I will forever both love and resent Toy Story 2 for making me have an emotional reaction to a Sarah MacLachlan song. (I know Randy Newman wrote it, but still.)

I will forever both love and resent Toy Story 2 for making me have an emotional reaction to a Sarah MacLachlan song. (I know Randy Newman wrote it, but still.)

Bordwell has some great analysis, in more detail than I could go into here, of how Hitchcock plays with focus in a way that's invisible in 2D, often having only a single key element in sharp focus in both cameras.

Bordwell has some great analysis, in more detail than I could go into here, of how Hitchcock plays with focus in a way that's invisible in 2D, often having only a single key element in sharp focus in both cameras.

It's been a regular thing at NY Film Forum for sure, no doubt because they were one of very few theatres equipped to run two projectors simultaneously. Not sure how they handled the reel changes.

It's been a regular thing at NY Film Forum for sure, no doubt because they were one of very few theatres equipped to run two projectors simultaneously. Not sure how they handled the reel changes.

The Player was my first Altman, but it diminishes the more of his movies you've seen. It's highly entertaining, but no better than middling compared to, say, The Long Goodbye.

The Player was my first Altman, but it diminishes the more of his movies you've seen. It's highly entertaining, but no better than middling compared to, say, The Long Goodbye.

I didn't end up mentioning it, less for reasons of decorum than coherence, but seeing DIAL M in 3D, it's pretty clear Hitchcock knew how he wanted to film Kelly's assets.

I didn't end up mentioning it, less for reasons of decorum than coherence, but seeing DIAL M in 3D, it's pretty clear Hitchcock knew how he wanted to film Kelly's assets.

Stop-motion seems like an especially apt use of the fomat, since the third dimension already exists and all you have to do is shoot it. Selick also deliberately altered the depth of field between the film's two worlds, so that Coraline's real home feels shallow and confined and the Other Mother's world feels deep and…

Stop-motion seems like an especially apt use of the fomat, since the third dimension already exists and all you have to do is shoot it. Selick also deliberately altered the depth of field between the film's two worlds, so that Coraline's real home feels shallow and confined and the Other Mother's world feels deep and…

I meant to reference Pina at some point, and it slipped my mind. I don't love the movie overall, but using 3D to film dance—which is the art of movement through space—is truly inspired.

I meant to reference Pina at some point, and it slipped my mind. I don't love the movie overall, but using 3D to film dance—which is the art of movement through space—is truly inspired.

As with Margaret, the title of Fargo seems to me a subtle clue as to how to read the movie, especially the "based on a true story" bit." If they can't get that bit right, why trust anything else?

As with Margaret, the title of Fargo seems to me a subtle clue as to how to read the movie, especially the "based on a true story" bit." If they can't get that bit right, why trust anything else?

I love Burn After Reading, which in its way is as morally bleak and pessimistic, if not more so, than No Country, and absolutely a bookend to it. "What did we learn?" > "Then I woke up."

I love Burn After Reading, which in its way is as morally bleak and pessimistic, if not more so, than No Country, and absolutely a bookend to it. "What did we learn?" > "Then I woke up."

I completely identify with Barton Fink—but I'm spouting off again.

I completely identify with Barton Fink—but I'm spouting off again.