With the Irishman, you get a lot of Scorsese’s trademarks. Fans of Goodfellas or Casino will have a lot to love about the energy and presentation of this nearly four hour road trip through time.
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The four hours are about the quiet existential melancholy that seeps into your bones as the cinematic day wears on and your knowledge of the characters deepens.
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Eggers gleefully puts his characters under a vice, twisting their reality and the audience’s perception of events. The Lighthouse with all of its unique weirdness is a cinematic symphony.
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Portrait of a Lady on Fire explores the burdens of society on women, the burning passions that are stifled by expectation and conformity.
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A Jarmusch film is only as good as the weirdos that inhabit it, and Down By Law (1986) has a weirdo for everyone.
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For the first time since "Jackie Brown," Tarantino gave me a lot to think about outside of the filmmaking.
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I love The Magnificent Ambersons, both as the film it is and the hopelessly tantalizing idea of what it could’ve been.
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Within the first five minutes, I knew this was something all its own.
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Each character is incredibly well defined, to the point where this family feels like one of the most realistic ever put on screen.
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