Works for your appreciation with gasp-inducing action sequences and an ethos that has fun with its legacy while moving in a new direction.
A deeply moving and very satisfying piece of entertainment that knits up seemingly disparate elements in a tapestry of family pain and pride.
A little bit like a travelogue, a little bit like people-watching, this is simultaneously a relaxing and invigorating cinematic experience. Simply magnificent.
A subtle and striking globehopping ensemble drama of human interactions shaped by sex and love, honesty and deception, allure and retreat.
You already know the score — duh da-duh-da-duh! duh da-duh-da-duh! — but in case you’ve forgotten, The Nutcracker in 3D will attempt to mainline it into your brain, fuel-injecting sugar-plum fairy juice into your festivus lobe at the drop of, um, a sugar plum. If you think that’s a horrendously mixed metaphor, it’s got nothing on this polar-express train wreck…
What is *The Third Man* is no great mystery: it’s one of the greatest expressions of the noir attitude ever committed to film.
Is Antonio Salieri (F. Murray Abraham, in a virtuoso performance he has yet to match) insane? Amadeus opens with an old, bitter Salieri living out his last days in an asylum, where he’s been relegated following a suicide attempt. The film’s story, and the story of his life, unfolds as he confesses to a priest how, and why, he killed Wolfgang Amadeus Mozart.
Once again I am pleasantly surprised by a Hollywood film.