For the first time, Paul Thomas Anderson has produced a film distinguished not merely by his characteristic fascination with the world but by a deep love for it.
Almost Famous is not just a story about falling in love with life’s possibilities, nor is it just a story about falling in love with music; at its heart, Almost Famous is a film about falling in love with writing about music. It’s the story of how a boy became a critic.
Two films featuring Michael Nyman's "Fish Beach" seem so utterly opposed that it’s hard to believe they could share anything at all, but a deeper shared resonance can be drawn out thanks to the particular ways that Nyman’s style of composition works upon picture and viewer.
With Southland Tales, Richard Kelly asked audiences to deal with the bleakest aspects of their current reality via a tonally ambiguous, hyper-taxing, incomplete narrative. When you look at it that way, even its sub-half-million box office take might sound high.