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Parallax View’s Best of 2011

Welcome 2012 with one last look back at the best releases of 2011, as seen by the contributors to Parallax View. Critics listed in reverse alphabetical order

Andrew Wright

(as posted at Salt Lake Weekly)
1. Melancholia
2. Rise of the Planet of the Apes
3. Cave of Forgotten Dreams
4. 13 Assassins
5. Drive
6. The Tree of Life
7. Take Shelter
8. Hugo
9. The Descendants
10. Stake Land

Bruce Reid

1. World on a Wire: The gleaming surfaces and monotone bureaucrats are a dig at 2001. The eternally recurring reflections are Fassbinder’s own, Dietrich and gay hustlers and rapacious businessmen stalking a virtual Germany warped by funhouse mirrors. Giddy, heartbreaking, endlessly inventive, and (forget the copyright) absolutely of-the-moment.

2. Tree of Life: It’s not the brutal slaps of nature that birthed you, nor the ways of grace so ethereal they threaten to float away to the sky. It was both of them, and everything else. Malick’s illimitable camera summons grand and mysterious creative forges ranging from cosmic fires to a grandfather’s face.

3. Hugo: The first few reels (those gears; those pipes; the city so close you could reach out and feel its pulse) are so marvelously dense and rich they’re practically retraining you to see in a new way. Which I suspect is pretty close to Scorsese’s personal definition of cinema to begin with.

4. A Dangerous Method: In the past (Spider, Crash) Cronenberg has flung sperm at the camera; here he’s captured by the silky gleam of hymenal blood. Which is less feminism than a sign things have forever changed. A chronicle of dangerous plagues coming to ravage the 20th century: as new as Freud’s talking cure, as ancient as anti-Semitism.

5. Certified Copy: I’d always found something monstrous in Kiarostami’s serenity, a hint of disinterest so profound he could find driftwood as fascinating as people. This study of flowing identities, both playful and devastating, corrects my misapprehension; it’s the drift itself that captivates him, and how we’re all dragged along by the surf.

6. Take Shelter: The first great horror film of post-prosperity America, where job insecurity and HMOs and government therapists fuel the nightmare no less than the claps of thunder or the ominous skies. Almost the polar opposite—in style, in effect—from Nichols and Shannon’s previous collaboration; which suggests they’re capable of anything.

7. Mysteries of Lisbon: The best joke of the year is how the final revealed history in Ruiz’s delightful rebuff to stately period dramas bears no relation to the first, but was entirely dependant upon it all the same. One last labyrinth from the master, the paths this time laid out in human lives.

8. The Girl with the Dragon Tattoo: Fincher’s breakneck pace has assumed a frictionless confidence that gives you a heady, almost comic charge to see. Which might seem entirely the wrong tone here, but brings a much-needed fleetness to the exposition while making the horrors ever more jarring.

9. Contagion: Its narrative propelled so breathtakingly by the actors plenty and Martinez’s score, Contagion’s emotional heft can be overlooked. But this is a shattering argument for grief as our overwhelming commonality, and a lovely salute to those brave enough to suit up against it when needed.

10. Tinker Tailor Soldier Spy: So guarded and chill you barely notice its beating heart. Till it surges, and wrecks nearly everyone forced to live lives so rigorously, ruthlessly compartmentalized.

Kathleen Murphy

(as posted on MSN Movies)
1. Melancholia
2. The Artist
3. Tinker Tailor Soldier Spy
4. A Dangerous Method
5. The Tree of Life
6. Certified Copy
7. Uncle Boonmee Who Can Recall His Past Lives
8. The Descendants
9. Drive
10. Meek’s Cutoff

See also MSN essay on A Dangerous Method

Richard T. Jameson

My list submitted to on Dec. 9 could just as well have had some of these titles on it. In some cases their omission was chiefly a matter of my not having got round to a second viewing that likely would have put paid to any reservations I harbor. Worthy films all, and enough of them to make the year a better one than it felt like from week to week, month to month. Order here is random:

The Tree of Life
Le quattro volte
Uncle Boonmee Who Can Recall His Past Lives
A Separation
Of Gods and Men
Midnight in Paris
Stake Land / Small Town Murder Songs

Midnight in Paris is the only one I hadn’t seen by Dec. 9.  Still haven’t seen Poetry, Mysteries of Lisbon, Film Socialisme, The Road to Nowhere….

See also list on MSN, and essay on Tinker Tailor Soldier Spy

Robert Horton

(as listed at The Herald)
1. Tinker Tailor Soldier Spy
2. Certified Copy
3. Melancholia
4. A Dangerous Mind
5. Meek’s Cutoff
6. Drive
7. Uncle Boonmee Who Can Remember His Past Lives
8. Poetry
9. Into Eternity
10. The Descendents / Le Havre

See also his list at indieWIRE

John Hartl

Not necessarily the best movie of 2011, but certainly the one that most memorably captured the pervasive sense that the planet is going to hell, was Jeff Nichols’s hauntingly ambiguous doomsday drama, Take Shelter. Michael Shannon gave another of his Cassandra-like performances as a distraught family man who has apocalyptic visions that may or may not be tied to reality. Duncan Jones’ Source Code used its Groundhog Day plot to imagine another kind of catastrophic future. J.C. Chandor’s brilliantly cast Wall Street tale, Margin Call, fictionalized the Lehmann Brothers disaster into a showdown between casually wicked Jeremy Irons and the only slightly less evil Kevin Spacey. John Sayles went back to the turn of the last century to reveal another form of duplicity in Amigo, his best work in years. Lu Chuan’s City of Life and Death transformed the 1937-1938 Nanking massacre into an astonishingly reflective drama. Andrew Haigh’s Weekend used Brief Encounter as the inspiration for an affecting gay love story, while Chris Weitz’s A Better Life lifted the plot for The Bicycle Thief and set it in East Los Angeles. Alexander Payne’s The Descendants deftly transformed its Hawaiian setting into something less than paradise. Among the year’s most provocative documentaries were James Marsh’s Project Nim, about a chimpanzee raised (and sometimes enraged) by humans, and Kenneth Bowser’s carefully researched Phil Ochs: There But For Fortune, about the epoch-defining 1960s singer whose ambitious activism was ultimately overwhelmed by his self-destructiveness.

A Second 10: Arthur Christmas, The Artist, Incendies, Moneyball, Hugo, Beginners, Vito, Le Havre, Tinker, Tailor, Soldier, Spy, and about two-thirds of The Tree of Life.

Award-winning movies that have yet to be shown in Seattle: The Iron Lady, A Separation, Carnage, Pariah, We Need to Talk About Kevin, Margaret, Coriolanus.

Sean Axmaker

The first three films could swap spots without much anxiety on my part. In the arbitrary, often shifting border between aesthetic principle and personal appreciation, I choose to honor the passing of Raul Ruiz and favor my predilection for labyrinthine storytelling and cinematic weaves of character and narrative across time and space, which Ruiz accomplishes with such grace and beauty I find myself in awe of his art and his insight into human nature and the contradictions that define us.

Three of the films on my list I first saw in 2010, and I construct this list without having seen two films which, by all accounts, are among the year’s best: Margaret, which did not screen in Seattle and which did not play as the film festivals I attended, and A Separation, which screened for critics opposite an end-of-the-year deadline. The rest of the choices and absences are all on me.

1. Mysteries of Lisbon (Raul Ruiz)
2. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)
3. Certified Copy (Abbas Kiarostami)
4. Meek’s Cutoff (Kelly Reichardt)
5. Poetry (Lee Chang-dong)
6. The Descendents (Alexander Payne)
7. Take Shelter (Jeff Nichols)
8. Le quattro volte (Michelangelo Frammartino)
9. The Tree of Life (Terrence Malick)
10. Hugo (Martin Scorsese)

Ten More (in alphabetical order): The Artist (Michel Hazanavicius), A Dangerous Method (David Cronenberg), Drive (Nicolas Winding Refn), Le Havre (Aki Kaurismaki), Melancholia (Lars von Trier), Of Gods and Men (Xavier Beauvais), The Princess Of Montpensier (Bertrand Tavernier), Road to Nowhere (Monte Hellman), The Skin I Live In (Pedro Almodovar), Tinker Tailor Soldier Spy (Tomas Alfredson)

I also very much appreciated a year of smart, well-crafted and clever genre films – Attack the Block (Joe Cornish), Limitless (Neil Burger), Rise of the Planet of the Apes (Rupert Wyatt), Source Code (Duncan Jones), Stake Land (Jim Mickle) – and one marvelous mess of a personal project: Sucker Punch (Zack Snyder).

See also lists on the MSN and Village Voice polls and essay on Certified Copy, plus a uniquely Seattle-centric survey of Top Ten cinematic events for Seattle Weekly.


Video: 2011 Film Critics Wrap at the Frye (Robert Horton, Jim Emerson, Kathleen Murphy, Andrew Wright)
Audio: Robert Horton, Richard T. Jameson and Kathleen Murphy discuss the movies of 2011 on KUOW.
Village Voice / LA Weekly Film Poll
indieWIRE Critics Survey
Movie City News Top Ten List compilations
BFI 2011 Critics Poll
Senses of Cinema 2011 World Poll
Best Movie Posters of 2011 (Adrian Curry)
Last year’s lists: Parallax View’s Best of 2010
David Bordwell and Kristin Thompson’s Top Ten films of 1921
and the 25 Films chosen for the National Film Registry in 2011

The Best of 2011 on MSN

MSN Movies published its annual Best of the Year poll this week, featuring Top Ten lists from thirteen MSN writers including a trio of Parallax View contributors: Richard T. Jameson, Kathleen Murphy and Sean Axmaker. The rest of the line-up isn’t too shabby either: Jim Emerson, Don Kaye, Glenn Kenny, Kim Morgan, Mary Pols, James Rocchi, Glenn Whipp and out editor, Dave McCoy.

'The Tree of Life'

It’s the first published Top Ten List from most of us (the individual lists are collected here and here) and deadlines being what they, they were made before at least some of us were able to see some of the most talked about releases set for release before the end of the year (to qualify for the Academy Awards). Given that, it turned out to be such a strong year that there was no shortage of films to vie for spots on the lists.

MSN’s gallery-style feature begins here with an introduction by Glenn Kenny and continues with essays on the top ten films by the contributing critics. Jim Emerson comments on the list on Scanners here and Glenn Kenny muses on the project at Some Came Running here, while Richard Jameson reflects on the ritual of lists at Straight Shooting here.

Here are clips from the individual essays (in my laziness, I’m borrowing the editorial acumen of Emerson’s feature on Scanners).

10. “Meek’s Cutoff” (Kelly Reichardt) by James Rocchi:

“This has the big vistas and open spaces of a classic Western, to be sure (it’s even shot in the pre-widescreen Western aspect ratio we know from John Ford films and a thousand other classics), but it also has a rare sense of time as an element of composition: You’re pulled into the rhythm of the trek, slow and steady and terrified.”

9. “Hugo” (Martin Scorsese) by Glenn Kenny:

“While this film is first and foremost a fairy tale, it is still at heart a quintessential Scorsese story of lonely people and the worlds they make for themselves. Only here the invented worlds, works of imagination, are benign, and actually end up reaching out to the other characters and bringing them together.”

'The Artist'

8. “The Artist” (Michel Hazanavicius) by Mary Pols:

“The film is a study of hubris and fear, but mostly, of the easy refuge found in artificiality, the very definition of most contemporary filmmaking. No scene stands out more than a series of takes from George’s silent ‘A German Affair,’ where he dances with Peppy. In one take they flirt, in another they giggle, and finally, as they try to be serious, something real blooms. George, undone, must leave the set….”

7. “A Dangerous Method” (David Cronenberg) by Kat Murphy:

“Do 2011’s end-of-days movies signal some collective anxiety? Electrified by energy and intelligence, David Cronenberg’s ‘A Dangerous Method’ also chronicles end-times, the halcyon era when Freud, Jung, et al., brought the unconscious to light even as the dark seeds of two world wars were germinating. ‘Method’ marks the rise of killer ideas; revolutionary theories skitter like hungry termites behind the film’s perfectly composed interiors and idyllic landscapes. There’s evident strain between civilized surfaces and the dangerous new work of defining madness. For Cronenberg, ideas aren’t dry abstractions; they’re as disturbingly alive, as wildly subversive as those phallic phages in ‘They Came From Within.'”

6. “Certified Copy” (Abbas Kiarostami) by Sean Axmaker:

“You could describe ‘Certified Copy,’ his first production made outside of the borders of Iran, as the cinematic equivalent of a Picasso cubist portrait, presenting multiple experiences along the timeline of a relationship in a single day. The breathtaking tectonic shift is all the more impressive by the subtlety and slyness of the transition, played out in long takes and the easy rhythms of Kiarostami’s heightened naturalism. He has a way of turning the details of his environment into evocative images: The river of sky reflecting across a car windshield illustrates the gulf between Binoche and Shimell, and a parade of hopeful young newlyweds and stooped old married couples continue their life story by proxy.”

5. “Tinker Tailor Soldier Spy” (Tomas Alfredson) by Richard T. Jameson:

“Early in ‘Tinker Tailor Soldier Spy,’ veteran cold warrior and abruptly retired spy George Smiley (Gary Oldman, magnificent) stares across his sitting room at a painting. The screen is vast, the painting tiny; we can make out only a pattern of frames within frames, one of them as red as a wound. Director Tomas Alfredson ‘s credit appears over the shot, making it seem a mite insistent as an abstraction of impenetrably enigmatic John le Carré world and an assertion of stylistic principle. The movie often has us watching people watching through frames — windows, doorways, ironwork — and being themselves watched; sometimes they furtively cherish the mutual recognition. Yet Alfredson’s signature shot isn’t just a viewing instruction….”

'Uncle Boonmee'

4. “Uncle Boonmee Who Can Recall His Past Lives” (Apichatpong Weerasethakul) by Jim Emerson:

“The mythological terrain here is as personal to Apichatpong as ‘Tree of Life”s is to Terrence Malick. You might recognize characters (or names) from his earlier pictures (‘Tropical Malady,’ ‘Syndromes and a Century). And you can read about some of the how the film became (at some stage in its gestation) part of a larger multimedia installation/exhibition called Primitive; or how he envisioned it as a six-reel film shot in six different styles (from Thai horror movie to European art film), but all that is really incidental to the experience you have while watching and interpreting the film yourself. While it unfolds before you, it is, to borrow the title of another Apichatpong movie, blissfully yours.”

3. “The Descendants” (Alexander Payne) by Don Kaye:

“A number of major movies this year were about looking into the past and attempting to find some sort of solace or meaning there, creatively, personally or otherwise. But as Woody Allen revealed in his ‘Midnight in Paris,’ our view of the past is often distorted by our own desires, and things weren’t truly any better then than they are now. That’s why there’s not a whole lot of emotional truth in a simple homage. But there’s a ton of it in ‘The Descendants,’ which is ultimately about taking one’s eyes off the rearview mirror and peering into the future.”

2. “The Tree of Life” (Terrence Malick) by Glenn Whipp:

“There’s beauty, poetry, tyranny, death. There’s the birth of the universe. There are dinosaurs! Why dinosaurs? Short answer: (Again) Why not? Long answer: Perhaps Malick is reminding us that the creatures that once held dominion over the Earth no longer exist. Could the same fate befall their successors? Or maybe that little moment of grace where the big lizard spares its sickly cousin shows a way of avoiding that destiny. Again, it’s all about the questions, and Malick gives you enough to chew on here that you could return repeatedly to ‘Tree’ for years to come, knowing (and savoring) that your experience will be different each time you watch it.”

1. “Melancholia” (Lars Von Trier) by Kim Morgan:

“Von Trier, a sufferer himself, sincerely understands depression (just as he understood anxiety in ‘Antichrist’), which may be why he maddens many. Weaving himself into his characters, he’s sadistic, masochist, empathetic, self-obsessed, morbid and morbidly funny and then honest and honestly confused. With ‘Melancholia’ he grants depressives a gift….”

Parallax View’s Best of 2010

Welcome 2011 with one last look back at the best releases of 2010, as seen by the contributors to Parallax View.

Sean Axmaker

1. Carlos
2. Let Me In
3. The Social Network
4. White Material
5. Winter’s Bone
6. The Ghost Writer
7. Wild Grass
8. Eccentricities Of A Blond Haired Girl
9. Sweetgrass
10. Our Beloved Month of August

Runners up: Amer, The American, Alamar, Black Swan, Inception, Red Riding Trilogy, Somewhere, Vengeance

Best festival films I saw in 2010 without a 2010 theatrical release: Uncle Boonmee Who Can Recall His Past Lives, Poetry, Mysteries Of Lisbon

Best Unreleased film of 2007 finally getting an American release in 2010 (but still feels like a film from another era): Secret Sunshine

Most Impressive Resurrection/Restoration/Real Director’s Cut: Metropolis

Also see lists at MSN here and the Village Voice / LA Weekly poll. And the Best of DVD / Blu-ray 2010 is on Parallax View here.

David Coursen

A splendid year, in both quality and quantity.   These were all shown for the first time in the Washington, DC area in 2010.

The best film is a tie:
Certified Copy-Kiarostami

The next seven, in roughly descending order:
A Prophet-Jacques Audiard
The Social Network-Fincher
The Ghost Writer-Polanski
The Strange Case of Angelica-Oliviera
Red Riding Trilogy-in total, with James Marsh’s 1980 segment putting it on the list
The Kids are Alright-Cholodenko

And for the final entry, a pairing I couldn’t resist:
Police, Adjective-Poromboiu
Winter’s Bone-Debra Granik

John Hartl

Truth proved far stranger than fiction in many of 2010’s best films. My favorite was Craig Ferguson’s devastating documentary, Inside Job, which painstakingly demonstrates just how our economy was hijacked by greed and ideology. In Roman Polanski’s Ghost Writer, Pierce Brosnan gives a career-best performance as a politician clearly based on Tony Blair. In Doug Liman’s Fair Game, Naomi Watts is equally persuasive as Valerie Plame Wilson, a vulnerable spy whose marriage is nearly demolished in a political feud. James Franco wins this year’s versatility award for convincingly reincarnating two exceptionally different people: Allen Ginsberg in Rob Epstein and Jeffrey Friedman’s underrated Howl and a carefree rock climber in Danny Boyle’s 127 Hours. Jesse Eisenberg deftly captures the drive and insecurities of Facebook’s billionaire chief, Mark Zuckerberg, in David Fincher’s The Social Network. The shameless wartime exploitation of the late Pat Tillman’s heroism is the focus of Amir Bar-Lev’s The Tillman Story, an excellent documentary that goes behind the headlines to suggest the personal extent of that loss. Jim Carrey’s excesses are tapped and artfully used in I Love You Phillip Morris, Glenn Ficarra and John Requa’s mostly true comedy about a con artist who is locked away in prison, but for how long? More fictional, but still quite strange, are Noah Baumbach’s Greenberg, a brave portrait of a mid-life washout played by Ben Stiller, and Derek Cianfrance’s Blue Valentine, with Michelle Williams and Ryan Gosling daring to play the walking wounded in an impossible marriage.

A second 10: The King’s Speech, Animal Kingdom, Cairo Time, Life During Wartime, Toy Story 3, Never Let Me Go, Shutter Island, Restrepo, Cell 211, Joan Rivers: A Piece of Work.

Robert Horton

1. A Prophet
2. Winter’s Bone
3. Four Lions
4. Sweetgrass
5. The Ghost Writer
6. Eccentricities of a Blond-Haired Girl
7. Mid-August Lunch
8. True Grit
9. The Kids Are All Right
10. Greenberg

See also indieWIRE here and Best and Worst lists at The Everett Herald.

Richard T. Jameson

In chronological order seen, but the first two have landed in the right place and there’s a non-chronological tie at 10.

The Ghost Writer
Winter’s Bone
Please Give
The Kids Are All Right
Un Prophète
The Social Network
Let Me In
The American / White Material / True Grit

See also lists at MSN and Queen Anne News.

Jay Kuehner

(as compiled for indieWIRE, originally published here)

1. Sweetgrass
2. White Material
3. Carlos
4. Everyone Else
5. The Strange Case of Angelica
6. Alamar
7. Change Nothing
8. Restrepo
9. The Anchorage
10. Daddy Longlegs

Kathleen Murphy

(as originally presented at the Frye Art Museum Critics Wrap)

1. The Ghost Writer
2. Winter’s Bone
3. Let Me In
4. Sweetgrass
5. A Prophet
6. The Social Network
7. Please Give
8. The Kids Are All Right
9. White Material
10. Black Swan

See also MSN here.

Andrew Wright

(as originally presented at the Frye Art Museum Critics Wrap)

1. A Prophet
2. Inception
3. True Grit
4. Red Riding Trilogy
5. Winter’s Bone
6. Hausu
7. The Ghost Writer
8. Four Lions
9. Greenberg
10. Let Me In

More lists:

Village Voice / LA Weekly Poll (and individual lists here)
indieWIRE Critics Survey
Movie City News list compilations (individual lists are here)
BFI 2010 Critics Poll

And the year in review from select publications in print and on the web

New York Times Year in Review
Los Angeles Times Year in Review
SF360 Top Ten Lists and Year in Film
The Onion AV Club
Slant Magazine
MSN Movies

Best DVD / Blu-ray of 2010

Best-of lists are by their nature subjective things, and even more so when it comes to DVD/Blu-ray. What makes a DVD release the “best”? The movie itself? The video and audio quality of the mastering and presentation? The supplements? Rarity of the title? Scope of the collection? Critical acclaim? Cult demand? Some inexplicable balance of some or all of these?

Well, I guess the latter is the closest we’ll come to quantifying the mysterious process, which is why rather than the usual Top Ten list, I’ve broken my picks into categories, so I can celebrate a box set achievement separately from a brilliant home video debut separately from a landmark restoration. Which is not to say this list is not run through with my own subjective judgments, simply that I have found my own way to spread the love around (including naming runners-up as my whims take me). I reviewed most (though not all) of these on various websites (including Parallax View) and have linked to these longer pieces wherever possible. And one last note: The picks are limited to American home video releases, simply because that’s my bailiwick and I haven’t the time or resources to explore the wealth of foreign releases that come out every year.

And for the 2010 release that I love most, allow me to present my…

DVD Release of the Year

Three Silent Classics by Josef Von Sternberg (Criterion)

Josef von Sternberg is the great stylist of the thirties, a Hollywood maverick with a taste for visual exoticism and baroque flourishes (which prompted David Thomson to dub him “the first poet of underground cinema”), but step back into his silent work and you’ll find a storyteller of unparalleled talent and one of the great directors of silent cinema.

Keep Reading

A Sort of 10-Best-Films-of-2009 List from My Niche

I’m not an adventurous filmgoer.

Meaning I’m very seldom in the house for a first-run Hollywood picture.

Rio Bravo - revived
Rio Bravo - revived

There’s generally a lag of a few years – during which a film acquires something of a reputation, or maybe I caught part on it on television – that I’ll check it out more fully.

And then – if it really makes an impression – look for a theatrical revival.

Such was the case – and to the credit of the Egyptian Theater here in the Seattle area – that I had the opportunity to catch up to Quentin Tarantino’s Reservoir Dogs and Pulp Fiction at weekend midnight screenings.

The following pages of this cover file introduce the other four file uploads, plus other work samples through which I hope to persuade you to sponsor my plan for a stereoscopic three-dimensional news beat.

Then there are the films and filmmakers that I’ve admired maybe even back as far as when I was a little kid watching them on the late show.

And have always wanted to see in a theater at least once before I die.

So the best revivals of 2009 that I’ve seen, is the theme of my ten-best-films list.

Keep Reading

Moments out of Time 1999

[originally published in Film Comment Volume 36 Number 1, January/February 2000, reprinted by permission]

• The middle-aged Gerald (Alain Libolt) taking out his glasses to look at a photo of a woman who may become his wife—Eric Rohmer’s golden Autumn Tale

Richard Farnsworth and Sissy Spacek - "The Straight Story"
‘The Straight Story’

• One of those days it’s a minute away from snowing: the dancing bag, American Beauty

The Straight Story: Alvin (Richard Farnsworth) and Rose (Sissy Spacek) watching the lightning storm …

• Slow-motion bullet trajectories and time-lapse clouds, Three Kings

• The first time John Malkovich realizes he is speaking with someone else’s voice—Being John Malkovich

• “You can’t always get what you want”: the far-flung group sing—excruciating and exhilarating—in Magnolia

• The blankness of Rosetta‘s face while she waits for her boyfriend to finish drowning…

• Red balloon sailing up a spiral stairwell, The Sixth Sense

• The queasy roll of a wooden Christ into underwater closeup, In Dreams

• In Boys Don’t Cry, Brandon (Hilary Swank) watching through the windshield as Lana (Chloe Sevigny) walks fluorescent-lit toward the convenience store. The clerk tells her, “Dream on, Lana, I can’t be sellin’ you no beer tonight,” and she replies, “Fine, I’ll browse.”…

• In Besieged, a cleaningwoman (Thandie Newton) hoovers a rug while her enraptured employer (David Thewlis) watches and noodles at the piano: art and love in the making…

The End of the Affair: Sound of door closing on a lower floor. Husband (Stephen Rea) says it’s the maid. Friend of the family (Ralph Fiennes), bent over a whisky glass: “No, it was Sarah’s step.” …

• A postlapsarian pietà—burnt-out ambulance driver Frank Pierce (Nicolas Cage) cradled in the arms of Mary Burke (Patricia Arquette): all that’s left after Bringing Out the Dead

Eyes Wide Shut: the hotel clerk (Alan Cumming)’s flirtation with, uh, Bill (Tom Cruise)…

• The courtroom shouting duel between the Mississippi prosecutor (Bruce McGill) and the tobacco company lawyer (Wings Hauser), The Insider

• In Topsy-Turvy, the wonderful formality and discretion and play of language of Gilbert’s “notes” after the dress rehearsal of The Mikado…

• Cartman’s Vegas finale to “Kyle’s Mom Is a Bitch,” South Park: Bigger, Longer & Uncut

• Ichabod Crane’s journey up the Hudson River Valley in Sleepy Hollow: a haunted landscape straight out of Hawthorne and de Tocqueville …

• The bright-red door of the Burnham home, glowing through curtains of pouring rain: American Beauty‘s unreal estate, as seductive as Gatsby’s green light…

• Re: goggles in Three Kings: “Those are for night vision—they don’t work in the daytime.” “Yeah, they kinda work.”…

Beau Travail‘s “Billy Budd” (Grégoire Colin) staggers through a sea of blinding-white salt, all his beauty burning away in the sun…

• The practice duel between Keanu Reeves and his sensei (Laurence Fishburne) in The Matrix

• The ineffable Eugene Levy, American Pie‘s clueless, cardiganed dad, gamely striving for male bonhomie with his pastry-ravishing son…

• Mira Sorvino tasting someone else in her husband’s kiss, Summer of Sam

• “You!” On the stairs, in her husband’s embrace, Sarah (Julianne Moore)’s rapt face at the sight of her descending lover. The End of the Affair

• Sunlight haloing Magali (Béatrice Romand)’s wild thicket of hair: just one of many visual harvests in Autumn Tale

• An ice cream vendor (Isaach de Bankolé) and a samurai assassin (Forest Whitaker) watch a man building a boat on a New York rooftop—Ghost Dog….

• Reading, by campfire light, a terrible diary that was never written: Limbo

• Grainy, greenish home movie footage of Mr. Death in his basement, cheerily describing the 19th-century electric chair he’s restoring: “so small it looks like it was made for a child or a woman”…

Dogma‘s trenchcoated angel with a Cockney twang (Alan Rickman) remembering the pain of telling a carefree little kid he had to grow up to be Jesus…

• The sweet, shriven clarity of Lester Burnham’s/Kevin Spacey’s smile when he hears the news that his daughter lane is in love (“Good for her”) just before he becomes a casualty of American Beauty

The Green Mile: The Pet Sematary creepiness of a scruffy gray mouse asleep in a cigar box, its l00-year-old heart laboring on…

• An elderly retainer greeting tainted P.I. Nicolas Cage at the mansion door—”Mrs. Matthews chose to take her life this afternoon”—his dignity and self-contained grief an oasis in the deeply unclean 8MM

• A couple of broken-backed fingers sticking out of the gravel beside a roofed-over railroad line in The Bone Collector

• On the move in a screen-filling landscape, a car driven by a serial killer threads down a curving highway while a girl from Ireland—potential prey—trudges wearily off in another direction: fate and potentiality in Felicia’s Journey….

• In longshot, Connie (Stephen Rea) sprawls in an easychair, his Lolita (Sarah Polley) lying full-length across his lap, his hand inside her open jeans … a poignantly erotic vignette in Guinevere

• On a California beach, under an unforgiving sun, a fortysomething lady in a bathing suit flirts with a hunky younger guy: Susan Sarandon acts her age with such brave pride you wish she was Anywhere But Here….

• One-o’clock-in-the-morning kitchen chat between pipe-smoking Southern matriarch (Patricia Neal) and her black caretaker and friend (Charles S. Dutton)—Cookie’s Fortune

• Weeping Ed Norton burying himself in Meat Loaf’s great breasts in Fight Club

• “Respect the cock!”—Tom Cruise’s Mick Jagger strut/rant in praise of macho piggery, Magnolia

• In Go, Manny—deep into Xstasy—hallucinates a passionate macarena in a supermarket with a yellow-uniformed cashier….

• Lester and Ricky (Wes Bentley) toking up against the back wall of the country club, American Beauty

• In The Sixth Sense, a kid shrink (Bruce Willis)’s suitable case for treatment (Haley Joel Osment) turns back, sadly, after their first meeting, in a church pew: “I’ll be seeing you again, won’t I?”…

• “That movie has warped my fragile little mind!” Eric Cartman telling it like it is, South Park

• Beach Boys blare—”I Get Around”—as a clutch of U.S. soldiers careen through a sunbaked Iraqi desert, Three Kings

Double Jeopardy: the car sinking below them ‘as federal marshal (Tommy Lee Jones) and escapee (Ashley Judd) swim up toward ‘the surface of Puget Sound…

The Muse: the long trek across the Universal lot by “crawl-on” Albert Brooks, bound for a meeting with the wrong Spielberg (Steven Wright as cousin Stan)…

Mickey Blue Eyes: Sotheby’s-style art auctioneer Hugh Grant is obliged to announce the new offering painted by one of his gangland associates, “Die Piggy Piggy Die Die”….

• The sudden Morricone shriek of “spaghetti Western” music when Tracy Flick (Reese Witherspoon) sights a rival in Election

American Pie: Checking out the Internet action between Jim (Jason Biggs) and the foreign exchange student (Shannon Elizabeth), one of many onlookers remarks, “That guy’s in my trig class.”…

• The beginning of The Straight Story: the camera frames a little white Iowa bungalow, very slowly edges rightward to register a larger setting, then penetrate a zone of shadow beside the house. The movement’s disquieting, mysterious, drawing us into as-yet-unknown narrative territory (Twin Peaks? Lumberton? Bedford Falls?) where Something Is Going to Happen….

• Every conversation in Autumn Tale, but especially one concerning the nature of love, in which a blooming girl accuses her smitten philosophy prof of “thriving on ambiguity”: she might be speaking of the author of this exquisitely civilized conte.

• Cigarette smoke billowing out of the apartment—stuffed with dolls—of a child-abusing mother, in The Third Miracle

• Hair and blood and aquarium water pooling in a hallway, Bringing Out the Dead

• Denis Lavant jazz-dancing up and down a room with black floor and mirrored walls: Beau Travail‘s caterpillar uncocooned…

• An open window framing the abrupt absence of a fallen soul in Dreamlife of Angels

• “Happy anniversary.” The Sixth Sense

Mr. Death‘s face: flat, ordinary, familiar … Dr. Mengele as Mr. Potatohead…

• An exquisite courtesan (Gong Li) horribly blighting her own beauty in The Emperor and the Assassin

• The way Lester walks down the table and picks up the asparagus, American Beauty

• A flood of milk in the desert, Three Kings

• Her newly hacked-off head rolling across the room, a mother’s eyes come to rest over a crack in the floorboards—and stare straight at her son in hiding: a freakish (and forgotten-about) interlude in Sleepy Hollow

Princess Mononoke: a girlchild sucking tainted blood from a great white wolf … her mother …

• A new baby nurses the nub of a young war veteran’s finger, making good use of flesh sundered in battle: a vote for reunion in Ride with the Devil

• Up close and personal in Romance: a newborn’s Yoda-like face thrusting out of its mother’s vagina…

Rosetta eats a hardboiled egg while waiting to die … then interrupts her suicide to trudge matter-of-factly across the trailer park to buy another canister of gas….

• A freckled little girl fashions earrings and “nail polish” from flower petals in The Silence….

• In a crowded restaurant, recognition shatters the face of Three Seasons‘ Vietnam vet (Harvey Keitel) who’s just given up a fruitless search for the daughter he left behind: she’s the whore fawning over a john, just a few patrons away….

• In Three Kings, the, weird rapport between Troy (Mark Wahlberg) and the young Iraqi torturer (Saïd Taghmaoui) who describes how his wife was maimed in an American bomb run: “That’s horrible!” … “Oh my god, buddy, I didn’t even tell you the horrible part yet.”…

The Iron Giant: “I am not a gun.”…

• Apples and high heels, In Dreams

Topsy-Turvy: Gilbert (Jim Broadbent) accosted by a harridan-whore in a claustrophobic passageway outside the Savoy Theatre during the first performance of The Mikado: down-and-dirty reality intrudes upon his world’s relentless artifice….

• In a late-night bar, putting the obligatory moves on a pretty young reporter (Mary McCormack), True Crime‘s aging womanizer (Clint Eastwood) looks as though he’s sleazed through this scene a thousand times….

• “Once at band camp I put my flute in my pussy”—Alyson Hannigan’s American Pie geek gets real….

• “I’m the Shoveler. I shovel well.” William H. Macy, Mystery Men

• “I’m in awe of you … I’d love to sit down with you some time and just pick your brain.” The precisely gauged cadences of Caroline Burnham (Annette Bening)’s sharky shrillness, gushing over the Real Estate King (Peter Gallagher) in .American Beauty

• “You can afford a house like this, you buy a house like this, you know”—Luis Guzman explaining L.A. to Terence Stamp, The Limey

• Samuel L. Jackson’s rah-rah rant cut shockingly (and satisfyingly) short in Deep Blue Sea

• “Smell the veggieburgers!”—Zack and his lover considering how to dispose of a young woman they may have killed, Go

• Perched on bars tools, an Oscar Wilde wannabe (Henry Gibson) and a onetime quizkid at the end of his tether (William H. Macy) zigzag through a conversation of monumentally ironic cross-purposes—Magnolia….

• Rehearsing a love scene for a play in Mansfield Park, two beautiful young women, “sisters” sharper in their ways than any man of their world, begin to edge into sensual rapport…

• An Amazon raises her rifle against a mythic stag in Princess Mononoke: “I will show you how to kill a god”…

Cradle Will Rock: the jackhammered wall, a great scar where Diego Rivera’s mural used to be…

• Maxine (Catherine Keener)’s crisp white blouse, Being John Malkovich

• Tony Soprano (James Gandolfini) telling .his shrink (Lorraine Bracco) she has a laugh “like a mandolin,” The Sopranos

• The wallpaper in the hotel room where Wigand (Russell Crowe) goes to ground, The Insider

• Nighttown in Ghost Dog: A black samurai slides through wasteland streets, cocooned by luxury car and Wu Tang Clan…

• A degraded earth mother squatting in her filthy subterranean hole in The Thirteenth Warrior

• The sculpted planes of Mary Elizabeth Mastrantonio’s face as she kisses off a lover in Limbo—one of the band members backing her—with a haunting country-blues ballad, “Better off without you in my life”…

• In Guinevere, Jean Smart’s bravura performance as a killer mother who takes aim at her daughter’s happiness, verbally castrating Harper’s aging lover and unsexing her child with surgical precision…

• “When I was your age I lived in a duplex!” For Caroline Burnham, a look back into hell—American Beauty

Holy Smoke!: Back in Australia after her earthshaking Indian epiphany, solemn Ruth (Kate Winslet) takes one look at her best girlfriends and regresses instantly into a squealing teen harboring a bigtime crush .

• Pvt. Vig (Spike Jonze) matter-of-factly pauses, in mid-attack on an Iraqi bunker, to remote-lock the beeping luxury car he’s just parked. Three Kings

• “I just thought that’s what guys do around here”: Brandon Teena explains his happy participation in the risky redneck rite of bumper-skiing, Boys Don’t Cry….

• On the run in snowy. woods, a black devil with sharp teeth (Christopher Walken) ssssshhhhhes two angels in pink organdy—one of whom deliberately snaps

a stick. A Sleepy Hollow flashback…

• Walpurgisnacht, In Dreams: a children’s performance of Snow White in an outdoors thrumming with demonic vibes…

• Bellied up to a Midwestern bar, two old men swap tales of decades-old wartime guilt: The Straight Story….

The Limey: Congratulated by his young companion on having been part of “the Sixties,” Peter Fonda starts (to leave the room, then turns back long enough to emend: “Actually, it was mostly 1966 … and the early part of ’67.”…

• The profound pity that suffuses the face of the “goddamn mute orphan halfwit” (Samantha Morton) in Sweet and Lowdown when she lets Emmet Ray (Sean Penn) know she’s married and a mother…

• Jay (Jason Mewes) and Silent Bob (Kevin Smith) hanging out with a couple of “suave motherfuckers”—strangers on a train in Dogma

• A handsome gray cat perches on the back of a couch to stare (into the camera) at one of Go‘s seriously stoned adventurers. Subtitle: “I can hear your thoughts.”…

South Park: Bill Gates summarily executed for Windows 98…

• A golden American übermensch sprawled in artful abandon on a Riviera chaise lounge, The Talented Mr. Ripley‘s Dickie Greenleaf (Jude Law) proves F. Scott Fitzgerald’s contention that “the rich are very different from us.”…

• “It flows through me like rain”: The late Lester Burnham savors his life, the tenderness of his imagery a perfect measure of the look and feel of American Beauty‘s climactic weather ….

• Closeup of a pulsing vein in Galoup’s/Denis Lavant’s arm, Beau Travail‘s measure of a soul in extremis…

• The sweet nakedness of brown feet on flagstones: Thandie Newton on her way to Thewlis’s bedroom, Besieged

• “I’m ready to communicate with you now” … grownup formality from a little boy who’s been to hell and back, The Sixth Sense

• Troy Barlow phones home in Three Kings….

• W.S. Gilbert’s shuttered face as he sits on the edge of his wife’s bed and listens to her idea for a new comic opera, about a woman’s life with a Topsy-Turvy husband who has no genius for love: “Every time she tries to be born, he strangles her with her umbilical cord.”…

• Dr. Lester (Orson Bean)· insistently apologizing for his incoherent speech even though he sounds perfectly lucid—Being John Malkovich

The Third Miracle: a priest (Ed Harris) and the earthy daughter of a saint (Anne Heche) slow-dancing over her mother’s grave…

• The wind of God exploding through a window—Neil Jordan’s signature in The End of the Affair

Three Kings: From a worm’s-eye view in the foreground, we watch a blue truck, tipped over on its side, its driver staring out the shattered window, plowing inexorably toward us and the spikes of a land mine….

• Dancing with her husband at her daughter’s wedding party, Isabelle (Marie Rivière) turns suddenly grave, mirroring our sense, at the end of Autumn Tale, of lost summers and winters to come…

• “I’m great.”—Lester Burnham/Kevin Spacey, American Beauty. Yes!…


Moments out of Time 1995

[Originally published in Film Comment Volume 32 Number 1, January/February 1996, reprinted by permission]

• Oriental views of train bridges into Brooklyn, Smoke

• Birds, insects, air: the sounds around the Roseman Bridge, The Bridges of Madison County

• 1948 sunshine, and a rapturously integral job of period re-creation that never preens as such—Devil in a Blue Dress

• Forest of air fresheners—the apartment of victim #3, Seven

Once Were Warriors: the camera craning around the outside of the home, looking oddly electrified against the night, as if it were a toy house…

The Kingdom: witnessing, from a worm’s-eye view, the automated doors of the hospital swish open—for no one—so that dead leaves can skitter into the deserted corridor beyond…

The Doom Generation: A boy (James Duval) walks his neon’d yo-yo in a horror movie nightscape….

• The bad-child way Nicolas Cage says “I’m sorry” to the nice guy who has to fire him, in Leaving Las Vegas

• Laurence Fishburne’s Othello turning an Arabic gesture of courtesy into graceful gangsta sign…

• A Fisher-Queen and her Merlin (Patricia Arquette, Aung Ko) rafting down a dark, silent river, Beyond Rangoon

• Michael Mann texture, Heat: In a modern-age nonzone under a concrete overpass, and just across the way from an armored car massacre, a bearded bum stands guard over a TV tipped into a grocery cart, its pink screen alive with static….

Dolores Claiborne: Jennifer Jason Leigh looks into a ferryboat restroom mirror to see … a veil of dark hair where her face should be….

To Die For: Wide-eyed fizzy innocence going all flat as Suzanne Stone (Nicole Kidman) flips a cute little umbrella out of her drink, takes a hard suck on the straw, and calculates how much screentime might be bought by “doing things ordinary people wouldn’t do” to George Segal’s cock…

• A Chabrolian kitchen, La Cérémonie: hot cocoa, casual carnage, and Isabelle Huppert cracking wise, apropos the corpse (“His goose is cooked!”)…

• “Alas, poor Yorick”: a faithful son’s very drunken soliloquy to a cooked sheep’s head-an Icelandic delicacy, like Cold Fever itself…

• Working the power of POV in Strange Days: Trapped inside a car with Lenny (Ralph Fiennes) and Mace (Angela Bassett), we watch helplessly as bad guys douse us with gasoline and set us on fire…

• Abandon all hope, ye who enter here: Seven‘s death-factory credit sequence, decomposing flesh, image, sound, and film…

• The astonishing irradiated textures of Hickok’s (Jeff Bridges) opium dream, Wild Bill: a ghost-faced Indian crowned by a halo of black-and-white quills; the white slant of a horse’s straining neck; etiolated riders dissolving into limewhite space; a “little dog” elongating into solarized oblivion…

• The slow realization that the dim, shattered space out of which we are looking out is the interior of an overturned car, and that Midget (Gabriel Casseus) will smile no more—New Jersey Drive

• A young black man (Harold Perrineau Jr.) walking up a curve of Peekskill road, the telephoto collapsing past/present/future, all Smoke

Frankie Starlight: the Dork of Cork (Corban Walker) beaming up at the man who may be his father (Matt Dillon), his dwarf’s face a world of wit and feeling…

Babe: As he learns the facts of life under the killing-shed meathooks, Babe’s head—except for snout and fanned ears—remains darkly shadowed … so that at film’s end the little pig’s face may bloom up toward the Boss’s saving approval, like a sunflower…

• Bruce Willis relishing “the music of the 20th century,” Twelve Monkeys

• The, what, razor-sharp haze of city lights beyond De Niro and Amy Brenneman’s yearning profiles, Heat

Get Shorty: Writhing under Ray Bones (Dennis Farina)’s foot, Harry Zimm (Gene Hackman) is handed a pistol and told to put one more into the guy Ray has killed. He points the gun up at Ray’s crotch instead … and Ray simply folds it away without comment. Some fuckin’ guys never learn….

• Approaching the confessional, Desperado: “Father forgive me, I’ve killed quite a few men”…

• “Easy, if you didn’t want ‘im killed, why’d you leave him with me?” Mouse (Don Cheadle) making perfect sense, by his lights, Devil in a Blue Dress

• Figure in hall bearing groceries—Seven

• At the movies, somebody coughs: the trajectory of a virus, Outbreak

• After the rape, Rob Roy‘s wife (Jessica Lange) making a proud, painful walk to water…

Angels and Insects: Matty’s (Kristin Scott Thomas) detonating revelation during a decorous wordgame—INSECT embraces INCEST…

• The two vicars of Christ (Linus Roache, Tom Wilkinson) supplying orgiastic thumps, cries, and moans for the benefit of the face-of-Death cleric on the other side of the wallPriest

• Scraping carrots at the sink: the electric first touch in The Bridges of Madison County

• Ace Rothstein (Robert De Niro) stepping out into morning light as effulgent as his clothes—the first, and alas highest, moment of Casino

• Haiku for von Sternberg, Shanghai Triad: An exotic Shanghai lily (Gong Li) lounges in her fur coat, cigarette poised, by the open door of a lakeside shack. Beyond, wind moves water and reeds….

• A tear, a cobweb, a sleeping canary—the first elements of an outrageous, hilarious, and manically gladsome concatenation of catastrophes in The City of Lost Children

• A shot we’ve waited years for: Heat takes aerial survey of blocks and blocks of empty nighttown, here and there punctuated by islands of streetlight, then lowers to follow one moving vehicle….

• Perfect scale and a glorious fusion of character, incident, landscape in Sense and Sensibility: Elinor (Emma Thompson) and Marianne (Kate Winslet) achieving mutual insight on the hillside overlooking the inlet, the tide having newly turned…

Wild Reeds: the amazing 360+ pan that loses the young people amid the sweeping richness of the countryside, then catches sight of them again just as they walk out of the film and into the years separating then from now…

Ulysses’ Gaze: love among the ruins, with Sarajevo’s citizens sitting on benches in the snow to watch an outdoor Romeo and Juliet…

The Doom Generation: Johnathon Schaech’s devilishly AC/DC savior pitches woo to his punk Magdalene (Rose McGowan): “You fuckin’ furry tuna taco”….

• Using his teeth to pull off a signet ring for a woman (Kristin Scott Thomas) he’s just cozened, one-armed Richard III-to-be (Ian McKellen) slides it out of his mouth like a dirty joke….

• The up-close smell of sun-warmed flesh bathed in booze-lust lost beside a motel pool in Leaving Las Vegas

Tokyo Fist: Seen through a windowed door, a boxer’s arms punch into frame like striking snakes….

• One solid guy: Ed Harris’s redoubtability and tenderness as Gene Kranz, the head of Houston Control, Apollo 13; and exactly catching the veteran guerrilla’s wry bemusement as, in Nixon, his E. Howard Hunt fades into the night advising John Dean (David Hyde Pierce), “Your graves have already been dug.”…

• In The Usual Suspects, Peter Greene nailing down the franchise on “crazy fucker” during a hilltop meeting at midnight of radically bad guys…

Wild Bill shakes out his coat, smoothes his mustaches, lays down his lapels, fingers his mane behind his ears, rakes his hat brim, and strides out to the latest big gundown: It’s show time!

Get Shorty: Martin Weir (Danny DeVito) finally nails “the look”….

• “Like the guy in The Godfather says, this is America, OK?” Dan Hedaya in To Die For

• “Oh oh, it’s gonna be a good one!” Marlon Brando anticipating sweet torment as Faye Dunaway puts the moves on him, Don Juan de Marco

• The terrible flatness of Sean Penn’s blue eyes as he tries to charm the nun (Susan Sarandon) who will save his soul: “little man on the make” in Dead Man Walking

• Song of the year: “My Blue Heaven,” as rendered from her coffin by a dead grandma mid-funeral mass, Antonia’s Line, and by Greek (mouse) chorus in Babe

• The pixilated music of Mira Sorvino, Mighty Aphrodite

• Nicolas Cage builds a psychotic Bluto for Kiss of Death: Junior’s massive neck and pumped torso topped by a too-small head….

• Tender farewell to alumna Elizabeth Berkley from Robert Davi, Showgirls: “Must be weird not having anybody come on you”…

• Karen (Renee Russo) and Martin (Danny DeVito) simultaneously realizing he’s doing Shylock, not a shylock—Get Shorty

• “You’re such a Cassandra.” “I’m not such a Cassandra, I’m Cassandra—that’s who I am!” Mighty Aphrodite

• Anna Karina in Haut bas fragile doing an Edith Piaf, singing “My Lost Love” to a daughter” she will never know…

• In To Die For, the way James’s (Joaquin Phoenix) vacant eyes and slack face switch on as he watches his Salome dance in car headlights … followed by very slowmotion epiphany as he registers the part he’s been assigned in her soap opera…

• Lamely earnest Otis (Carlos Jacott), interviewed for a career as videostore clerk in Kicking and Screaming: who are his influences? “Samuel Fuller … all the good ones … all the other ones”…

Screamers: A weary offworld veteran (Peter Weller) of a war that’s gone on forever does a deadpan Archie Bunker on a gung-ho young Marine who won’t shut up: “Relent!”…

Get Shorty: in the L.A. rep house, at the end of Touch of Evil, Chili (John Travolta) leaning forward to brush a stranger’s arm and beam, “Great, huh!”…

Twelve Monkeys: Madeleine Stowe becomes blond “Madeleine,” stepping out of an unaccounted-for greenish-gray glow off the lobby of the moviehouse as Bernard Herrmann’s morbid memory theme from Vertigo swells on the soundtrack (though it’s The Birds we last saw on the theater’s screen)….

Smoke: After paging incuriously through Augie’s many photos of “his” corner of Brooklyn, Paul (William Hurt) suddenly comes upon his late wife’s face … in passing….

Citizen Langlois: the crabbed silhouette of Lotte Eisner making her way toward the .statue of Metropolis‘s False Maria in the Cinémathèque…

• Tieresias (Jack Warden) at the (New) Acropolis, Mighty Aphrodite (“Does the Trojan Horse have a wooden dick?”)…

Desperado: slowmo telephoto shot of Salma Hayek and Antonio Banderas approaching the camera, an explosion blooming tall and orange behind them, their long black tresses rising and falling in unison…

The White Balloon: The little girl in search of a New Year’s goldfish inches her skirt a little further over the grate through which her money has fallen, in case the too-friendly soldier has his eye on it….

Sense and Sensibility: the quietly knowing sideways cut of Elinor’s glance when her feckless mother (Gemma Jones) allows that there was “something” in Willoughby’s eyes…

• Near the end of Kicking and Screaming, Chet’s observation—”Know how to make God laugh? .. Make a plan”—but especially Eric Stoltz’s approximately eight-stage reaction to his own joke, as if he’d never really listened to it before…

• Closing in on the dots that make up a mediated eye in the main-title sequence of To Die For; later, the sudden, total eclipse in Larry Maretto’s (Matt Dillon’s) pupil…

• Surveilled from a distance—and by videocamera, yet—master criminal McCauley (Robert De Niro) nevertheless stares straight out of the ghostly blue screen to exchange one long, impossible look with manhunter Hanna (Al Pacino): Heat….

• Lenny Nero, fucking and killing his beloved Faith (Juliette Lewis), locks eyes in a mirror with his smiling doppelgänger. Who’s reflecting whom in Strange Days?…

• History, indeed life, as TV: after moments of no contact, the wrinkle of static that magicks the Apollo 13 capsule suddenly into view, almost at sea level already. The show will have a happy ending….

• Susan Sarandon’s outstretched hand as a killer dies—purest Christian charity in Dead Man Walking

• The white hand of Desdemona (Irène Jacob) caressing the dark round of Othello‘s skull as she dies…

• An unremarkable demon (Sandrine Bonnaire) slides into the dark when La Cérémonie is over….

• Chazz Palminteri looks at the bottom of a coffee cup, The Usual Suspects….

• “Come ‘ere!” Ray Bones wants his car—Get Shorty….

• Taking a long look at the final digs of a downfall child, the finale of To Die For: a frozen lake where, backed by the shriek of “Season of the Witch,” Janice Maretto (Ileana Douglas) skates and skates and skates … then disappears…

Leaving Las Vegas‘s deathbed consummation: Sera (Elisabeth Shue) riding a dead horse…

Beyond Rangoon: Wracked equally despair and nausea, Laura lurches out into a tropical downpour to be sick. Discreetly, Aung Ko steps forth to shelter her with an umbrella….

• After church, cemetery, and newlyweds, Sense and Sensibility‘s final, and perhaps most telling, freeze-frame: a shower of gold…

• Clint Eastwood standing in the rain, watching something of value pass away—The Bridges of Madison County

• Paul explaining how Sir Walter Raleigh weighed Smoke, and smiling at how it’s a story…


Moments out of Time 1977

[Originally published in Movietone News 57, February 1978]

The destroyer rumbles into the screen of "Star Wars"
A spacecraft angles into frame from above our heads in "Star Wars"

• Archetypal cinema: the opening of Star Wars. The foreword plunges us, in media res, into the serial of our moviegoing lives. Then the camera drops its field of view, a planet heaves into sight to lend scale to the universe, and a spacecraft angles into frame from above our heads. A breath-long pause, and the screen is invaded, engulfed, and enlarged by the pursuit ship of Lord Darth Vader….

Kings of the Road: in the depth of a rainy night, on an island in the Rhine, Bruno (Rüdiger Vogler) pries up the doorstep of his childhood home and sorts through the treasures of his youth….

• The friendly closeness, clarity, and availability to event of the sky above Barry Guiler’s prairie home—Close Encounters of the Third Kind

• “Oh, God!”: Diane Keaton’s introduction as Annie Hall, and her hilariously horny litany while seducing her seducer, Looking for Mr. Goodbar

Aguirre, the Wrath of God: a warhorse, in full livery, left behind on the Amazon shore: as the camera draws inexorably away with the conquistadors’ raft, the animal is lost to view-the first and last of its species to inhabit this strange land….

• The passionate integrity of Jane Fonda’s performance in Julia: you can tell that, standing in the kitchen slicing onions, she’s thinking about The Play….

• “Verdi is dead!”—1900

• Cross of Iron: the slowmotion image and sound of an ammo clip being ejected, after the dawn skirmish with the Russian patrol …

• Scowling and bucking through sheets of rain, the “face” of the rumbling truck like the visage of an Indian god—Sorcerer

• A dialogue that never occurred: in Welles’ F for Fake, Elmyr de Houry and Clifford Irving uneasily accuse each other and excuse themselves in a hilarious montage of swallows, grunts, and sidelong glances….

• “There are no midgets in the United States Air Force!” General Dell (Burt Lancaster) defends his careerist pride against the imagined innuendo of his convict accomplice (Paul Winfield)—Twilight’s Last Gleaming

Slap Shot: The gung-ho exuberance of the Hanson brothers is too much for poor Allan Nicholls, who, leaving the lockerroom, turns to another team veteran with a beautifully pained “Fuckin’ embarrassing!” …

Aguirre, the Wrath of God: gun flashes across the river punctuate the Amazon night; the morning will disclose that the men on the whirlpool-trapped raft have made the only possible escape from the circle….

• The first apparition of fabled Uncle Ottavio (Werner Bruhns), 1900, as the shadow of a ship moving above the young Alfredo’s bed…

The Hawaiian-shirted Jimmy Doyle (Robert DeNiro) pauses to watch a sailor and a girl jitterbugging silently under the EI—New York, New York….

• Porque te vas?”: the girls making up, dressing in adult clothes, and rehearsing the comedies of grownups—Cria!

• The Cardinal (Paul Henreid) unwrapping himself from his carapace—Exorcist II: The Heretic

• Bob Balaban goes on translating for François Truffaut even though the latter has shifted into earnest English—Close Encounters of the Third Kind….

Pardon Mon Affaire—Horseman Jean Rochefort retains his poise as his mount swims him past a fisherman on the park lake….

• Nino Manfredi’s first sight of Stefania Sandrelli, etherealized by the steam from a cauldron of pasta—We All Loved Each Other So Much

• Bond, the Pyramids, the Sphinx, and Jaws: The Spy Who Loved Me

• Twenty years of love and rage erupt in a lowdown ladies’ brawl—The Turning Point….

• “Does the Pope shit in the woods?”—an unanswerable riposte by Lily Tomlin, The Late Show

A Bridge Too Far: Edward Fox’s exhortation to the troops, rightly likened (by Jack Kroll) to Henry V at Agincourt—a moment of authentic passion and complexity in a film otherwise lacking much of either…

• A man denies that the poisoned arrow in his leg is a poisoned arrow in his leg—Aguirre, the Wrath of God

• Richard Dreyfuss’s excited garbling of “Aurora Borealis”—Close Encounters of the

Third Kind

• The two suns of Tattooine—Star Wars

Julia: Vanessa Redgrave’s great horse-y excitement, bearing down on us through the arches of Oxford…

• Terry’s (Diane Keaton’s) giddy “I don’t believe it!” after her first pickup has left—Looking for Mr. Goodbar

Dersu Uzala: Dersu makes repairs of a forest lean-to while the childlike blond soldiers pop their heads out through holes in the bark and chronicler Arseniev sits making notes at screen right—one of many whole-time-and-space events in Kurosawa’s intimate epic….

1900: a Twenties interlude (with Robert DeNiro, Dominique Sanda, Werner Bruhns) that captures more sense of the period than all of Russell’s Valentino

Kings of the Road: Bruno lounges in the cab of his van and watches this car just roar down the road and leap straight into the river …

The Marquise of O…: The ebullient Count (Bruno Ganz) departs, the Marquise (Edith Clever) flicks a spray of holy water in his wake, and her brother reaches up to dab a drop from his eye….

• The terrified grin of Captain Stransky (Maximilian Schell) each time a nearby shell blast interrupts his reminiscences of the French Occupation—Cross of Iron

• Any time John Travolta hits the dancefloor in Saturday Night Fever

• Headlight, then “headlights” in the rear window of Roy Neary’s truck—Close Encounters of the Third Kind

• The descent from the mountain—Aguirre, the Wrath of God

• Nino Manfredi and Stefano Satta Flores find the tearful photos of Stefania Sandrelli in the picture-taking booth—We All Loved Each Other So Much

• George C. Scott to his youngest son after the big fish has got away: “God only knows how much I love you!”—Islands in the Stream

Sorcerer: Scanlon (Roy Scheider) walks away—but only temporarily—from an image of his destiny: a column of water rises from a snapped-off hydrant as the wounded gangster staggers down a New Jersey alley….

• L ‘affaire Picasso—F for Fake

• A pan across time and identity, Cria!: Ana the child (Ana Torrent) seeks out her mother’s “poison” as Ana the adult (“mother” Geraldine Chaplin) reflects on the event….

• Ragged claws scuttling across the kitchen floor of memory: Woody Allen, the lobsters, and Annie Hall

• Racing the sun—Dersu Uzala

• Roberts Blossoms’ superb “I saw Bigfoot once”: no hope for further indulgence by the military, even if he did probably see Bigfoot once—Close Encounters of the Third Kind

• Maggots in your comb—Suspiria

• Jet plane as locust—Exorcist II: The Heretic

• Diahne Abbott doing “Honeysuckle Rose” in New York, New York

• The operatic crane over peasants, soldiers, and the aristo duckhunters in the fog—1900

• Kathleen Quinlan’s feisty joy at feeling pain—I Never Promised You a Rose Garden

Slap Shot: Reggie (Paul Newman), leather-suited and cool as shit, strutting it for the widow woman who owns the hockey team…

• Obi-Wan Kenobi (Alec Guinness) convinces the Imperial Guard that “these aren’t the people you’re looking for”—Star Wars

Dersu Uzala: The song of birds has told Dersu (Maxim Munzuk) that the rain is about to stop. He leads the Russians out of their shelter and out of the frame. A moment later, a rainbow marks their passing….

One on One: Smalltown kid Robbie Benson moving rapt in the monumental gym of Western University; the mechanized bankboards tilting down to salute him…

• The teary reunion of parents and daughter, The Marquise of O

• Ana “killing” her sisters while playing hide-and-seek—Cria!

• Tom’s (George Scott’s) awareness-a feeling at the back of his neck-that his oldest son has been killed—Islands in the Stream

Twilight’s Last Gleaming: the near-hysterical intensity of the kidding between the President (Charles Durning) and his military aide (Gerald O’Loughlin), during which they manage to prepare each other for the eventuality that the President could be going out to get killed …

• A marriage proposal under the wheels of a taxi cab-New York, New York

• Woody’s teachers revisited—Annie Hall

• A ship in the treetops–Aguirre, the Wrath of God

• After the world-rending chaos of a tank battle, Steyner’s platoon bursts into the lush green silence of an unspoiled field—Cross of Iron

• The split-second cut away from the collapsing bridge the instant Sorcerer‘s tires catch solid ground…

• The swing across the” gorge”—Star Wars

• The Tiger of the New Year leaps—Dersu Uzala

• A reunion far from “Naked Girls and Machine Guns,” The Late Show: Harry Regan’s (Howard Duff’s) last smile for Ira Wells (Art Carney) is full of blood; Ira curses him, but finds himself conceding “You were real good company”…

• A red cherry in an untouched drink in the middle of Jimmy Doyle’s reel-long first come-on to Francine Evans (Liza Minnelli)—New York, New York

Saturday Night Fever: Tony Manero (John Travolta), knowing he has lost one point too many by not being impressed at the name “Laurence Olivier,” suddenly remembers “Oh, yeah! Oh, he’s good!”

• Terry’s glee in stripping off James’ (William Atherton’s) condom—Looking for Mr. Goodbar…

Julia: Dash (Jason Robards) comes down the beach to tell Lilly “It’s the best play anybody’s written in years,” but she has to know: “Are you sure?”…

• The dancing in the trees—1900

• A head that goes on counting after it has been severed—Aguirre, the Wrath of God

Annie Hall getting shed of all those books with “death” in the title: “That’s a load off my back!”…

• A comrade’s passionate kiss that shocks the raving soldier back to his senses—Cross of Iron

New York, New York: the hospital parting: Jimmy must weep into Francine’s bed sheet because he can’t spoil his only handkerchief….

Sorcerer: Bruno Cremer’s life changes utterly at the moment when, walking away from his partner’s car, he hears the strange musical pop that means the man has committed suicide and left him in the lurch….

• The late Vittorio DeSica resurrected via film festival footage and cut in among the living players of We All Loved Each Other So Much

• The old couple (John Cromwell, Ruth Nelson) making love in Millie’s bed as Millie (Shelley Duvall) peeps through the door—3 Women

• Images from Dersu Uzala: men boating in the branches of a tree; snow flowing like a river; walking on a lake of fire…

• The luminous reactions of Barry Guiler (Cary Guffey) to the offscreen extraterrestrials who have come exploring in his kitchen—Close Encounters of the Third Kind

Pardon Mon Affaire: Jean Rochefort inadvertently brings his mistress-to-be (Anny Duperey) face to face with his wife (Danièle Delorme). Pal Claude Brasseur saves the day by showing up to reclaim his “date.”…

• Does your deodorant enhance your potency? Filming the Mitchum commercial with Shake Tiller (Kris Kristofferson) in Semi-Tough

• The girls’ cumulative storymaking—a narrative principle for Julia

• The rebels’ attack fleet takes off, Star Wars: the juxtaposition of jungle, sentinel, and the trajectory of the cruisers locks into a brilliant expression of the primal thrill of adventure storytelling…

• The ending of Exorcist II: The Heretic a lot of people didn’t see: a thrilling Albert Whitlock pan that moves us from the mythic vision of a ravaged civilization to the strobe-flashed chaos of a contemporary street where only one person “understands”…

Aguirre as King of El Dorado, on a raft swarming with spider monkeys…

1900: the axis of the world established between the two patriarchs, peasant (Sterling Hayden) and landlord (Burt Lancaster), as they toast the births of their grandsons…

• Welles’ reminiscences in a park, F for Fake: a man for all seasons…

• Lilly’s last meeting with Julia: Julia’s goodnatured direction of the scene; Lilly’s face when she hears the name of Julia’s daughter…

• The paths of Bruno and Robert (Hanns Zischler) intersecting a last time, Kings of the Road: Bruno in his van sees “Kamikaze” on the train, but preserves the other’s fiction that they cannot see each other….

Close Encounters of the Third Kind: Roy (Richard Dreyfuss) fell asleep in darkness and silence. Now he is awakened in an auspicious yellow glow, and the TV murmurs offscreen. Have They come again? Looking around, he sees that night has merely performed the small miracle of becoming day, and his daughter is watching the Saturday morning cartoons. “Are you gonna be mad?” she asks. No, he isn’t. But he’s a little disappointed….


© 1978 Richard T. Jameson

A pdf of the original issue can be found here.

Moments out of Time 1992

[originally published in Film Comment Volume 29 Number 1, January-February 1993, reprinted by permission]


• The wait by the tree, and how Will Munny drinks after getting the news, Unforgiven: as director and actor, Clint Eastwood in excelsis…

• “The pleasure was all ‘mine”—The Crying Game….

The Player: The fax curling out of the dashboard unit, directing the camera to the floor of Griffin Mill’s car, and formally anticipating what will be found there…

• The skirts of Mrs. Wilcox (Vanessa Redgrave) trailing in the long grass of summer evening as she strolls around Howards End; the reliable serenity of picture-perfect home and window-framed family tableaux; the lone witness to the penultimate moments of a paradise being lost….

• Ana Galiena leaning at her counter and reading a magazineThe Hairdresser’s Husband

• To the beat of “Stuck in the Middle with You,” big-boned Michael Madsen slips and slides across a warehouse floor, his sweet rhythm segueing into sudden atrocity—Reservoir Dogs….

• “I can’t go too fast; metabolically, it’s not my rhythm”—Judy Davis, Husbands and Wives….

• Jeremy Irons and Juliette Binoche setting eyes on each other for the first time, Damage: Like some creature out of vampire lore, her black-and-white clarity racks a dead man’s focus to make him a figure of passion in her own movie….

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Moments out of Time 1974

[Originally published in Movietone News 38, January 1975]

The moment of the year, probably: Day for Night: Georges Delerue phones in from Paris to play one of the key themes for the film-in-progress, at the same time a package of books arrives for use as props in an upcoming scene. As the music plays into director Ferrand’s (François Truffaut’s) good ear, director Truffaut cuts to a closeup of the books piling. up one by one—Buñuel, Lubitsch, Godard, Hitchcock, Hawks—and two gratuitous gestures meld into a glorious affirmation of the cinema’s timeless essence….


• Jake Gittes (Jack Nicholson) telling, with irrepressibly vulgar delight, the lockerroom joke about making love like a Chinaman, while his aides desperately try to signal the entrance of the icily elegant Evelyn Mulwray (Faye Dunaway) behind himChinatown….

Harry and Tonto: Harry (Art Carney), isolated in the sad grey light that fills a cemetery in the middle of nowhere, searching for Tonto while his bus moves on…

The Tamarind Seed: the small pulse of warmth and humanity when Judith (Julie Andrews) and Feodor (Omar Sharif) touch fingers on a drinking-glass in private communication while he and Loder (Anthony Quayle) continue to coolly negotiate for the best deal on Sverdlov’s defection…

• The gingerly auspicious drive home from the asylum in The Hireling, the cool green English land filled with the expectancy of the everyday…

• D’Artagnan’s servant (Roy Kinnear), waddling past a glumly solicitous beggar in The Three Musketeers: “Me? Not your day, is it?”…

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Moments out of Time 1996

[originally published in Film Comment Volume 33 Number 1, January/February 1997, reprinted by permission]

• The car materializing out of the whited-out mystery of snow/land/sky—the opening of Fargo

The English Patient: closeup, the look of pearls against Kristin Scott Thomas’s sweat-dampened throat … rediscovering the sensuality of the camera eye…

• Nobody (Gary Farmer) among the white birches, Dead Man

Mars Attacks!: a herd of cattle—in flames—stampeding down a country road…

Breaking the Waves: Touching her husband’s penis for the first time, Emily Watson blows a strand of hair away from her face in delight and amaze…

Lone Star: During a seamless elision into a dim, long-gone taqueria, deputy Buddy Deeds (Matthew McConaughey) gravels out “No” when his corrupt boss (Kris Kristofferson) orders him to collect mordita … and suddenly, shades of a Peckinpah Western rise….

• Nine minutes at a café table, Secrets & Lies

• Dawn (Heather Mattarazzo) taking a cleaver to her sister’s pink-maned Barbie doll—Welcome to the Dollhouse

• Rod Tidwell (Cuba Gooding Jr.)’s almost subliminal moue as Jerry Maguire (Tom Cruise) tells him, “You are wildly charismatic”…

• Edward Norton in Everyone Says I Love You, his appearance and bearing suggesting that F. Scott Fitzgerald is still around, writing characters for the Nineties….

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Moments out of Time 1998

[originally published in Film Comment Volume 35 Number 1, January/February 1999, reprinted by permission]

• Shrapnel hanging in the air, every shard in razor-sharp focus, as if molecules of the film itself had been startled out of the emulsion by the battle: Saving Private Ryan

• A bird born dying in battle: The Thin Red Line

• A tumbleweed in L.A.: The Big Lebowski

• Sopping-wet black thing drags out of swamp water and mist… the swinish sound of lungs laboring to relearn breathing: Beloved..

• The most genuinely felicitous meet-cute in living memory, Out of Sight: In the trunk of a getaway car, Federal marshal Karen Sisco (Jennifer Lopez) and prison escapee Jack Foley (George Clooney) talk movies—e.g., Three Days of the Condor, with Faye Dunaway “and Robert Redford when he was young”…

• A dying woman (Meryl Streep) opens her arms to her lost husband (William Hurt) and spoons him—fully dressed—in their bed: One True Thing

• Burning Dad, the brute (James Coburn) who, having let his wife die of cold, wraps himself in fake grief: “I should a froze.”—Affliction

• In an elevator, at war with her asshole husband (Martin Donovan), Living Out Loud‘s Judith (Holly Hunter) aims a sudden-death glare at the hapless nerd caught in close-quarters crossfire—without missing a beat in her rant….

• Four bare legs wavering in the air: Steve Prefontaine (Billy Crudup) and friend trying to fuck standing on their heads in Without Limits

• A token of love, Rushmore: Miss Cross (Olivia Williams) asks the affectless suitor at her door (Bill Murray) if he would like a carrot: “Sure,” he answers with passionate diffidence….

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Moments out of Time 1976

[Originally published in Movietone News 53, January 1977]

• The premiere of The Clansman, and D.W. Griffith’s stately acknowledgement of the cheers-the night we’d like to have attended, and thanks to Peter Bogdanovich for enabling us to be there: Nickelodeon….

• The duel in the barn: shafts of blue light, the flutter of pigeon wings, and the inexorable progress of ritual and fatality—Barry Lyndon

All the President’s Men: the daft imperturbability of the country club lawyer (Nicolas Coster) who, asked by Bob Woodward (Robert Redford) why he’s here at the plumbers’ arraignment, replies “I’m not here.”…

The duel in the barn: "Barry Lyndon"
The duel in the barn: "Barry Lyndon"

• The men weeping over chopped onions and the slowness of social change—Jonah, Who Will Be 25 in the Year 2000

• The sexual eagerness of Ali (El Hedi Ben Salem) and the old widow (Brigitte Mira) when they find one another in front of her apartment the second night—Ali—Angst essen Seele auf….

• An interview in an airport restroom—Alice in the Cities

Welcome to L.A.: Ken Hood (Harvey Keitel) gets his Christmas bonus—a partnership in the yogurt company—and rides down in the elevator. “Youuuuuu—you did it, you Kenneth! … Give me a K! Give me an E!…”

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