eda seems to replicate Ozu’s post-war style and philosophy, tailoring it to a slightly more acidic, ironic temperament.
British movies are getting the shaft.
The episode places itself in the midst of people trying to cope with the fact that everything is changing, both in the world at large and in their personal lives.
In the mid ’90s, you couldn’t escape Audrey Hepburn.
Funny People is unfocused and very repetitive, both overall and in individual scenes
With his beefy head and saturnine manner, Mason was most himself on screen when he was spewing disgust.
On Mad Men, the drama proceeds directly from the characters.
The House Next Door is proud to present the first trailer for Preston Miller’s new feature film, God’s Land.
Day sixteen is easily, without a doubt, the worst and most painful day of shooting on God’s Land.
Pixar has somehow gone from a well-liked animation studio to the last, best hope of the Hollywood studio system.
Beeswax’s excess of ambition does not suit Bujalski’s modest but effectively unvarnished style.
Tarantino’s public face says one thing, his movies say another.
Instead of letting the puzzle pieces organically reveal themselves, Neill Blomkamp simply takes an easy shortcut.