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

Blade Runner 2049 (dir. Denis Villeneuve, 2017)


“[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: Midnight in Paris (Woody Allen, 2011)

Midnight in Paris (dir. Woody Allen, 2011)

Midnight in Paris

“I believe that love that is true and real creates a respite from death. All cowardice comes from not loving, or not loving well, which is the same thing. And when the man who is brave and true looks death squarely in the face … it is because they love with sufficient passion to push death out of their minds. Until it returns, as it does to all men. And then you must make really good love again.”

Score: 8 to 8+ out of 10.

Today I Watched: Skyfall (Sam Mendes, 2012)

Skyfall (dir. Sam Mendes, 2012)


“[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)


“[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: The Lady Eve (Preston Sturges, 1941)

The Lady Eve (dir. Preston Sturges, 1941)


“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.

Today I Watched: Psycho (Alfred Hitchcock, 1960)

Psycho (dir. Alfred Hitchcock, 1960)

“I don’t care about the subject matter; I don’t care about the acting; but I do care about the pieces of film and the photography and the soundtrack and all of the technical ingredients that made the audience scream. I feel it’s tremendously satisfying for us to be able to use the cinematic art to achieve something of a mass emotion. And with Psycho we most definitely achieved this. It wasn’t a message that stirred the audiences, nor was it a great performance or their enjoyment of the novel. They were aroused by pure film.” —Alfred Hitchcock

Score: 9½ to 10− out of 10.