Sublime

Cassavetes's commitment to his two principal characters is complete: his camera never once abandons them-never goes behind their backs to offer an editorial judgment-and we must experience the events of the film as they experience them, as integral blocks of time.

what matters for Ruiz is the beautiful blurrings of sense that his story creates.

Zemeckis and Gale have mastered the first rule of filmmaking: match the style to the substance.

QUINCY: I hear Richard’s has a stash of lithiums, and ten of those super powerful camping flashlights, and they’re going to do a dusk to dark showing of A Streetcar Named Marge, with a spotlight finale at the end. A bit of a pause. JENNY: They can’t keep that up for long. MARIA: Long enough though, right? MATT: It still kills me they’ve got Streetc