November 21, 2010
College-aged viewers — the ones old enough to remember every moment of the last 12 years of “Harry Potter” but young enough to relate to the boy-wizard’s plight — are the lifeblood of the series, no matter how many times older generations chastise us for obsessing over “a kids’ book.” Some (older) people really just don’t get it. I’m not obsessed, but I fully understand that “Harry Potter” is our story — we grew up with it, and we’re seeing it reach a fittingly epic end with its seventh and eighth films.
November 18, 2010
“Movies and everything going forward are going to be really different,” he said. “It’s going to be interesting coming up … seeing who makes the first move and what it is.”
November 14, 2010
“Unstoppable” is stripped down and presented almost entirely in real-time. The runaway train is a formidable villain, and its mysterious, almost mystical quality is one of the film’s strongest points. Carrying large amounts of toxic chemicals, it is never fully explained how serious its damage would be, but the realistic in-the-moment presentation is thrilling.
November 7, 2010
Whenever I hear the piano exit to “Layla,” it’s not that I see the entire montage from Goodfellas; the importance of the combination is that each form informs and changes the other. For me, just as much as “Layla” is an essential part of “Goodfellas,” the film has become an essential part of my experience of the song. The same way that people relive their memories to music, my experience of music often returns me to a film. That said, music in film is more than mathematical and the combination is far more than the sum of its parts. Music combined with a visual medium can change the way we move, the way we respond to real situations and most importantly, the way we remember.
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