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I was fortunate enough to see Birdman twice (Friday October 24th & Tuesday November 4th), however both times I've been puzzled by the vague ending. Aside from that, this film looks phenomenal. My jaw was on the floor for the seamless cinematography. I need to see the Making Of Feature to see how they achieved this. 

Michael Keaton was amazing, as was Edward Norton. The jazzy drum score by Antonio Sanchez was a perfect fit for the manic energy of Keaton and the film. It also had great comedic moments and one scene that this film will be remembered for is when Keaton's character goes off on the New York Times critic: legendary.

 

It will be bizarre if this beat Boyhood, by employing the continuous shot technique that Linklater used in Slacker and Before Midnight. 

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The Cohens have been tripping on their shoe laces the last decade or so (True Grit gets a pass).

 

I'm kind of an apologist for A Serious Man, just cause I found it uniquely funny.  No Country For Old Men however, maybe the finest film in their career.  At least the finest non-comedy film.

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Just watched "The Trip" on Netflix. It got lots of good reviews, but I hated it. It took every bit of willpower I have just to get through it. 

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I get a kick out of time capsule pieces like The Trip or Psych-Out. Not great cinema by any stretch, but when I'm in the mood they can hit the spot.

 

I'm thinking that B_T  was probably refering to the Steve Coogan one. Which I liked, but totally get why someone else would despise it.

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I'm thinking that B_T  was probably refering to the Steve Coogan one. Which I liked, but totally get why someone else would despise it.

 

Yep, that's the one I meant. I tried to like it but couldn't.

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I watched a fantastic documentary on Netflix called Muscle Shoals about the two iconic recording studios in the North Alabama town of the same name.  I think it had previously run on Public Television, but I had not seen.  Great stuff.

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"Tuesday, After Christmas" 

 

I'm interested in Romania's serene new wave, and that's one of the best, I think.  There's a merciless intimacy in its portrayal of a man who must choose between two loves.  It's been several years since I saw it, but I still remember the rich, unhurried qualities of the post-coital scene with his mistress, and especially the agonizing confession scene, in which we visibly see the wife's trust--no, her entire life's meaning--evaporate.

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