Friend and I went to the Astor Theatre to watch this 1981 German film, considered to be one of the greatest war films ever made and probably the greatest submarine film of all time. I’ve no argument against these claims whatsoever.
I’m glad I took a gamble with this young Norwegian singer. I’m very selective with my live gigs these days, and normally I’d hesitate to spend money on someone whose music I don’t know very well, but I just had a good feeling about this one.
In the foreword she wrote for this novel, Christie names Cards on the Table one of Hercule Poirot’s favourite cases. I guess there’s no arguing with the author who is basically God of her fictional universe, but even so it’s a plausible claim. This case depends almost entirely on psychological sleuthing, and there’s nothing that our favourite Belgian detective enjoys more.
This horror film with a beautifully simple premise had many things going for it, but its dramatic shortcomings and a few too many contrivances stopped me from loving it as much as many other people seem to.
Spanish flamenco meets R&B; cinematic French pop; sunlit American country.
I’ve had a mixed experience with Alejandro González Iñárritu films; I didn’t care much for Babel, loved Birdman, and thought that, stunning cinematography aside, The Revenant was overrated as hell. This gritty and raw-as-guts 2000 Mexican drama, Iñárritu‘s first feature film, landed in the “loved” basket, despite being a hard watch.
This charming and entertaining romantic comedy is proof that you don’t need to reinvent the wheel or poke fun at the genre tropes; when done well there’s nothing like Happily Ever After to override your inner realist and leave you with a big smile on your face.