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Harold and Maude (1971)
Brilliantly Funny & Beautiful
Hal Hashby's masterpiece, Harold and Maude is one of the best movies ever made. It would never have gotten approval in our dark 21st century.
Filmed mostly in northern California, the cinematography really captures the 70's. Amazing script by Colin Higgins who sadly died young. Fantastic performances by all especially Ruth Gordon, Bud Cort, Charles Tyner and Vivian Pickles. Wonderful set design that evokes the 70's and earlier decades (Maude's home is full of character and memorabilia.)
The film touches on so many subjects (being a misfit, youth, old age, war, politics, life and death) but for me the main theme is to enjoy life - even the bad stuff. That life is worth living. And that maybe for some of us the only way to understand the precious joy of life is to engage with those who are closer to death.
Probably the finest soundtrack of any film entirely by Cat Stevens.
Black Swan (2010)
Awful
This is seriously a trashy film without any redeeming qualities. It's a perfect example of why Hollywood and movie-making globally needs more women producers, directors, writers and cinematographers.
This movie badly masquerades as high art when it's nothing more than violent porn. It's so vile it's absolutely shocking to see how highly rated it is here on IMDb.
The story is as absurd as a porn plot. The acting is bad except for (surprisingly) Mila Kunis. The cinematography is pathetic and simply makes the viewer more keenly aware that the choreography is bad and the dancing even worse.
It's not Gothic horror. Nor is it a psychological thriller. It's nothing more than the narcissistic violent'male gaze' exploiting, degrading, raping and murdering women.
For dance films, I recommend The Red Shoes, Swing Time, Turning Point, The Band Wagon, Top Hat, 42nd Street, Gold Diggers of 1933, Go Into Your Dance, An American in Paris, Singing in the Rain, Born to Dance, Broadway Melody of 1938, All That Jazz, Strictly Ballroom, Step Up, Cabaret, Dirty Dancing and the documentaries Baryshnikov: The Dancer and the Dance & Mad Hot Ballroom.
American Crime Story (2016)
Terrific True Crime - Courtroom Drama
Sarah Paulsen (Clark), Sterling Brown (Darden) and Courtney Vance (Cochran) are absolute stand-outs in this excellent TV series. Great writing and terrific acting. The one criticism I have is Cuba Gooding, Jr, although a wonderful actor, doesn't have the physicality required to convincingly portray O.J. Simpson. Other than that poor judgment in casting, excellent direction and production make this a series worth watching. Even if you believe you know everything about the case, you'll gain a deeper sense of the sorrow the families (and still are) lived through. And a greater respect for the district attorneys, who by no fault of their own, found themselves under the microscope while working inside a circus ring. Like Nicole and Ron - the LA District Attorney never had a chance.
Wayward Pines (2015)
David Lynch Writing & Directing Dead Would Be More Interesting
The premise makes no sense in the 21st century with email and cell phones, our current day technology makes 'Wayward Pines" all the more preposterous. Matt Dillon who was considered an "interesting" actor, and one to "look out for!" back in the 80's (he wasn't interesting at all; just had dumb luck or a great mgr) is an agent with the secret service investigating 2 missing agents. He's in a car accident with another secret service investigator. The other agent dies (or so we've been told) Dillon's character is taken to a weird hospital, with a weird (and annoying) nurse, in clean living small town Idaho, "Wayward Pines".
After the accident, he's leaving messages for his wife on their home phone (aka LANDLINE)answering machine! Unless I missed it, he has yet to try to contact his wife via her CELL PHONE?! He calls his office but the new receptionist refuses to give him his supervisor's cell number. Okay that is plausible but what is NOT plausible is that he would not call a different office within the secret service to be put through to someone who can help him. Or why wouldn't he call another family member, or a friend?
I cannot watch this show because the whole telephone thing is just stupid. Even if you cannot remember the phone number you need (and now we don't need to memorize phone numbers) someone somewhere in Wayward Pines has internet access!
I seriously do not know how this kind of crappy script not only got picked up by a major network, but it actually got produced AND AIRED?!
The only thing this stupid show gives me is hope.I now have great hope as a TV scriptwriter. If "Wayward Pines" can get the green light then so can any story I author.
My Dinner with Andre (1981)
Your Dinner with Wally and Andre
I think this is one of the finest films ever made. There is a lot to listen to and pay attention to- the viewer becomes an active participant in the story. It's a beautiful thing.
Many viewers, even those who love this film, found the character of Andre (Andre Gregory) pretentious. However, I found him to be honest,engaging, introspective, empathetic and although Andre has the majority of the dialogue, he is very open and receptive to Wally's (Wallace Shawn's)thoughts, opinions, ideas; even Wally's criticisms of him.
Wally in fact has already told us that he enjoys learning about people; likes asking people questions. So Andre obliges; giving Wally exactly what he enjoys-a perfect character study. Andre provides his friend with excellent material for his next play.
Many reviewers don't seem to recall that Andre is extremely honest; he admits that the "creep" who irritates him does so because he sees himself reflected in that creep. He admits to being a "monster" for having had to subject himself and (perhaps more importantly) his family to his "selfish" journey to discover himself. Andre never mentions if his wife or children are upset with his choices. On the contrary, his wife comes off sounding extremely supportive.
Most of the dialogue is Andre telling Wally, telling us, about his many strange and sometimes beautiful experiences. Wally is even supportive of his friend when Andre confesses that he began to feel his old friends annoying him, what was needling him was that he was seeing negative aspects of himself in these annoying people. He, Andre was the annoying creep,the selfish monster-Wally sympathetically asks him why he should feel this way?
Throughout most of the film, I got the impression that Wally thought most of Andres experiences were fascinating. A few were even experiences Wally would like the chance to have himself if only he had more money, more time; if only he weren't afraid.
But then towards the end, after Andre brings up a group he was involved with in Scotland and their belief in aliens, this sets Wally off. This story is too much for Wally-but that's surface. There's a deeper reason for Wally's negative reaction. So he tells Andre what he thinks and feels about Andre's stories. Andre is completely open and sincerely curious about Wally's impressions even if this means he is will be ridiculed.
Throughout the movie he accepts Wally's thoughts and opinions - several are critical of Andre. Andre frequently agrees with Wally. When he doesn't it's a gentle nudge to Wally to try and perceive life or a person from a different pov.
When Wally declares he's going to honestly tell Andre what he thinks there's an ambiguity in his thoughts and opinions. He says, "I don't even know what you're saying; I mean I 'know' what you're saying but I don't know." But Andre frequently admits his experiences often left him empty; or in the case of the Japanese Buddhist monk who Andre falsely believed could "teach me something" but couldn't. Andre was still left questioning his place in the world and trying to come to grips with his existential crisis.
Andre admits his journeys around the world may have been completely useless. The outcome, or a more solid result might have been achieved by living in the moment inside a little NYC apartment with his wife by his side. Andre admits that the external stimuli he sought to find life's answers was often a catalyst which brought him beautiful meaningful experiences but not every time. He confesses and agrees with Wally that there is more than one way to make the journey.
Many of the observations made by both Andre and Wally on modern life, theatre, living in NYC, science-vs- spirituality, socializing, making goals, working, technology are even more applicable today then they may have been when this was filmed.
There are also several instances when Wally, the character, which many reviewers found more relatable and better grounded than Andre where you can catch him (Wally) contradicting himself. For instance, he criticizes Andre for seeking signs and omens in every day life coincidences. Yet Wally himself remarks, while trying to convince Andre, that one should be able to enjoy the simple things in life, that when he has his morning coffee, if there's an insect in his coffee that morning he will be negatively affected the entire day. So Wally does sometimes use every day life stuff as 'a sign' to extrapolate more meaning. The idea as to whether life's details are completely meaningless or if there is a message of true importance to be gleaned from them is shaky ground for Wally.
This may be what upsets him so much. Wally, desires order and stability in the universe. However, much of what Andre describes is frightening specifically because it's the unknown. A few of Andre's stories illustrate we're living in a cold chaotic universe. Andre is confessing that even though he took this journey of self-exploration, many of the answers he sought remain unknowable.
This is just a small observation but one reviewer mentions that the director, Louis Malle, never shows us what Wally and Andre are having for dinner-this is not true. There is a very clear shot of not only their dinners but of Andre eating (this same reviewer remarked that we only see Wally eating). Both Wally and Andre in fact order the very same entree-coincidence?
The film's apparent simplicity slowly exposes profoundly nuanced characters and life's complexities. It serves to show the viewer that all around us, in the mundane, interesting amazing profound things may be taking place. If only we could snap out of our amnesia, pay attention and live in the moment.
Zero Dark Thirty (2012)
Poopaganda
This is one of the worst movies I've ever seen. It amazes me that it received so many accolades. I'm just over-joyed I didn't pay $15 to see it in the theatre. This movie is bad acting by good, even great actors (I believe this has to do with bad directing); poor laughable script (no one researched anything about the various cultures being dealt with in this film) - Pakastanis speak Arabic - really? All males in the middle east wear turbans - really?; bad script without any character development - absolutely no background on any characters......no story arc - there's no change, no transformation-redemption-acknowledgment of deeper understanding.......NOTHING. The script is as empty as Jessica Chastain's meant-to-be-hard-ass-meaningful-empty-robot gaze. The editing is a mess - it's unbelievable to me that this is a Hollywood production?! Scenes go absolutely no where. Worst editing and I believe this movie was nominated for Best Editing? How is that possible?! The score(music)and cinematography are equally boring like everything else.
This movie is a shill for the United States. Looks and feels like it was hurriedly made without any conscious effort to truly tell the story they (director, screenwriter and producers) claim they are exposing. They're(director, screenwriter and producers)nothing more than shady carnival barkers shouting about how great and powerful the all-knowing all-seeing United States is but like the Wizard of Oz there is nothing behind the curtain, or in this case film.
The Great Lie (1941)
Life is Stranger Than Fiction - Classic Hollywood Understood This!
Spoiler Alert (just a little):
I'm glad to read so many positive comments about this film. I watched it for the first time April 2013 on TCM and was really surprised by all the fine qualities (and fun) "The Great Lie" offered. Especially since I'd never heard of this film before and have been a classic film fan since my childhood.
While pleased to read so many positive reviews, I find making apologies for this and that in the story unnecessary. Life is stranger than fiction. I truly do not know what is so "unbelievable" about this story? It's an unusual story but "unbelievable" - absolutely not. Less likely today with DNA and paternity tests, media coverage, internet etc....but wealthy (especially famous) women sometimes disappeared and then reappeared with their "adopted" baby, or claimed the child was their "niece" or "nephew". Many of these women were actresses.
I've also read several biographies of famous people who married a second or third time without knowing their divorce had in fact NOT been finalized. I've read other biographies of famous people who led secret lives, or had two families, or had a secret love child - human drama is messy beautiful and nuanced. Although most classic movies are in black and white, they understood that life is NOT black and white.
Classic film writers and audiences understood this: If it can be imagined - it's absolutely possible. We've lost our imaginations to "facts" and so called "reality." How utterly sad.
Although never a fan of George Brent, he's very good in this film. I know he and Davis had an intimate relationship but not sure if it was during the time this film was made. Either way, Davis & Brent have nice chemistry. Their love is believable.
This is not a typical role for Davis - she plays it perfectly though - a little restrained and subdued. Bette Davis and Mary Astor reworked much of the script and according to what's been written about the making of "The Great Lie", director Edmund Goulding, was supportive of his actors changing the script, which is kind of amazing. It may also explain why Davis and Astor have great chemistry on screen together as well. They both understand their characters loves, fears and desires and that of each other.
Grant Mitchell is terrific (as always) in a small part as the anxious worried manager of Astor's, diva Sandra. Lucille Watson (and actor I've always admired and enjoyed) also in a small role which she plays perfectly as Maggie's (Davis) aunt.
But it's Hattie McDaniel who makes the very most of the small role as Maggie's maid, Violet. There's a very moving scene when Pete (Brent) flies down to Baltimore (Maggie's home) and Violet and Maggie have been reading about his marriage to famous concert pianist, Sandra Kovak(Astor). Violet is so loving and protective of Maggie (Davis) as she tells off Pete (Brent) for being thoughtless and uncaring - it's really a powerful scene.
There's also a musical number which seems strange to more "modern" audiences but the music and singing is beautiful. In the past, people did entertain themselves by playing music, dancing and singing. Although I realize the African American roles in this movie (in any Warner film, in any classic American movie and let's not kid ourselves, in most current U.S. movies) are one-dimensional stereotypes but if you look past this, the talent of Hattie McDaniel and her brother Sam (playing Maggie's butler, Jefferson) shines through anyway.
I find the story intriguing in that there are several strong female characters. The dynamic between Maggie, Sandra and Pete is an unusual twist on the typical love triangle. The dialogue throughout is funny bittersweet and occasionally bitchy and a bit over the top (mostly Astor's diva Sandra) but there are characters like this and in real life! Yes, there truly are we've simply become dull and after years of being subjected to mostly mediocre movies forgot what real makes art real and what makes both life and art interesting and real: heart soul passion sincerity and damn good writing and acting.
Mary Astor (Sandra) plays a despicable talented narcissistic manipulative character with the bitchiness and ruthlessness of, many would say, a man. I haven't figured out why it's enjoyable to watch her character's personality unfold in this drama because she never redeems herself.
Astor's Sandra remains true to her narcissistic self to the very end but somehow it works. Astor won best supporting actress for this role and it's easy to see why. For those who only know Astor from The Maltese Falcon, you will be surprised by what a sublime actor she was and still is all these decades later.
To Be or Not to Be (1942)
Deft Delightful & Dangerously Hilarious Nazi Satire
No one else but Ernst Lubitsch could have made To Be or Not to Be. That it's superb and sublime and witty and ingeniously funny cannot be emphasized enough. The film has a great script, direction and cinematography (Rudolph Maté).
While the entire cast shines, Lombard and Benny are absolutely stellar. It's a shame that Benny did not get matched with similarly genius director post-TBONTB is a real shame because with the right director and script he could have gone on to be a film star. Perhaps the fact that much of the story takes place in a theatre and then on the many theatre troupe's "stages" as they foil the Nazis throughout the story, nurtured Benny's own natural unique comedic talent in a way that his other films could not.
And then there's Lombard. Carole Lombard was and still is imho, the best comedic actor other than Chaplin-Lloyd-Keaton-Dressler-Stanwyck. I don't find that the comedians of today can even come close to the previously mentioned comedians. Lombard and Benny play the most perfectly narcissistic clever power-couple seen anywhere in film or real life. That this was Lomabrd's final film before her tragic death (plane crash during a war bond tour) is sad for all of us. Her seduction of the dashing young Robert Stack's Lt. Sobinski and the evil double-agent, Professor Siletski (Stanley Ridges)is wonderful to watch. The petty banter between the egomaniacal husband and wife acting team, the Turas (Lombard and Benny) is equally delightful. Also worth mentioning is Lombard's maid, Anna (Maude Eburne) who has some great lines like, "What a husband doesn't know won't hurt his wife."
While audiences in 1941/42 may not have been able to appreciate this satire,it's worth noting that Roberto Benigni's film Life Is Beautiful (which has a higher IMDb rating) was also criticized for mixing humor in a story about the holocaust when screened at Cannes in 1997. Some people were outraged that Benigni would include comedy in the concentration camp scenes. But the film went on to win several top awards.
Another film which comes to mind mixing war/genocide with comedy in a very skillful way is Arthur Penn's, Little Big Man (1970-based on a novel of the same name by Thomas Berger). I don't know if there were any criticisms of comedy being used in a movie about the genocide of Native Americans but in my opinion, Little Big Man, although a different style than TBONTB, is a superior comedy about a very serious and tragic time in America's history.
I believe these knee jerk reactions to films which show or allude to barbaric shameful historic events are without merit. For it's art which brings light to not only these man-made horrors but illuminates the beauty and power of the human spirit.
Lubitsch's To Be or Not to Be should not be over-looked. It's one of the finest examples of comedy from any era. Plus you get to watch Lombard and Benny at their most sublime.
Downton Abbey (2010)
Super-Style Sans Substance
I'm amazed to find that not only do many Americans give high marks to this badly written, poorly directed, and frequently ham-acted period soap opera but so do plenty of Brits.
For me it's all in the writing, which is awful. Not just that much of the history is incorrect or missing key elements but the characters are never fleshed-out and remain one-dimensional. Plot lines quickly fade away, never to reappear without any just cause. Other plots go on for far too long.
The writing by Julian Fellowes, is surprisingly poor, even for an actor. The obvious lack of research is for me unnerving. Worse than that is Fellowes simply plagiarizes most of the story and even characters. A little Waugh, Jan Struther, Jean Marsh and Eileen Atkins, Coward, Alcott, Forster and Christie to name but a few. Even Maggie Smith's character comes off as one dimensional; a sassy dowager stock character with nothing to offer other than witty one-line barbs.
If Fellowes' name (I only know of him as the writer of Gosford Park - but that film had a strong director, Robert Altman) is enough to get a project green-lighted, surely the production budget allows enough for a script doctor? Downton Abbey is in dire need of one.
And because I am familiar with a few of the fine actors in Downton Abbey, watching them wrestle with a weak script and simply terrible plot lines, it's embarrassing to witness. Only Siobhan Finneran seems to be able to rise above the putrid pablum.
Yes the gowns, jewels, men's suits, complexions, interior sets, exteriors etc...are all gorgeous and beautiful. But that's it. There is nothing beneath the exquisite facade. No substance.
It's incredible how many awards this trash has won in both the UK and US. Downtown Abbey should be shown to screenwriters and playwrights for how NOT to write. It's also incredible that this program scores so highly on IMDb; just unbelievable.
If you like period dramas, Masterpiece Theatre, BBC stuff - you should search out Granada TV's 1981 Brideshead Revisited, PBS' 1970's Upstairs Downstairs (produced by the excellent John Hawkesworth) or Christine Edzard's Little Dorrit (1988), BBC's more recent Bleak House (2005) and Little Dorrit (2008).
Love Affair (1939)
Wonderful
Irene Dunne is kind of forgotten which is a real sadness for me because if you are a fan of classic Hollywood movies you're really missing out on a wonderful actor who is adept at comedy, drama and musicals. She's also sweet to look at and makes other actresses of her time and ours pale in all manners of comparisons.
Charles Boyer is charming and witty - and I feel although his name may be more remembered than Dunne's - extremely underrated. I hope that those who view this film will be compelled to watch his other movies, especially Gaslight and a later movie where I love him most, Barefoot in the Park. I feel it's in this later film his talent shines most.
This film is, as several others have pointed out, is the original, the remakes are An Affair to Remember with Cary Grant and Deborah Kerr, and then the most recent Love Affair starring Warren Beatty, Annette Benning and Katherine Hepburn (in her last screen role). I've never seen the latter but have viewed the former many time and while it's enjoyable much prefer Dunne and Boyer in the original which must have to do a lot with the wonderful director Leo McCarey.
Leo McCarey is an extremely interesting directer because he was versatile and successful at directing popular award winning comedies as well as award nominated dramas (which have now achieved great appreciation).
I would urge anyone who has an interest in classic Hollywood to view this fine film, or anyone who would like to see Dunne at her finest and of course Boyer too. Although as I previously mentioned I'm of the opinion that when Boyer was free of the studio system his talents brilliantly shine through in ways which his earlier roles could never allow. And for anyone curious (and I hope there are many) in the talents of Dunne and director McCarey.
Even if the print is off (which others have noted) it does not inhibit the fabulous talent of director and stars. It's a wonderful film and worthy of loving attention and adulation. My wishes and hopes are that more film lovers will open their hearts to a forgotten film like the original Love Affair. After all, there's a good reason why Hollywood wanted to remake not once but twice - it's a gem.
Gothic (1986)
Beautiful Film
This is the type of film which makes you fall in love with movies. Ken Russell is a master filmmaker and one which always captivates, delights and challenges the viewer. I was lucky enough to catch him in Philadelphia in the 90's where he was given a filmmaker award for excellence in film. He's as interesting, humorous and intelligent as his movies.
Other films by him I highly recommend WOmen in Love (1969), Lisztomania (1975), Altered States (1980), Salomé's Last Dance (1988), The Lair of the White Worm (1988), The Rainbow (1989) and there are probably many others - including his work for British TV - but I've yet to see them yet unfortunately.
Gothic is a film which will enthrall, engage and frighten the viewer with excellent acting from ALL the actors - support and lead. Sad that this was Richardson's first major film and we have been denied the grace of viewing any future projects from such a wonderful actor.
I highly recommend Gothic to any serious film goer. This is the type of film which will make wish to research further information about the main characters. Mary Shelley is brought to flesh through Russell's excellent direction and Richardson's beautifully nuanced intelligent interpretation.
Crash (2004)
Trash & Burn: Or how I learned how NOT to make a movie
This is by far one of the very worst movies I've ever had the displeasure to view. It was so bad I was laughing out loud during scenes which the awful writer-director (Welles he definitely ain't & never will be) I'm certain believed would be 'thought provoking', or 'heart breaking gritty realism'.
It's so very badly written, acted, edited, shot but somehow (amazingly!) somehow this manipulative- pretentious-after-school-special (actually that's insulting to millions of students) got nomination after nomination. I can only imagine that cleverly marketed to the do-gooders of the Hollywood out-of-touch- elite (Please Google George Clooney's acceptance speech where he makes ridiculous comments like 'Hollywood has always been ahead of the curve.' And he reminded us that Hollywood was progressive enough back in the so-called Golden Era of H-Wood to give a black actor an Oscar....eh hmmm....it is for these types of 'petite' racist morons that Crash was made).
If you're even a little aware of American culture please don't bother with this "film" (for lack of a better name). You would do much better watching TCM's specials on African American Films from the Golden Age to current times. Or their more recent month long subject of Asian Images in Hollywood than to throw your money away on this insulting piece of filth.
It's not even offensive to me the "how's" of "how" this crap got made. Misogyny is popular with producers and studio heads and these same important men like to feel as of what they do in Hollywood trickles down to us mere mortals like manna from heaven. These important men like to believe that Hollywood is still relevant as far as social issues and changing times (which we all know hasn't really been the case since the great American cinema of the 70's). These important men also love paying 'homage' to other films. As others have noted Haggis lifts scenes and ideas directly from earlier films like Pulp Fiction and Magnolia. Truly the mark of someone who isn't very talented.
Although I admit it annoys me terribly that lots of money gets thrown into such bad projects like 'Crash'. What is really insulting and offensive is that there are good filmmakers making beautiful and important films and their work was over- looked so that this piece of idiotshiot could get oodles of nominations (I think it even won a bunch - too depressing for me to look up).
Oh and Academy - please stop trying to bewitch me! Matt Dillon can NOT act. He's a terrible actor & us mere mortals know it! He is to acting what Haggis is to directing/writing. Quick note on Haggis: He's a Canadian whose lived in Los Angeles for over 20 years of his adult life and this was his portrayal of Los Angelenos and "realistic" dialogue? No one anywhere out of their Race in America 101 college class is this idiotic and pretentious. Crash is simply trash.
Goodbye Again (1961)
Should Be Mandatory Viewing For Girls Coming of Age
Wow! what a film! I cannot believe I never saw this movie until this evening.
Great performances by all. The script is perfect in my opinion. The cinematography by Armand Thirard is simply beautiful; giving a real Parisian early 60's Be-Bop nuance. Auric's film score is great. Ingrid is in excellent acting form & stunning. Yves plays his character very close to the vest which is exactly how this kind of personality needs to be played. Diahann Carroll is so beautiful & cool as the nightclub singer. Jessie Royce Landis is wonderful as Perkins' mother. I've only seen Anthony Perkins in 3 other films & he in my opinion is always excellent. He was obviously a very intuitive actor & so very gorgeous & I think his incredible looks may have hampered others from seeing his incredible acting talents.
What else can I say without giving away this magnificent story? A must see for all young girls. The ending scene is so moving I couldn't even cry although I understand why so many other viewers wrote that this is a movie where you need to have plenty of tissues handy. It was a shocking film for me to watch on so many levels because it offered exactly what you expected & then it didn't - too true to life in a most poignant way. Heart wrenching - a definite must see.
Layer Cake (2004)
Great Film
I must politely disagree with the previous reviewer who remarked that this film is not as good as 'Snatch' or 'Lock, Stock..' imho this movie is much better in so many ways.....actually in all ways.
First of all the acting is top notch & there is absolutely no pretense. Craig is marvelous as a cool but somewhat 'green' gangster. Colm Meany is fantastic (as always) in the role of the seasoned gangster & George Harris is wonderful as Craig's lefthand man. Kenneth Cranham (Jimmy Price) looked so familiar to me yet I still cannot place him. However, I feel this must be a testatment to his profound gifts as a character actor. He is marvelous as the tactless cruel gangster with a love of fine things.
For me it is the fact that the script of 'Layer Cake' is far superior to the aforementioned films. Perhaps this has something to do with the fact that the original writer, J.J. Connelly wrote both the novel & the screenplay. Or that the director was very much in touch with the writer's vision & also in tune with not only the very capable talents of his actors but of their possibilties which he brilliantly brought to light in this movie.
Michael Gambon's character like his acting prowess, for me, somewhat steals the show. With his extraordinary intelligence, grace & humor - I can't imagine anyone else playing the part. I felt he knew Craig's character (XXXX) better than Craig himself. (Not Craig as an actor but the character which Craig was playing.)
Cinematographer, Ben Davis, does amazing gorgeous thoughtful compelling closeups of several of the film's characters. It reminded me of old movies where the face of the actor imported emotion & feeling rather than dialogue. The film sequence after XXXX (Craig) kills Jimmy (Cranham), where XXXX (Craig) is in the shower, was so absolutely beautiful. I was completely mesmerized by the water droplets cascading off of XXXX (Craig). (Yes! I'm not blind! :) Craig has a great physique but the message of that scene was one of a man trying to cleanse himself of wrong doing. Davis' cinematography is simply gorgeous.)
I felt that the combination of skillful beautiful cinematography, along with clever intelligent direction & an incredible script which all matched the amazing acting abilities & possibilities (which in my opinion all come to fruition) make this a fantastic film not to be missed.