Just checking this works.

It also has a unique vulnerability that comes from tarantino's love for Leonard. He's so afraid of fucking it up that he loses the cockiness that permeates all his other works and lets trough a humanity that only reared its head in the Shossana's portions of Inglorious Basterds.

If there can be something like a centerpiece in a body of work as insanely diverse as Soderbergh's this should be it. It's not only a deconstruction of his filmmaking that halfway through becomes a rosetta stone for the second half of his career (along with his percieved failure The Underneath from wich this spawned),…

Ditto (also pleasantly surprised that Dowd did the write up, since one would expect Vishnevetsky to be the defender of gonzo trashy action auteurs).

Hey, you could rewatch all these movies instead! (he said while staving off depression by making another movie playlist for the next sleepless night).

L.A. Confidential is the case to present when droves of people retort to the "inadaptable" question with "HBO miniseries" as the only possible choice. Sadly enough, more and more writers seem to fall in this camp everyday.

It captures with uncanny specificity a particular sentiment, as Wong-Kar Wai is wont to do; in this case that special loneliness that comes from being distanced from your only companion while stranded in a strange land.

Ewan McGregor has never been cooler than with the stupid shirt and the stupid haircut he wears in A Life Less ordinary, and Round Are Way doesen't have any right to be as catchy as it is being a b side in an Oasis single.

Yeah, the "didn't expand the screen anymore" is bullshit, but the DCPs for Dunkirk are sent in FLAT masked 1:85 instead of scope, meaning that the theatres that have side masks (like yours) have to adjust the projection settings so the movie can fill the screen, but if your theatre don't have a proper projecton crew…

Finally had the chance to check Veronica Mars, after hearing so much about it (especially in relation to Buffy) and absolutely lived up to the hype.
It got me from the fantastic pilot (wich is incredibly dense yet nimble and fun, one of the best I've seen especially considering the amount of threads it has to plant…

- Hopkins plays real american presidents in Amistad and Nixon.

I gather you haven't been exposed to the emotional rollercoaster that is the trailer of Colin Trevorrow's The Book of Henry:

You may be confusing Crash with Grand Canyon… or maybe doing an extremely niche joke.

The Kims are a depiction of a particularly strict religious family, and are actually based on the family of Helen Pai, who's Amy Sherman's best friend since chidlhood and a producer on the show.

I love the transition from russian to english, a trick that McTiernan would reuse more appropriately in the underrated The 13th Warrior.

I don't know, think about this: two of Cameron's figures of corporate menace are Paul Reiser and Giovanni Ribisi… and both work.

Not an inventory, but they did a Watch This week on Die hard knock offs, starting with this: http://www.avclub.com/artic…

The final gag is lifted straight from Die Hard 2: Die Harder (You shall never speak of this movie without mentioning the subtitle), but with way better effects - I always hated the matte lines in Die Harder's's one.

Eraser was such a clusterfuck that had it's six or seven writers fighting over who had written less of the script. I remember an interview with Walon Green were he says, somewhat proudly, that the only line of his script that remained in the movie was "You've been erased!". And he says it like it would be the next…

Another Zimmer I really like is his Sherlock Holmes, it's very distinctive, especially for a blockbuster. the real knock of Zimmer is when he (or one of his collaborators) just churns our some anonymous sonic tapestry that while sounding generally good doesen't relate in any way with the content on the screen.