My gut reaction: They got it right, they got it right, they got it right! Sasso, Hayes and Diamantopoulos might have done the acting jobs of their lives, especially Hayes. I was laughing the whole time: their physical and verbal timing were perfect. Their combined effort to inhabit the roles of these film icons, it's something else. I'll have to view a second time to comment further.

The horse's presence and personality were more convincing than all the human characters put together. And not having a consistently engaging human anchor for the story kept me from absorbing the full effect of the admittedly impressive photography and scene-setting atmosphere. Was it just me, or was the editing all jittery and truncated? Seemed like most of the scenes should've been extended a few beats longer.

Etiquette as entrapment. An instant favorite.

It's great to watch this again and realize how much Driver, Irene and Benicio say to each other (and about themselves) with glances, a few words and the moments they shared together. It seemed I was watching them act out my own mannerisms in the relationships I have with kids, family and best friends. This grows on me each time I watch it. You ain't gotta use words to say what you mean sometimes, to say what matters.

"Oh my gosh, it's Danny DeVito. I LOVE your work! (runs)"

What a bitchin' double-bill this would be with Evil Dead 2 or Army of Darkness. Or Bubba Ho-Tep, for that matter.

Definitely an experience where, if expectations are out of sync with what ends up on screen, the potential for a let-down is major. Light on characterization and car chases, heavy on pregnant pauses and vivid color-and-shadow visual interplay. I enjoyed it.

This is a very rare creature for today's movies. A (purportedly) non-fiction narrative played absolutely straight with total conviction, and that has moments of gut-busting hilarity. Clooney, Spacey, Bridges, McGregor, Root, Lang, Patrick, everyone did a fantastic job. This might have been Clooney's best performance ever. And it was great picking out the parts that could be true, and what COULDN'T POSSIBLY be true.

Simply by virtue of his performance as Corny Collins in "Hairspray" does that make me a James Marsden fan. And him taking some good-humored crap from Chelsea Handler is hilarious too.

Caught part of this on TCM today, and I hate that I didn't get to catch all of it. Very much liked what I saw of it, with Kirk Douglas's trapeze acting, the stately editing that allowed the actors to go through a full emotional range in one take, and the wide shots and vivid colors on the European streets. Can't wait to catch all of this!

Didn't know it was possible: That each main character could have the exact same dispassionate emotional arc throughout an entire motion picture. I still liked this for what it was. The shadow-drenched style went a long way to illustrating the struggle against the German occupation. But I felt a significant emotional disconnect between the characters and their situation. Great urgency was lacking a lot of the time.

Aaron Eckhart as Two-Face is the soul of this film.

Watching this on Blu-Ray made a big difference for it remaining visually coherent. Dunno if that's a praise or a negative critique.... I thought this movie didn't dig into its ideas about control over others, and the potential for economic windfalls from that. But it presented those ideas in a way where I could fill in my own blanks and think about those concepts seriously, and not every "action movie" can say that.

My absolute favorite professional actor working in movies today. Brian Cox is the freaking man.

Goes to show that sometimes, when ya go after yer friends, ya just end up gettin' shot in the back.

Narrative's (intentionally, I think) unfocused, but I love its treatment of the yammering unappreciative wife and the nagging, no-good in-laws. Also like the fact that Fields' character gets the *benefit* of the doubt from some people, like his employer and his daughter. A drunkard's grave....

Gotta love Claudette Colbert. And Clark Gable is sympathetic *and* funny. "Quit bawling! Quit bawling!!"

He was good in "The Aviator."

In an operatic mood? Then, hang on tight. The cinematic equivalent of engorgement, a wonderfully overwrought emotional, visual motion picture. The war-time backdrop can be too broad at times for relating to the characters. But I was caught up in the urgency and brute force of the emotion the two mains share for each other (for a time). And each frame is stuffed with beautiful color and eye candy. I really liked this.

It's about emotion and choices.

Thought this was absolutely excellent.

"Swan!"

Are you off your meds?!

Unnecessarily oblique for me the first time out. It didn't help that I had to spend a lot of my time figuring out who was and was not related to the main character. Call me a philistine, but dag on it, it helps my viewing experience when I know how the characters are connected to each other.

A nutshell on the unfulfilled intentions of desire, pensiveness in the presence of potential affection, and the unintended (positive and negative) consequences of not getting exactly where we want to go when we want to, not getting exactly what we want when we want it. Nicely done.

A worthwhile, entertaining four-star (of five) flick with a few embarrassing missteps. Clint was fine as "Preacher," and the characters of gold baron LaHood and the corrupt marshal Stockburn were effective and very much welcome. Also some really effective shots of the mountain landscape, and framing and silhouettes of the characters. Outside of the business with the dog and some feeble performances, recommended.

If you are not entertained by this, you must be dead already. "Documentary" is probably a misnomer for King of Kong, but it's edited together with so much panache, with such clearly defined opposing forces in Steve and Billy that you can't help but be drawn in. If you're a video game fan, you'll be in awe. And shucks, one mom even admits her son might be slightly autistic. Highly recommended.

Simply amazing for how almost EVERY man here has on a top hat and a long, dark coat.

Some genuinely chilling moments mingle with some fine humor for a well-round, all-round winner of a film.

"Are you in a state of grace?" An epic of the intimate, a performance by Falconetti that's transcendant despite its single-note nature by the sheer weight her visible emotions. The most powerful thing about this narrative is considering whether Falconetti as Joan is wrestling with internal delusions or if she is really called upon by The Lord directly. Either way, the performance's conviction is stunning.