Inside Job (2010)

Any gripes I had with this film taking the Oscar away from "Exit Through the Gift Shop" dissipated shortly after I watched it. There's not much to really say about it besides the fact that it's so fascinating, so sharply written and so informative that it's impossible not to walk away feeling infuriated, and even a bit horrified. A testament to its greatness is that though I knew very little about the roots of the financial crisis going in, I now feel like I know everything there is to be known - the film's just that comprehensive. I'm not going to say I didn't get lost a couple of times, but overall the film does just what it sets out to do, allowing the facts to speak for themselves and intertwining interviews from all sides of the argument that simply strengthen the film's thesis. Finally, "Inside Job" should be considered the definitive example of documentary filmmaking's greatest technique - the "So-and-So declined to be interviewed for this film." I still like "Gift Shop" more as a film but it's obvious that "Inside Job" was the more important and relevant of the two and hopefully its winning raises awareness of the issues discussed in the film.

9/10

The King's Speech (2010)

I have nothing against period films. In fact, as of late, my preconceptions have been proven quite wrong about a lot of them ("Bright Star", for example). Still, it does take quite a bit of prodding to get me particularly excited about seeing one. I knew I had to see "The King's Speech" because of its awards buzz and the three lead actors whom I quite like, but I wasn't as enthusiastic to see it as, say, "Black Swan". It seemed like it could have fallen apart - the World War II subplot seemed stuffy, the "inspirational" subtext a recipe for an Oscar bait disaster. But as usual, I was proven completely wrong - "The King's Speech" is really a treasure of 2010.

The film tells the true story of King George VI (Colin Firth), known more commonly in the film as Bertie, whose speech impediment caused him great angst amongst his family members, his wife Elizabeth (Helena Bonham Carter), and the people of the United Kingdom. After failure after failure with speech doctors, Elizabeth decides to hire a rather avant-garde speech therapist, Lionel Logue (Geoffrey Rush), to try one last time to cure Bertie of his problems. The narrative puts the backdrop of impending war on the progression of Bertie's work with Logue.

Director Tom Hooper realizes completely that film is a visual medium and uses this to his utmost advantage. Every room and costume is impeccably and beautifully designed (to be expected from a period film, after all). Then there's the cinematography - perfectly framing every moment of dialogue, the camera shakes and moves with Bertie, focuses in and out on his quivering mouth as he struggles to get out a word, focuses completely still on a single glance from Elizabeth. The masterful direction is what gives this film such a power - we feel so completely and so perfectly the tension and the frustration when Bertie is stammering.

Another art that Hooper has evidently mastered is that of the montage. The speech exercises montage near the middle of the film is so fun, so revealing, and ultimately, so effective. Later on, as Firth gives the film's titular speech, the combination of Beethoven's music and the use of different shots makes the scene one of the year's best. Speaking of music, Alexandre Desplat does wonderful work as usual, though I consider this some of his lesser work. Of course, it's lovely - and the fusion of Beethoven into the score is smart and moving.

But one cannot even begin to speak of "The King's Speech" without mentioning the brilliant acting on display here, especially from Rush and Firth. Rush gives Logue such subtlety, such nuance and such character that even the smallest eyebrow raise or mouth twitch tells us a wealth of things about his character. His audition scene, near the beginning, is absolutely marvelous and though I haven't seen Christian Bale yet, I'm wont to say that Rush deserves the Oscar. Firth's King George is a brilliantly layered creation and that stammer is perfect. It's as if it comes not from his vocal chords but from the bottom of his soul, from the inner depths of his persona. He uses it more here, less there and ultimately dissolves completely into the character, making us forget he's acting at all.

Overall, "The King's Speech" does exactly what a film is meant to do - it tells a story, a great story, and it tells it with finesse, skill, beauty and charm. It's an ultimately inspiring film that absolutely belongs in this year's Oscar race and will hopefully be remembered for years to come as a period piece that stood up to its hype.

See it: If you're following this year in cinema at all, if you want to be genuinely inspired, if you want to see a couple of the best male performances of the year, or if you like good montages.

Skip it: If you'd go solely for Helena Bonham Carter. She's quite fabulous as usual, but the film doesn't give her too much to do - this is Firth and Rush's movie.

9/10

Thirty-Two Short Films About Glenn Gould (1993)

It's a bit embarrassing to admit that even though Glenn Gould is one of the hugest icons in the world of classical piano, my knowledge of him has always been relatively scarce. Of course, I'd been familiar with his recordings, especially those of Bach, as they are considered some of the finest in existence; and I was marginally familiar with some of his legendary quirks - namely, his compulsive aversion to performance and the trademark humming present in his playing. However, it was not until I finally watched Francois Girard's film "32 Short Films About Glenn Gould" that I was truly educated on the mysterious and ultimately fascinating figure that is Glenn Gould.

The film is pretty much in accordance with its rather descriptive title - the entire film is composed of thirty-two extremely short segments that together create an all-encompassing biopic of Glenn Gould's life. In reality, each of the segments is really less of a "short film" and more of a vignette, and each highlights a different aspect of Gould in a unique manner. Some of the segments are actual interviews with people who knew Gould, some are animations, and many are slightly more "traditional" biopic style portraits starring Colm Feore as Glenn Gould.

Far too often, biopics try to employ some kind of a structural gimmick to paint a full picture of their subject and they fail to either successfully execute the ambitious style or to tell a compelling story. However, "32 Short Films" is not one of those films. The style, which at first may appear like a cheap gimmick (since it is inspired by Glenn Gould's most famous recording of the 32 Goldberg Variations), actually works brilliantly to emphasize every fascinating piece of Gould's persona. And even while it's covering so many topics, it never feels overwhelming - in fact, each segment is just short enough for you to still want to know a little bit more, and this longing is what makes the film truly succeed as a whole. Glenn Gould is, in essence, someone who we can only know about through fragments and this film's fragmented structure preserves that sense of mystery.

Another necessary thing that the film does completely right is the integration of Gould's recordings into each of the short films. Each segment usually highlights one or two of his recordings and this aspect, perhaps, gives the film more emotional resonance than any other. Additionally, the transition of using his Baroque recordings in the first half to using the recordings of 20th century composers like Hindemith and Prokofiev in the later shorts is another subtle but perfect detail that truly heightens the power of Gould's transition into paranoia and illness.

The simple short "45 Seconds and a Chair", which is, surprisingly, 45 seconds long, simply features Bach's A Minor invention and one shot of a man sitting in a chair, simply listening to the piece. The simplicity of the music versus the listener makes this particular short one of the best and most memorable in the whole film.

Another standout is "Hamburg", in which we see Gould's chambermaid (Kate Hennig) react to a recording. Hennig's face is so expressive as she seems to live through all of her memories in the music. It's fantastic to witness, and one can relate to that sense of emotion since the music is so ridiculously wonderful. Of course, there are so many other fantastic shorts that I could rave about - "Practice" and "Passion According to Gould" are thought provoking and brilliantly directed and "Questions With No Answers" is really fascinating.

It's hard to find fault in the film, though its structure does prevent one from becoming completely emotionally involved. And, like most movies of this style, there are a few shorts that don't work quite as well as the others. However, overall the film is an absolute triumph. It's a fascinating, beautifully crafted and all-encompassing portrait of an absolutely essential figure in the history of music.

See it: If you even remotely like classical music. If you know nothing or everything about Glenn Gould. If you appreciate fantastic and memorable acting in small roles (Kate Hennig, what a performance!).

Skip it: If for some bizarre reason, you hate Canadians? Or if you cannot stand Classical music. I strongly disapprove of both of these reasons...but, hey. Haha.

9/10

Exit Through the Gift Shop

Documentaries are difficult to judge, and the more and more I see the less I really know how to critique them. It seems like even the most poorly edited, lazily made documentary can be fascinating if it's based on the right subject matter. On the other hand, one watches a movie like "The Cove" (a brilliant, brilliant documentary), which not only features a compelling topic, but is wonderfully crafted, and realizes how effective the documentary can be.

I felt like I really witnessed something like that when watching "Exit Through the Gift Shop". The film is a documentary directed by infamous street artist Banksy, which begins by seemingly being a documentary about the general street art movement and then moves seamlessly into the biography of "Mr. Brainwash" - formerly Thierry Guetta, a compulsive cameraman who previously followed and filmed street artists and then became himself an overnight sensation in the art world.

What makes "Exit" work is that does everything that a documentary should do, and it does it perfectly. First of all, it features a very interesting and little-known topic (the world of street art). Secondly, it also spotlights two extremely complex people - Thierry (who is easily one of the most interesting figures in this year of cinema) and of course, Banksy himself. Finally, it is perfectly edited, a must for any documentary. The film seamlessly blends footage of the creative process of the street art, talking head interviews, and narrative content to create a fast moving, constantly absorbing 86 minutes that, while tackling several topics, never once becomes unfocused.

Unlike this year's other famous doc "Catfish", which was certainly entertaining and compelling in its own way, "Exit Through the Gift Shop" does not rely on any gimmick to keep the viewer interested - it succeeds solely on its quality as a film and its perfectly highlighted subject. Of course, there is the ever-circulating question of its validity. I personally think that it's real - however, like I said about "Catfish", even if it wasn't, it would still be a fantastic film that not only educates but makes an interesting statement on what art really is. And did I mention that it's actually extremely funny as well?

I know it's been said time and time again by bloggers, audiences and the critics' awards groups but I'll add my accolades to the pile - "Exit Through the Gift Shop" is ridiculously interesting and a true testament to what a documentary should be.

See it: if you're interested in art, great documentary filmmaking, human psychology, or mysterious British dudes.

Skip it: if you think street artists are vandalizing punks. Grrrr.

9/10

(By the way everyone I'm trying something new with the "see it skip it" thing. I'm thinking about making it a consistent review feature. Like? Dislike? Opinions below!)

Incoherent Ramblings Regarding "Black Swan"

Because I cannot even begin to wrap my head around it enough to write any kind of formal review, I decided to do this instead. It's like, a review, minus all that stuff you learned in English class about development and paragraphs and stuff! Bahaha.

• After the movie ended, a very candid woman behind me loudly exclaimed: "What the HELL was that?!", which gave me a giggle. Speaking of giggle, during a scene that, at the time, I thought was particularly serious, a woman near the front of the packed theater began laughing hysterically. It was a little awkward though it did cause me to see the obvious humor that existed during that shot.
  
  
• I know I'm totally the first one in the whole world saying this, but, Natalie Portman basically knocks it out of the park. In fact, hers is probably my favorite female performance this year. I never once saw her acting - I simply saw Nina Sayers onscreen, and I was totally immersed. Her descent into madness is perfectly timed and brilliantly executed. And how about that scene where she was on the phone with her mom in the bathroom stall? Oh my goodness. That was just so...so perfect.
  
  
• The supporting cast is great too even though this is obviously about Nina, and nobody else. Mila Kunis (who was kind of awesome) is seductive and mysterious without being cliche, Hershey is scary and overbearing without being irritating, and Cassell is sultry and egotistical without being stupid.
  
• But my personal favorite in the supporting cast was Winona Ryder. She gets her own whole bullet point! As I was thinking about it today, I think her total screentime was probably about 5 minutes (if even that) and in that time she probably only says about 3 lines, but even so I left the movie with her character having left the greatest impression on me. As Beth, the past her prime dancer, she evokes so much in just the way that she carries herself, the way that she speaks, the looks in her eyes. She was just so captivating to behold.
  
  
• Um, technically, this movie is kind of perfect. The cinematography is absolutely gorgeous, and the score...ah, ah, ah the SCORE. Thank you Clint Mansell, for being freaking awesome once again. The way that the score seamlessly intertwines with Tchaikovsky and the way that it could stand alone as its own ballet music is just...so...wonderful. It heightens the emotion in every scene and is so perfectly orchestrated.
  
  
• I was effin' scared during this movie. Like, the most scared I've been in a LONG time at the movies. Maybe even ever. Though I haven't seen a lot of scary movies. But I was seriously clammy the whole time. I also felt kind of sick for the rest of the day after watching it - though that's probably the fault that all I ate all day was a bagel and a sandwich from Starbucks. Not the most stomach-friendly choice. Hehe.



• Personal Story: A couple hours after I saw this, I had one of the more rigorous piano lessons I've had in quite some time, and I just kept thinking about the movie, and how Thomas was like, intensely coaching Nina and how she was getting all stressed and I kind of related. Okay, I don't know if anyone can fully relate to this movie, but the theme of a relentless pursuit of success and how it can affect your persona really resonated with me.
  
  
• I loved it.
  
  

9/10

I Finally Saw "The Social Network"!

I know, I know, I'm always behind everybody else. But, hey, I saw it a couple days ago, and I loved it! It lived up to the hype, and then some. It's intelligently written, witty and complex without being cold, it's thrilling and engrossing without losing the human spirit at its center. The ensemble acting is fabulous, Jesse Eisenberg gives his best performance since "The Squid and the Whale" and Andrew Garfield was just wonderful. So much heart. I also want to mention that Rashida Jones was lovely, in her teeny-tiny role. Besides that, I can't really say much more that hasn't already been said, except that I also found the score very, very notable. It was unique, interesting and modern - one of my favorites of the year so far. Anyway, if you haven't seen it yet, go now, because it lives up...and this is going to sound cliche, but seriously, you'll never look at Facebook the same way again! Muahahaha.

9/10

Wendy and Lucy (2008)

Not much can be said about this film besides the brilliance of Michelle Williams as Wendy. After all, the story is rather limited - in so many words, it's basically Wendy screaming for her dog the entire time - yet, somehow, thanks to Williams and the director, Kelly Reichardt, it works so well. Williams is SO effin' good in this movie! Add her to the growing list of horrible Oscar snubs in 2008, because she gives one of the best performances of that year, if not the entire decade. She inhabits so completely this character - even the way she walks is brilliant. It's really remarkable, how wonderful Williams is. Also, I think something should be said for all the bit-part actors. I feel like in these one-man-show indie films, the supporting players are usually not that good, but in this film, they were all quite impressive! So, despite being somewhat limited, it works so, so well and everything feels so real. What an achievement.

9/10

Tropic Thunder (2008)

This was easily one of the funniest movies I saw in a long time. Also, it was extremely creative - the way that it began with the faux-trailers was just brilliant, and though it's a narrative cop-out it works just perfectly. The entire cast works with each other perfectly, and Robert Downey Jr. and Tom Cruise were definitely worth the buzz. Of course, sometimes I feel like the humor went just a bit too far over the top - when Ben Stiller was messing with the dead director guy's head, for example. I'm also just not the hugest fan of Stiller in general. Nonetheless, though this is no life changing work of cinematic magic, it completely achieved its goals as a crazy comedy with a cinephilic sense of humor.

9/10

Now Playing: Scott Pilgrim VS The World

"Scott Pilgrim" was probably one of, if not THE film I wanted to see the most this year. Ever since I watched the first trailer, I was engrossed by what looked to be an exciting, funny, and creative movie, one that would fit me perfectly. Well, after finally seeing it, I can say that it lived up to my expectations and so much more.

The film follows the titular Scott (Michael Cera, of course) a 23 year old living in Toronto. He's in a band, he has an awesome gay roommate, and he's dating a high schooler...until he falls in love with the girl of his dreams, Ramona Flowers (Mary Elizabeth Winstead). Little does he know that he will have to fight her seven evil exes in order to truly be able to win her heart. Craziness ensues!

This was truly one of the most fun experiences I've had at the movies in a long time. First of all, "Scott Pilgrim" is extremely well written and it is very, very funny. There are literally dozens of lines that remain quotable even a few days after seeing the movie ("I'm BI FURIOUS!" "I'm in lesbians with you" "YOU PUNCHED THE HIGHLIGHTS OUT OF HER HAIR!" "Don't you know, Todd's VEGAN."), and past that, there are so many visual and auditory gags that just leave you rolling in your seat asking for more.

Of course, this hilarity is helped heavily by the stellar cast. Michael Cera does his best work since "Juno" here, but the supporting cast is truly worth noting. Each of the exes is played perfectly, especially those of Chris Evans, Mae Whitman and Brandon Routh. Kieran Culkin and Anna Kendrick are both scene stealers, and Mary Elizabeth Winstead does a great job of giving her character multiple layers. I loved seeing Brie Larson, who was obviously having a ball with her role, and the Sex Bob-ombs and Audrey Plaza were comedic gold. However, if there was a best in show, it would probably be Ellen Wong, whose Knives Chau was both ridiculously cute, hysterically funny, and heart-meltingly sensitive.

Edgar Wright's accomplishments with the style of this film can NOT be understated. The comic book/video game visuals were absolutely marvelous and so unlike anything else. They were seamless and made the movie just that one bit better than most others of its genre. The fight scenes as well benefited from this, as each was so engaging, different from the last, and well put together. Incidentally, I feel this movie succeeds more in the action department than Inception.

Sure, it's not the greatest movie of ALL TIME! Nor is it a movie that everyone will like, or appreciate, or understand, or even want to see. I'm the target generation who grew up with the comics and video games that it's paying homage to. It's not any piece of powerful, thought-provoking cinema but it is sure as heck one of the most entertaining movies I've seen in a long time. And to find such a funny, sincere movie with characters that actually mean something is a rare occurrance.

9/10
(I'd give it a 10 because I loved it that much, but it really isn't a 10 movie. Hehe!)

P.S. I'll be first on the bandwagon of campaigning this movie for Oscars in Editing, Art Direction, Sound Editing and Mixing, and Song. I would wishfully think it had a chance at Best Picture and Screenplay but that ain't happenin. :P Anyone else with me on this?

Paper Moon (1973)

I'm beginning to realize a fondness I have for Peter Bogdanovich. A long time ago, I sang praises for "The Last Picture Show", and now, after seeing "Paper Moon", I just have more and more good things to say. So prepare yourselves!

"Paper Moon" is an adorable comedy about a young, stubborn girl in the 30's named Addie (Tatum O'Neal). The movie begins at her mother's funeral, where the con-man Moses Pray (Ryan O'Neal) comes to pay his respects. The adults at the funeral tell Moze to take Addie with him, to her aunt's house in Missouri. He reluctantly accepts, and as they go along, he begins to realize that she's just as good a con artist as he is...and we begin to wonder if perhaps he is really her father.

The film is just irresistibly cute, from beginning to end, mainly helped by Tatum O'Neal's lovely performance as Addie. Her comedic timing is just impeccable for someone of her age...her "I want my 200 dollars" scene is just perfect. There's just something about her, a sort of wiseness, that you can feel, that sets her apart from the typical child actor. She was completely deserving of her Oscar win (though she was really a leading role).

Madeline Kahn and Ryan O'Neal both also give very good performances, helped by the sharp and multi-dimensional script. The script gives each character just enough backstory for them to work with and yet it never gets in the way. It's amazing to think of what Madeline Kahn's character must have been thinking during her monologue in the tall grass with Addie, in which she makes a very personal confession. Additionally, the screenplay balances hilarity with the necessary drama, and it's perfect.

Bogdanovich does the film in black-and-white just like "The Last Picture Show", which is a perfect technique for the film. It juxtaposes the whimsical story with the stark desperation of that time period which is a very strong technique. There's something to be said for the fact that my entire family loved the film - even my elementary school brothers adored it.

If you haven't seen it, "Paper Moon" is definitely worth your time. It's a wonderful little film that contains a spectacular child performance from Tatum O'Neal and the entire piece is just lovely. It's hilarious, light, and nearly perfect.

9/10

Paprika (2006)

As a huge fan of anime and Japanese cinema in general, Satoshi Kon is a director that really intrigues me. "Paprika" is Kon's most recent feature film, and in it he has perfected the non-linear narrative and lush visual design that he showed in earlier films such as the masterpiece "Millenium Actress".

It's useless to try to describe the plot of "Paprika". There is one, a rather obvious one, that revolves around the theft of a machine that allows the user to enter people's dreams. The titular Paprika is the alter ego of a researcher who is working on the device. However, this movie is not about plot. Really, the storyline is simply a device used to procure the visual mastery that the film exhibits.

And what a spectacle it is! The film is constantly spinning in and out of dream sequences (half the time you don't know whether it's dream or reality) and from the very opening sequence where Paprika is running through the city shifting in and out of images, Kon exhibits a virtuosic command of the visuals. Color and symbolism are used to create excitement and suspense, and often times the visuals are extremely frightening, as though the viewer is experiencing the nightmares of the characters.

The music is also pretty perfect - the technological score by Susumu Hirosawa is perfectly fitted for this futuristic thriller. All of the technical aspects of the film are weaved together brilliantly to create the dreamlike tone of the film.

Perhaps the film ends a bit too soon, and the pacing is not always perfect, but despite being confused I was never alienated from the action and always felt like I knew what was going on. It was basically like a dream: nothing is normal but it all feels so right.

I don't necessarily love "Paprika" as much as Kon's other works (especially "Millenium Actress") but with this film he has created an exciting and nearly perfect study of dreams and of the human mind, accented by visual spectacles and ridiculously awesome music.

9/10

All the President's Men (1976)

It's rare when a movie comes along with the perfect combination of having an amazing cast, a fascinating source material, and impeccable direction. Needless to say, "All the President's Men", which has all three of those things, is a nearly perfect film.

The story of the film, which is based on a true story, is extremely interesting. It follows two Washington Post journalists (Dustin Hoffman and Robert Redford) as they fight the odds to reveal the truth behind the Watergate Coverup.

Their investigation leads them into a world of secrets, nobody wants them to publish their story, nobody wants to go on record, and they have to deal with all of this in order to get the truth to the world before it's too late.

Perhaps the best thing about this film is how natural it all feels. The lines are delivered (or written?) with just enough pauses and "ums" that it feels perfect, like you're watching the events actually unfold. Every actor completely inhabits their roles and the editing make the actions quick, exciting and sharp. I especially liked Dustin Hoffman. He really, really stole the show in my opinion.

The only performance I wasn't completely convinced by was Jane Alexander...she wasn't bad, I think she just underwhelmed me because of her Oscar-Nominated status. Plus, her character wasn't given a lot to do.

"SIX. MILLION. DOLLARS."

But I haven't even mentioned the intense art direction...that Washington Post Office has got to be one of the most well designed sets in movie history!

The issue...if there is one, with this movie, is that everything happens so fast that it's often hard to follow. Thus, it sort of alienated me. Its emotional content isn't really deep either, so on an emotional level I had a hard time connecting.

However, the story is just so fascinating. The fact that all of this stuff actually happened, that these two reporters basically single handedly brought the truth about Watergate to the public, is just amazing. It really makes me want to read the book.

So, by taking an absolutely engrossing story, making it completely natural and turning what could have been a boring office drama into an exciting political thriller, "All the President's Men" is certainly a must see film, despite its low emotional content.

9/10

Chicago (2002)

From what I heard about this movie, I thought it was going to be terrible! But I was pleasantly proven wrong. I loved it. It's everything you could ever want in a musical - great singing, catchy numbers, brilliant choreography, flashy costumes, tight editing, beautiful cinematography...I could go on forever the praises of this film. Zellweger is best in show, I think. Zeta-Jones does great in her musical numbers but her regular acting scenes do leave a bit to be desired. Overall though, an amazing movie that doesn't deserve the bad rep it has!

9/10

The Third Man (1949)

This post is for the 1001 Movies Club. Go over there and read what people said about this and other films!

"The Third Man" is an exciting and intriguing piece of film noir that follows a writer of insignificant novels, Holly Martins (Joseph Cotten) as he tries to piece together the death of his friend in Vienna, who was killed in an "accident" that Martins believes was actually murder. It's a perfectly mysterious and amazing plot that provides an excellent basis to the film.

The greatest part of this film is the absolutely stunning cinematography. Every shot, every angle, every light and every shadow is just so perfect that I was simply awed by every frame that my eyes absorbed. Also, the music was extremely unique - not the usual dramatic orchestral soundtrack that accompanies films of this era, but a folksy, almost jolly guitar-like score that definitely makes this movie something special.

I can't say that there's a lot wrong with this film, though it's still extremely fresh in my mind (I finished it like, an hour ago) so it's sort of difficult to write a really thorough review on it. However, I guess I could say that I just didn't feel completely emotionally absorbed in the story. My brain was totally active but my heart wasn't really anywhere in it, which usually bothers me though this film was so perfect that I totally forgive it for alienating me. Plus, that last shot could make me like any film...

Ahhhhhh.

So there you have it. "The Third Man" is certainly not my favorite noir, but it's deservedly a classic, and oddly enough I quite loved it despite its inability to fully capture me emotionally. It truly is a film you must see before you die, if for nothing else but that cinematography! Ohhhhhhh.

9/10

What did you think of "The Third Man", or film noir in general? Or do you just want to complain about my lackluster review? Go crazy in the comments!

Gosford Park (2001)

I almost feel wrong in reviewing "Gosford Park" after having seen it only once. In fact, as ashamed as I am to say this, it's the first film I've seen by Robert Altman...and after having seen it, I am blown away by it.

I can't really describe the plot, simply because there are so many little tiny stories all going on. Basically, the movie is a murder mystery at a country house- but the murder doesn't take place until almost 3/4 through the movie.

No, the big thing about "Gosford Park" is the intertwining of the stories that each of the innumerable characters has, and the struggle between class differences. And, in only 2:18, Altman is able to successfully tell each character's individual story fully and completely. Each character is developed brilliantly, each scene is perfectly needed, and every performance is brilliant.

I particularly loved Maggie Smith and Helen Mirren of course - the two Oscar nominees that came out of this movie. Smith is delightful and irresistible (think...Judi Dench in "Shakespeare in Love") and Mirren is so brilliantly subtle. But there are so many other noteworthy performances. Tom Hollander and Emily Watson particularly stood out to me, and the magnificent Kristen Scott Thomas proves her prowess once again.

Anyway, I unfortunately can't say much more about the movie - it's really a film that I feel I need to see again and, on top of that, that cannot really be described fully in a meager blog post. I will say that you must be prepared - it's slow moving, though oh so rewarding. I don't know if I absolutely adored this film with my heart, but from a film perspective, it's easily one of the most well made and intriguing movies I've seen in quite a while. I'm still amazed at how easily it put together all those characters.

9/10