As much as I dislike his obnoxious style (though he is far preferable to the smug Louis Theroux in this regard) BfC is probably Michael Moore's best, and most the emotional documentary. Beyond Klebold and Harris, Charlton Heston and the NRA, Marilyn Manson and K-Mart, this a portrait of a nation gripped by Fear. Fear about safety, fear about each other, and fear that lies in the uncertainty of the human condition.
Tommy Lee Jones gave his daughter the middle name of Kafka. It's all starting to make sense. In any case, I never minded filmed plays, and as far as this one goes, it is eminently cinematic. Television is the perfect medium for this kind of drama, and kudos to TLJ and the excellent Samuel L. Jackson for their great example.
Who would have thunk it - Tommy Lee Jones enters the pantheon of Sexy Movie Men of the Cloth, headed by Montgomery Clift - and how!
I love him! Joseph Cotten was my very first classic first movie crush, when I saw, er, Shadow of a Doubt. Not the most appropriate character, but anyway, crush stayed intact after Portrait of Jennie and The Third Man. He is still one of my favourite 2 or 3 classic movie actors.
I was 13 when I first saw Shadow of a Doubt and fell in love with Joseph Cotten at first sight - as Uncle Charlie no less! Could that be any more inappropriate?! But. Isn't it inappropriate that a beloved family member secretly perverts the values of his home? That the light side of his dark coin is an adoring niece? A complex coming of age film, showing that we never really know ourselves, nor those we love.
This is the best of the slew of American military themed pics of the past decade (and probably the most purely anti-*war*). However its success is mostly down to the extraordinary performance of Tommy Lee Jones (though in far smaller roles Brolin, Theron and Corbin are terrific).
The best critique on the cult of celebrity I've seen.
Peggy Cummins - can you say girl crush?!
It's my favourite Marilyn performance as well. I didn't understand why she was so loved until I watched this. She was so organic and intelligent.
I didn't "understand" Marilyn until I watched The Prince and the Showgirl. Then I never looked back.
First, the inevitable: Toby Jones is Capote, PSH is PSH doing Capote. I prefer Infamous, overall. The greater artistry and atmosphere - as if the people are characters in a work by Capote - draws out interesting performances and human truths. Bullock's statement at the end about Harper Lee's artistry is kind of heartbreaking: "We want everything you have, and we want it as fast as you can turn it out."
So vibrant in I Wake Up Screaming. What a loss.
Sherry Lansing used to greenlight movies like this by the bucketload, but other than one or two releases every year, these kind of dramas are relegated (a poor term, as the best of them are great) to TV. The Lincoln Lawyer was pure popcorn with not a superhero in sight. I loved how Los Angeles looked. ldeally this will turn into a franchoise and a few more crime novels will be adapted to film.
I was in love and in lust with Chris Cooper when I first saw Lone Star.
My favourite late-era Ivory film. From baby Jesse, Leelee and Virginie, to Isaac, Jane, Kris and Barbara hitting it out of the park, it's entirely a pleasure.
It's not all bad, really. But I have a serious complaint of Naomi Watts. I don't care how self-pitying you are after your husband has left you: no one who has Jean-Marc Barr gazing on her so adoringly for 60% of the screen time has any right to look so mopey!
One of Brando's top 2 or 3 films *and* performances.
I love me some BBT. He's one of the best 2 or 3 American actors of his generation. No matter the film, he performs with integrity.
Best actor on TV right now. He plays these broadly written, pitifully stereotyped characters and makes them flesh-and-blood and complexly human.