Comments on: TIFF and NYFF screenings, from best to worst http://alsolikelife.com/shooting/2008/10/tiff-and-nyff-screenings-from-best-to-worst/ Rounding up the last of the 1,000 greatest films of all time (banner: The Far Country [1954, Anthony Mann]) Follow on Twitter: alsolikelife Wed, 10 Mar 2010 20:54:58 -0700 http://wordpress.org/?v=2.8 hourly 1 By: Tad http://alsolikelife.com/shooting/2008/10/tiff-and-nyff-screenings-from-best-to-worst/comment-page-1/#comment-28807 Tad Sun, 26 Oct 2008 19:33:28 +0000 http://alsolikelife.com/shooting/?p=356#comment-28807 Count me as one of Benning's fans. It's so cruelly difficult to see his films, though. Sigh. Been looking forward to the new Kore-eda for a long time. And we didn't even get OPERA JAWA, and Nugroho's LEAF ON THE PILLOW is a stunner. Count me as one of Benning’s fans. It’s so cruelly difficult to see his films, though. Sigh. Been looking forward to the new Kore-eda for a long time. And we didn’t even get OPERA JAWA, and Nugroho’s LEAF ON THE PILLOW is a stunner.

]]> By: davis http://alsolikelife.com/shooting/2008/10/tiff-and-nyff-screenings-from-best-to-worst/comment-page-1/#comment-28638 davis Thu, 23 Oct 2008 03:34:25 +0000 http://alsolikelife.com/shooting/?p=356#comment-28638 Whose breath is saying that nary a character in <i>Rachel Getting Married</i> is likable? That's an odd claim. Desplechin's characters are humorously nasty, but I think the final exchange between Deneuve and her son is almost tender. 'Cept for the words. I saw the Mike Leigh film reluctantly. I figured it would be fine but ... I'm not sure why I can't muster much enthusiasm for his films. But now I keep thinking about the way Sally Hawkins' seeming cheerfulness is contrasted at every turn. It's a interesting study of modes and moods. Whose breath is saying that nary a character in Rachel Getting Married is likable? That’s an odd claim. Desplechin’s characters are humorously nasty, but I think the final exchange between Deneuve and her son is almost tender. ‘Cept for the words.

I saw the Mike Leigh film reluctantly. I figured it would be fine but … I’m not sure why I can’t muster much enthusiasm for his films. But now I keep thinking about the way Sally Hawkins’ seeming cheerfulness is contrasted at every turn. It’s a interesting study of modes and moods.

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