Change Your Image
Upload An Image
Crop And Save
Overlooked by Modern Americans
I love this film. It isn't my favorite movie nor even in my top 100. It's beautiful but it isn't the sort of movie that I typically care for. It's primarily a love triangle that could essentially be straightened up by a single conversation. It's super nationalistic and earnest without a lot of the complicated characters that I tend to like.
Yet, somehow it is a movie I don't just like but love. It is a film that is emblematic of several things that I enjoy looking back on.
The first of these is the Hollywood studio system. Once it crashed in the 70s for the rise of auteurs and less polished clean films films produced in the style of Classic Hollywood went away forever. There were certainly a lot of things about Old Hollywood that needed to go: the way they controlled people, the racism, and the sexism; but there was also a sort of magical quality back when everyone was going to see the same couple of movies over and over again. A communal experience in film that is only likened to today in films such as "Avengers: Endgame." Here is a film that was worthy of being seen by everyone.
It has the polish of masters of their trades working to achieve perfect shots, perfect performances with a crispness that only fails when it is intentionally dropped to give the old soft fuzzy look to Ingrid Bergman's close ups.
Pointing to the film and trying to call out any one aspect of the film as special is difficult because every aspect of it is done so perfectly. Can you call out the acting and leave out the cinematography, or the direction, or the editing?
Another thing this film does is remind me of a time when America was busy sacrificing individual comforts, preferences, freedoms, and even lives for the sake of something larger than themselves. These days that seems in short supply. It doesn't seem outlandish to think that if they remade this film (and don't you think for a second that they wouldn't if they thought it would make money) today it would end with Rick (Humphrey Bogart, "The Maltese Falcon") and Ilsa (Ingrid Bergman, "Notorious") flying off together to a new life and romance.
"Casablanca" is a great example of something I believe is quite tragic about modern movie watchers, though it is probably inevitable. It's a film that is utterly beautiful and full of meaning and entertaining yet most people won't watch it because it is old. I am a fan of old things and one of those weirdos that are always talking about the things that we are forgetting from our past.
There are many things about the past that we should grow beyond but "Casablanca" shouldn't be one of them. It may not have a crazy shootout at the end, snappy curse laced dialogue, or sizzling stars baring it all, but it has stood the test of time for a reason.
Mutiny on the Bounty (1935)
My Favorite Sea Epic
One of the best aspects of this film is the production design which goes hand in hand with the scale of the shoot. There isn't a moment in this film when you don't feel completely immersed in the world and time it portrays.
Part of the credit for this belongs to the production team that outfitted the ship, designed the costumes and built the sets for below decks. Part of it is also due to the way the film was shot with numerous at sea sequences and hundreds of actual native islander extras. When these are combined the atmosphere of the film is so immersive that as a child, I'm not sure I realized fully that Carey Grant wasn't an actual sailor on the high seas.
The immersion owes just as much to the acting as the design, though. With stellar performances from Charles Laughton ("Spartacus") and Clark Gable ("Gone with the Wind"), the brutality of the age in which these men sailed is related from every angle in a way that confirms the reality they live in. One may question whether Bly's methods are cruel, sound, or necessary but there is no doubt that the attitude he puts forth is real and that he truly feels his strictness is for everyone's good.
When Fletcher rebels the anger in his heart is thick and not easily washed away. It may take time for him to break and make his move but when he does it comes with a force that can't be swayed no mater how much his friends may plead.
The themes in this film are important ones for every age. The ship, The Bounty, is a microcosm for nations, communities, companies, and families. The dangers of unchecked power, unresolved conflict, and oppression of the weak sail with every ship, in every board room, and every construction site.
Sword of Trust (2019)
Middling Comedy Provides Just Enough Laughs.
From the outset, I was a little nervous about how I would like this film. Marc Maron can be abrasive but I do sometimes like his comedy. I am the sort of person that used to skip his rants to get to the interview on his now famous podcast "WTF." Even that, though, I tired of so I wondered if I would be similarly motivated to eventually check out of this film.
I was in for a bit of a treat though. This film, while tapping into Marc's talents, is definitely not simply his voice thrown on the big screen. There are a lot of really great laughs, awkward moments, incredulous circumstances, and zany antics from everyone involved in this film.
The setup for the film is that a couple, Mary (Michaela Watkins, "The House") and Cynthia (Jillian Bell, "Inherent Vice"), are given a sword from the Civil War by their dead Grandfather. In a dementia scrambled note, He details a winding and contradictory narrative that ends in this thought; The sword proves the South won the war.
They end up deciding to try to sell it for an astronomical sum of money and introduce Mel (Marc Maron, "Almost Famous") and Nathaniel (Jon Bass, "Loving") into their little scheme since they know where they can find people who will believe the sword's sordid history and pay dearly for it and the light it sheds on an alternate history.
I won't get any further into the plot but the setup should be enough to see that there is a lot of opportunity for humor in this film especially with a cast that is as funny as this one. What I wasn't expecting was the layers of conversation and depth that the film was going to bring to bear on such an, on the surface at least, ridiculous premise.
For example, the women get this sword and are disgusted by the fact that their grandfather thought the South won the war, and probably along with it, a lot of other out there stuff. So they don't want it.
But they do want the money it could fetch them so they head to the pawn shop where they proceed to try to convince the owner that the sword really is the sword that should have ended the war because that would be worth more money.
The film constantly turns truth on its head like this, making fun of people who basically say and believe whatever is convenient to their ends or giving us heartfelt scenes where people are facing things from their past and how we tell ourselves stories then rewrite them in our brains to make us feel better about them not caring so much about their veracity.
Meeting Gorbachev (2018)
Never Realized Before
This film is one of the most informative and interesting documentaries which I have seen. If I were to compare it to another documentary it would be like a cross between "Won't You Be My Neighbor" and "The Civil War." On the one hand it is a character study but on the other it is the story of the fall of the USSR. Through it all, we have Werner Herzog casting his own brand of eccentric existentialism over the film.
Describing the film is hard because it is someone's life story and as I found it fascinating, I would love to expound it for you. That would be tragic though as Herzog has already told the story through film and in a much better and meaningful way than I could manage.
The story of Gorbachev's life is certainly very different than I expected. I suppose part of that is because of the natural distrust Americans tend to have still in our films and TV as a remnant from the 80s. What I found out instead was that he was a very admirable man, flawed to be sure, but admirable. He had tremendous love for his country and most importantly the people of that country.
One of the most interesting parts of the film is Gorbachev's involvement in the ending of the Cold War. Herzog does a great job of showing how vital it is for world leaders to work together toward the common ends of security and life for all people. One of the great takeaways from the movie is really how terrible a force personal greed and power grabbing is when it is allowed into national politics.
As I walked out of the film I couldn't help but think how desperately short of that kind of politician or even person our world seems to be. Politicians who can learn from their mistakes and change their attitudes for the good of the people rather than for their own personal gains seem to be not so much the norm or the minority anymore. Sometimes they feel more like the extreme outliers in a world shaped more by grabbing for resources and table scrap economics for those who need help the most.
Urban Cowboy (1980)
Not For Me...
I sincerely don't understand why this movie was made, or why it has such decent (if not good) reviews. It somehow hit the right cords in people, probably those who found this in a five dollar bargain bin at Wal-Mart. The story is inane and goes nowhere fast (if a story is what you really call it) There's way too much dancing for my liking (although line dancing fanatics may find these scenes enjoyable), but the music is very good, showcasing the rise of the country music scene. It's one of the few redeeming qualities. That and the production design is quite good. The location is not exactly one where I wouldn't want to reside, but it all looks very authentic. The message and themes are horribly outdated- it's a misogynistic, nasty film with terrible moral ambiguity, one that I would never show anyone under the age of 18, yet this has a PG rating. It really spreads the wrong kind of message. But if you're a pig-wrestling, Kid-Rock-loving hillbilly this might just be the best thing to show your little crotch goblins. Overall, I obviously did not enjoy this film, and I'm not really sure I can find the appeal factor for anyone to enjoy it, it's just a messily written country yarn with no real point. The characters are unlikable, uninteresting, sleazy and mean, the climax is just plain silly, and the movie as a whole is an endurance test, it just keeps going and going until finally the idiocy comes to an end after a rather boring altercation. I'd rather watch the 'Squeal like a piggy' scene from another superior southern film 'Deliverance' on repeat than subject myself to Urban Cowboy ever again.
After Parkland (2018)
Grief And The Humans Who Face It
This documentary is a great example of what some documentaries are capable of doing. Many struggle to accomplish this feat because just finding enough pieces to create a movie that makes sense can be difficult when you are having to rustle up footage from years ago and splice it into interviews conducted later. For the team that made "After Parkland" they were fortunate to not only be covering a story which captivated millions and played on the news for weeks (meaning lots of footage to work with), they also were on the ball when it came to flying down within a day to start filming for the movie. With circumstances like that, they are able to be assured that the plot driven part of the film will come together more easily and focus on the truly rare find in documentaries, something that transcends plot.
I'll admit it. My expectation of this film would that it would primarily be political in nature and chronicle various efforts to pass gun control reform measures into law. I thought it would be primarily about activism. It is about those things but it does several things I did not expect and, I would argue, is not primarily about gun control.
First, this film is far more balanced than I thought it would be. Maybe balanced isn't the right word. Balance implies that there is a debate in the film about whether we should pass new gun laws or arm teachers or a million other things and they all get equal time and treatment. This is not the case. It does, however, present a holistic picture where the various viewpoints of many people are given. Some of the parents who lost kids are for stricter gun laws. Some are not. Some kids who lost friends want to march in the streets. Others do not. Some want to go into politics. Some just want to return to normal life.
This is actually how the film transcends. By not choosing to emphasize one side over the other we end up getting a window into people's hearts and lives that wouldn't be possible with a more propaganda style film. Because the choice was made to not make a propaganda film the film begins to feel sub-textually about grief. It's about loss. It's about the ways that people react to grief and loss differently.
Hacksaw Ridge (2016)
While I don't think this film will be remembered like "Saving Private Ryan" (in my opinion, the pinnacle of war movies), it is a story that should be seen. I think everyone in this film did an admirable job (I suppose I should mention that Andrew Garfield was nominated for Best Actor in this role too- I actually thought his performance in "Silence" was far more memorable, and that performance went relatively unacknowledged), and I'm honestly really happy that Mel Gibson is directing again. I know he's had some personal problems in the past, but the guy knows how to direct a film.
Fun Superhero Flick
Overall this is a fun film. It's not a great film, but it will entertain the right audience. I feel like people who like enjoy 'pop-culturey' movies like "Dick Tracy" or even Raimi's own version of "Spider-man", they'll probably get a kick out of this.
Cold Case Hammarskjöld (2019)
Cold Case Hammarskjold is not a movie for the faint of heart or uninitiated to complex and hard hitting documentaries, but for this who want a satisfying mystery that will test your brainpower and one that's not only exciting and but also one that's very historically important, especially if what the filmmakers uncovered and discovered came into full effect, how different the world would be today then I can not recommend this movie enough. It has some brutal subject matter that may be disturbing to some, but the twists and just plane insanity of this documentary make it hard to find anything wrong with it. It's a true testament to you "gotta see it to believe it" but it's very true, if Cold Case Hammarskjold end up playing near you, I strongly recommend that you see it.
Official Secrets (2019)
Solid Political Thriller
Official Secrets is a very well done and very important political thriller, it won the best Foreign Film Award at the Traverse City Film Festival that I attended, so that goes to prove that it has a lasting effect, and I agree. So if you're willing to believe in what the story is telling you, it has great performances and twists and turns throughout, it'll have you cheering for the protagonists and utterly booing the antagonists, if you're in the mood for a good solid political thriller I recommend Official Secrets.
Mildred Pierce (1945)
A Moody, Feminist Epic
"The most interesting parts of this film are the character dynamics, particularly the relationship between Mildred and her daughter Veda. Even from the beginning of the film, Veda is a bit of a spoiled brat, and Bert seems to blame Mildred for this, saying that she has spoiled their children with dresses and other things they can't afford. However, as Bert is sleeping around with another woman and neither he nor Mildred are happy in their relationship, the two of them decide to split, and Mildred is able to get a job as a waitress. Because Mildred spoiled Veda so, Veda's ideology towards work is that only the lower class must actually participate, and that those who do work are beneath her. Mildred tries to change Veda's attitude by working hard and continuing to support her expensive endeavors, even though Veda only becomes more and more spoiled in the process. The blame almost becomes cyclical in a downward spiraling manner; it's Mildred's fault for raising her children to view work as a horrible prospect, but it's also Veda's fault for not seeing how hard work is the only thing that is providing for her lifestyle. The relationship becomes destructive for both parties, and it becomes obvious that this relationship can only end in tragedy.
The direction of Michael Curtiz (director of "Casablanca") lends itself to some wonderful moments of misdirection, which, in turn lead to some great moments of revelation. The subtlety with which he crafts the world around Mildred is also pretty great, for with every scene it feels as if Mildred is helping to change the world around her; it's not only the characters that are dynamic, the world is as well. While I will admit there are a few slower moments in the beginning of the second act, most of the film is remarkably compelling, and even the scenes that are primarily dialogue are wrought with subtext and double meaning. The acting from pretty much everyone in this film is remarkable, but it's Joan Crawford and Ann Blyth who really steal the show.
Hellboy II: The Golden Army (2008)
Even Better than the Original
Both "Hellboy (2004)" and "Hellboy II: The Golden Army" are really solid superhero films, and I feel like, if they'd have come out five years later when the superhero craze had gotten into full swing, they probably could've done a little bit better in the box office, and maybe we would've wound up with a third Hellboy... maybe, but maybe not. If we had gotten Hellboy 3, maybe Del Toro's career would've taken a very different path, and maybe we wouldn't have gotten "The Shape of Water"... who knows... that's for an alternate timeline to know. Here, in this universe, in this timeline, we received two Hellboy movies from Del Toro. Not only are those two films brilliant examples of urban fantasy, they are filled with complex and fun characters, and they're an absolute blast to sit through. "Hellboy II" is even better than "Hellboy (2004)", but both of them are worth watching.
Superhero film Done Right
This is probably one of the most creative superhero franchises to hit the silver screen, and I will always lament the fact that we'll never get the third entry in Del Toro's trilogy. While I do really enjoy this film, there are a few minor issues with it. First, it is a little on the long side. Notably, I did watch the directors cut of the film, which is ten minutes longer. And, if I'm being honest, it's been so long since I've watched the theatrical cut I couldn't tell you if the pacing was a bit better in that version. For the most part, I feel like the film moved along at a very solid pace, but it's the first act that really suffers the most. After the first scene, where Hellboy is pulled into our world, we spend probably twenty minutes establishing Hellboy's world, and some of the scenes during that time are certainly slower than others. The third act also starts to go off the deep end. As I mentioned, for about 75% of this film, this movie feels like a police procedural- it's pretty grounded as far as stakes go. But then, as we ramp up to the climax, the stakes ramp up stupendously, to the point where everyone in the world is at risk. I know a lot of people like their superheroes to save the whole world in a big CGI explosion-fest, but honestly, I wish this film had kept its climax a little bit smaller, more grounded, at the end. The CGI near the end is easily the least polished looking part, and while the ending is pseudo-satisfying it doesn't, in my opinion, have nearly as much heart as the rest of the film. This is, however, a small bone to pick with an otherwise very good film.
A History of Violence (2005)
A Thriller with Smoldering Intensity
A History of Violence is an underrated gem, one that was mildly successful thanks to the built in fan base due to the source material (it's based on the graphic novel of the same name), but it definitely deserved more attention at the time of its release. The message is an important one, one that many people are afraid to ask themselves; are we naturally violent people? So to watch Tom Stall battle this, it feels all too real with the world around us today, and Cronenberg really nails it with this interpretation. The performances are top notch, everyone brings all their cards to the table, and with such a prolific director behind the camera, who wouldn't want to give it their all. The writing is a bit odd, especially in the first act, besides the opening scene the first twenty minutes are just too melodramatic with clunky dialogue, it takes a few minutes for this to take off, but it's such a brisk runtime it's easy to forgive, because when the violence starts, it never stops. At it's core it's a family drama of survival, and finding out who their father truly is, all the questions are answered in satisfying ways, David Cronenberg never let's up on the intensity during the second and third acts, which almost forgives the stale first act. The film would have benefited from a longer script, as some moments are a tad rushed, it would've been nice to spend a little longer with the characters. But that being said overall, "A History of Violence" is above par entertainment, and despite it's flaws it's an important piece of filmmaking, one that only further improved the director's already impressive career.
The Glass Castle (2017)
Skip the Movie, Read the Book
It's rare that I do this, but I am actually pleading with you not to see this movie. Usually, if a movie is bad, I forget about it and continue on with my life, but this movie takes something truly special and tarnishes it. As a standalone story, this movie is nothing- not so bad it's offensive, but it's not good enough to be remotely memorable. Please, don't see this movie; read the book. If you don't have the gumption to read the book, then just avoid this story altogether. It's a marvelous tale, but it deserves to be experienced through Jeanette's own words.
Crazy Rich Asians (2018)
Average Romantic Comedy
I personally think this movie got more praise than it deserved, but at the same time, I can understand why, in our material obsessed world, this film did so well. People love a glimpse at the crazy fancy lifestyles they'll never get to live, myself included (I finished the movie didn't I?). In a month or two, I don't think I'll remember much about the actual characters or the storyline of this film, but there's a chance I might retain a few moments inside the huge hotels and elaborate parties. I found some parts of this movie rather annoying, some parts were slightly empowering, but overall the film was rather middling.
Glengarry Glen Ross (1992)
Mamet is the Man
While I love a good film comprised only of dialogue, I'm sure some people might find this film a bit tedious. If you want action and adventure in your movie, this isn't something you'll probably enjoy, but if you can appreciate some deftly written dialogue and understand the point that Mamet is trying to make, this film is incredibly compelling. Great performances, a nigh perfect script, and some brilliant observations about our modern society make this one of the tighter dramas I've seen in a while. I absolutely recommend it.
About Time (2013)
A Delightful but Flawed Romantic Comedy
I've often talked about how when you have a film that falls on the border of decent and good, it really is up to the viewer personal preferences to decide how they feel about that film. I've given "About Time" 3.5 Stars. There are some great scenes that I think could've boosted this movie to a 4 Star rating, while there are other scenes that could've dropped it down to a 3 star. It is not, as I have already mentioned, as good as I remember it to be (how many films really are ageless?), but I do think it's still worth a watch. This was my fourth time watching this film, and I can honestly say I probably will watch it again a few years down the road. I think the fact that I spent more time pontificating on the pros and cons of this film than I usually do should be enough to indicate that I feel something special for this film, that it does mean something to me even though it does have plenty of flaws.
I find the sweetness and kindness instilled in some of the scenes in this movie displays a kind of tenderness that I rarely see in modern film. I still get a few chuckles from some of the side characters (particularly Tom Hollander ("A Private War")), and I still love the father son relationship between Tim and his Dad. No, this isn't a perfect film, but few films are. My personal preferences and my own experiences with this film will lead me to like it more than some people, but I think many people will still find this to be an overall enjoyable experience.
A Wild Ride Through the Wild West
Tombstone isn't the perfect western, but it's damn good escapism fun. The shootouts and action are frantic, and they come aplenty. The performance are absolutely perfect, from the leads to the supporting, every one on the star studded cast gives it their very all. Val Kilmer goes above and beyond with his portrayal of Doc Holiday and has not been able to recapture than magic since. Although the action is great, there's just not enough story to justify the nearly two and a half hours of running time, even if the direction is confident, there's enough hiccups in the script to distract from the story a tad, but there's enough humor, action, and setting to make this western a great one. I give Tombstone 4 stars out of 5.
Pet Sematary (2019)
As I was watching this film, my mind began to wander. I began to wonder why, when this book had frightened me so much, why was this movie so bloody boring? Take that question a step further: why do so many of Stephen King's great books turn out to be such mediocre movies? Looking at King's IMDb page, I can see that as of today (4/7/2019) he is credited as a writer on 288 different projects, and of those 288, 36 of those projects are currently in development. King is one of the most prolific horror writers of our time, and he has some absolutely wonderful stories, but how many of his horror movies could you say are amazing (horror Stephen King- were not counting dramas like "Shawshank Redemption" or "The Green Mile")? Four or five? Maybe less.... Kubrick's adaptation of "The Shining" is a fantastic film, but King has famously denounced that movie for pillaging his source material and turning it into something its not. DePalma's adaptation of "Carrie" is probably the best, and truest adaptation of a Stephen King horror book, but it's still not very scary by modern standards. The same goes for Cronenberg's "The Dead Zone"; it's good, but not scary. The most recent adaptation of "It" was also a lot of fun, but still suffers from lack of scares.
I think King's books and stories are hard to adapt because they force the reader to do a lot of internalizing. The reason that Pet Sematary, the novel, was so frightening was because there was an underlying level of dread that Louis himself brings to the novel. When Gage dies in the book, we already know that Louis is going to bury his son in the cemetery. Hell, Louis himself knows he's going to rebury Gage in the cemetery (he picks a kind of burial plot without a cement seal, and hence easier to dig up). Watching Louis internally rationalize with himself, even knowing that the end result will be the same, is ultimately the most terrifying part of the book, and this film does nothing to capture that. Don't see this movie.
It's boring and stupid, and that's pretty much all I've got to say about that.
One of DC's Best
Superhero films have come a long way in the last twenty years. Look at one of the first superhero movies that really kicked off the superhero craze: Sam Raimi's "Spider-man" (I know "X-Men" came before, but "X-men" doesn't really have a good origin story aspect). Raimi's "Spider-man" pretty much has every quality that this film has: a goofy outcast in high school that gets picked on by bullies, an inciting incident that gives them powers, a training montage, some mid-level baddie fights, and then we finish it off with a fight with a guy who might actually do some damage... It's been decades since that film, how many freaking times do we need to see this exact story? I'm tired of it; give me something new. At least Marvel, when approaching their latest films, have started to branch out into different subgenres. Unfortunately, DC is still really struggling to get their cinematic universe off the ground.
I know I ragged on this movie a lot, but it is probably the second-best DC movie out there (second to "Wonder Woman", though I still haven't seen "Aquaman"). It's still nothing all that special, but at least it's a step in the right direction, away from the dreary world of Zack Snyder. If you're a huge fan of superheroes, then I can almost guarantee you'll like this movie. If you're a casual fan of superhero films, then just wait to see this on Netflix.
Cool Ideas, Horrible Execution
Unfortunately, this film follows that M. Night Shyamalan pattern of bad movies. I really am rooting for the guy; I like "The Sixth Sense", and "Signs" is decent. The problem is that M. Night needs someone else to write his dialogue... and maybe he needs to have another person come in to give him notes on his script... actually, maybe someone else should just write his scripts.
Whatever he's doing, it's not working for him. Better luck next time, M. Night.
In the Heat of the Night (1967)
They Call Me Mr. Tibbs!
There's a lot to like about this movie. The characters are really compelling, particularly Poitier. He navigates Sparta with a wary delicacy- he has to be ready to defend himself at a moments' notice should the need arise. His relationship with Steiger's character, Gillespie, is incredibly dynamic, and it's warming to watch the racist Police Officer's heart soften as he gets to know Virgil more. As one can imagine, the turn that their relationship takes follows a predictable pattern, but while the change of heart might be something we saw coming, the way Jewison approaches that change really brings the characters' personalities to the forefront of the drama. At the beginning these characters are at each other's throats, but as they work together and work through their differences, we see the complexities of both of their characters in full.
The Social Network (2010)
The Social Network is a generation defining film, one that only comes around so often, telling a mostly true story about something that has effected a multitude of people from every varying demographic. I can't go on to say if this is David Fincher's best movie to date, but it's easily his most poignant and relative, even almost a decade later The Social Network is even more provocative and relevent than it was in 2010. Through the power of film David Fincher gives us an important history lesson, while being wildly entertaining, funny, and intense, focusing on and mastering his craft, solidifying his aesthetic for future projects to come. The performances are intense, intricate, and spot on, each one specifically written with their own agenda, there's nothing sloppy about Aaron Sorkin's writing, it's fast, it's exciting and it's just plain great. David Fincher has been pushing boundaries through his filmography, but The Social Network is where he fully breaks through. Creating his dense atmosphere with beautiful, stylish cinematography, with a masterfully perfect, ethereal score from two masters of the music industry. The Social Network not only stands the test of time, but proves that it only makes this film more important while the age of technology is ever growing.
I give The Social Network 5 stars out of 5.
Surpasses Every Entry in the Franchise
I didn't expect to say this, but I liked "Bumblebee." I don't think it's perfect, and just because I enjoyed this entry doesn't that mean I'll see the following entry. This was a rare good misstep for the Transformers series. They have had far more bad entries than good ones, but this might be the best one yet. Still, this is a franchise film, and it feels like a franchise film. When I say that this is the best Transformers movie, that doesn't mean it will ever sit on my own personal movie shelf. While I've seen this movie once, and that was good enough for me, I could absolutely understand why someone else would fall in love with it.