Today I Watched: Blade Runner 2049 (Denis Villeneuve, 2017)

Blade Runner 2049 (dir. Denis Villeneuve, 2017)

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“[D]ecades of speculation and analysis led to extreme self-consciousness. This feels less like a sequel to Blade Runner than like an adaptation of collected critical essays about Blade Runner; everything intriguing has been dragged to the surface and rendered inert. At the same time, the mystery/quest narrative kept making me think of The Da Vinci Code, which I’m guessing is not a comparison that anyone involved in 2049’s making would welcome.” —Mike D’Angelo

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Today I Re-Watched: No Country for Old Men (Joel & Ethan Coen, 2007)

No Country for Old Men (dir. Joel & Ethan Coen, 2007)

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“The kind of apocalyptic moral judgments made in No Country for Old Men represents, I think, a sort of falling away on McCarthy’s part.” —Harold Bloom

Score: 8+ to 8½ out of 10.

Today I Watched: Skyfall (Sam Mendes, 2012)

Skyfall (dir. Sam Mendes, 2012)

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“[T]his is a high point in the Bond film series because the movie is quite a bit better than most Bond films, it’s fun—if you don’t use your brain for thought, it looks outstanding, and it tried to do something different with the character, even though it can’t necessarily be considered a success. This is also a low point in the Bond film series because this is not even a Bond movie. It’s just a stupid, normal, routine, stock, typical, familiar, common action thriller with a lead character who happens to be named James Bond, carries James Bond’s gun, and drives James Bond’s car.”

Score: 6/10.

Today I Re-Watched: Shutter Island (Martin Scorsese, 2010)

Shutter Island (dir. Martin Scorsese, 2010)

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“[Shutter Island] is a dazzling pastiche of a Hollywood movie of the 1940s and 50s, part Gothic horror in the Val Lewton mode of Bedlam and Isle of the Dead and part noir-thriller in the psychiatric cycle that stretches from Hitchcock’s Spellbound to Samuel Fuller’s Shock Corridor, complete with the obligatory dream sequences, expressionist gestures, throbbing undercurrents of guilt and anxiety and bold narrative twists.” —Philip French

Score: 7− to 7 out of 10.

Today I Re-Watched: Catch Me If You Can (Steven Spielberg, 2002)

Catch Me If You Can (dir. Steven Spielberg, 2002)

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Catch Me If You Can is a masterpiece of timing and grace. Fluid but precise. Built like clockwork and with a huge human heart at its core.” —Guillermo del Toro

Score: 9− out of 10.

Today I Watched: Seven Samurai (Kurosawa Akira, 1954)

Seven Samurai (Shichinin no Samurai, dir. Kurosawa Akira, 1954)

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Score: 9/10.
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Today I Watched: The Lady Eve (Preston Sturges, 1941)

The Lady Eve (dir. Preston Sturges, 1941)

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“If I were asked to name the single scene in all of romantic comedy that was sexiest and funniest at the same time, I would advise beginning at six seconds past the 20-minute mark in Preston Sturges’ The Lady Eve, and watching as Barbara Stanwyck toys with Henry Fonda’s hair in an unbroken shot that lasts three minutes and 51 seconds.” —Roger Ebert

Score: 9− out of 10.