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How I come off while offering my most genial and thoughtful defense of THE IRISHMAN:pic.twitter.com/ut3w8OGvZn
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Ryan Perez proslijedio/la je Tweet
Learn to think past your noses, my friends, lest ye etchttps://twitter.com/hiattb/status/1224001506468421632 …
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"I really think the performance delivered on an expectation I had set in my mind, and furthermore did it in such a way that was error-free."
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When someone says an acting performance was "on point" or "hit no false notes," i'm like hahaha the fuck are you talking about?
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Finally catching up with PAIN AND GLORY and think I might start calling all my little scripts and sketch horseshit “the text” to make it sound important.pic.twitter.com/yBc9MdAkrr
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The only showbiz thing I know for certain is when a dramatic actor lets loose with oversexualized comic improv, the results are- without exception- unusable garbage.
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Also, she’s easy to overlook in the Irwin Allen-style ensemble but damn good Kate Winslet work that came during a run of her finest performances
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You might think it a disquieting movie to watch, but there’s something to lingering shots of infected door handles set to a Cliff Martinez score I find oddly fear-purging.
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Giving it a compulsory re-watch for obvious reasons, Soderbergh's CONTAGION is the best of his blue-and-yellow-hued, efficiency-obsessed thrillers. Made 10 years ago, its terrified, businesslike characters lack the same joie de vivre everyone seems to lack right now.
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New Harvey Weinstein info feels very UCB’s Dirtiest Sketch Show circa 2006.
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I reserve my most cherished, genre-specific cinema fandom not for the well-liked "horror" or "sci-fi" but for smallish movies about spiritual crises wherein characters take very seriously the tenants of their religion or moral code, and this is why I suck to be around.
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Early Edition, but about an ordinary guy who gets Duplass tweets a day in advance
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Ralph Fiennes, an actor I admire tremendously and am always excited to see, has made like seven movies called THE WHITE BIRD WOMAN that I haven't seen.
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Extremely confident that, if it came to blows, this bald prick uncle would utterly destroy the HOME ALONE bald prick uncle.
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I may not agree with his methods, but gotta have some respect for the TV-hating Calvinist uncle who disgustedly turns off the dancing Santa Claus show at the beginning of Schrader’s HARDCORE (1979)pic.twitter.com/b2SiY8Mkm7
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Continue to watch this space for the most heartfelt AVALON (1990) observations. Coming in 2020: We’re talking Armin-Mueller Stahl, we’re talking Lou Jacobi, we’re talking the fireworks scene!
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The coda of Barry Levinson's AVALON (1990), steeped in wintery nursing home melancholy and televisions running for no one in particular, has a definite i heard you paint houses thing going on.
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Me, looking upon the mayhem of Park City, Utah, my weary grin curling: “Someone should make an independent movie about... all THIS.”
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You’d think it would be a fish in a barrel situation, so why does the cinematic depiction of “annoying hipster” so often falter? It’s always some small, elusive detail (the width of a hat brim, starchiness of shirt, vocals fried slightly too deep) that reads slightly Halloweeny.
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