Tag Archives: Max von Sydow

Oscar Nominations

24 Jan

Early this morning, the nominees for the 84th Academy Awards were announced and, as it’s usually the case with these things, there were some good things, some bad things, and some truly horrible ones too. Below I’ll post the entire slew of nominees announced this morning, a brief commentary on how that category panned out this morning and how I personally did with my nomination predictions I posted yesterday.


  • The Artist (Thomas Langmann)
  • The Descendants (Jim Burke, Alexander Payne and Jim Taylor)
  • Extremely Loud and Incredibly Close (Scott Rudin)
  • The Help (Brunson Green, Chris Columbus and Michael Barnathan)
  • Hugo (Graham King and Martin Scorsese)
  • Midnight in Paris (Letty Aronson and Stephen Tenenbaum)
  • Moneyball (Michael De Luca, Rachael Horovitz and Brad Pitt)
  • The Tree of Life (Nominees to be determined)
  • War Horse (Steven Spielberg and Kathleen Kennedy)

Most people were predicting six or seven nominees in this category. I predicted eight, though one of my eight, The Girl with the Dragon Tattoo, was left out, which is one of the snubs that pained me the most this morning. In its place was The Tree of Life, showing how many people love Terrence Malick’s masterpiece. And grabbing that last spot is Extremely Loud and Incredibly Close, which had been pretty much shut out this awards season but got some Oscar love, getting a ninth slot that people were predicting, if it happened, would go to Bridesmaids. I went 7 of 9 here.


  • Woody Allen (Midnight in Paris)
  • Michel Hazanavicius (The Artist)
  • Terrence Malick (The Tree of Life)
  • Alexander Payne (The Descendants)
  • Martin Scorsese (Hugo)

Much like in Best Picture, here again is The Tree of Life presumably taking the slot that should have gone to The Girl with the Dragon Tattoo‘s David Fincher. 4 out of 5 predicted correctly here for me.


  • Demián Bichir (A Better Life)
  • George Clooney (The Descendants)
  • Jean Dujardin (The Artist)
  • Gary Oldman (Tinker Tailor Soldier Spy)
  • Brad Pitt (Moneyball)

Here was the thing I hated the most about the Oscar nominations. The Academy failed to nominate the best male performance of the year by leaving out Michael Fassbender for Shame, proving that they are prudes that don’t mind female nudity but cringe at the sight of male nakedness. This was the one snub that got me mad this morning. It’s cool to see Oldman get his due, and a name like Bichir’s included, but all I think is how mad I am about Fassbender’s snub. 4 out of 5 here.


  • Glenn Close (Albert Nobbs)
  • Viola Davis (The Help)
  • Rooney Mara (The Girl with the Dragon Tattoo)
  • Meryl Streep (The Iron Lady)
  • Michelle Williams (My Week with Marilyn)

In my predictions yesterday, I said that either Glenn Close or Tilda Swinton, the presumed fourth and fifth slots of this rarce would fall off thanks to an upset at the hands of Rooney Mara. I was half-right since that indeed happened but the one that fell off was Swinton and not Close, like I had predicted. Still, super happy to see Mara here. 4 out of 5 in this one, too.


  • Kenneth Branagh (My Week with Marilyn)
  • Jonah Hill (Moneyball)
  • Nick Nolte (Warrior)
  • Christopher Plummer (Beginners)
  • Max von Sydow (Extremely Loud and Incredibly Close)

One of the biggest upsets of the morning happened here, as Albert Brooks for Drive, the presumed second-place by many, was snubbed in favor of Max von Sydow, riding the wave of support that also got Extremely Loud and Incredibly Close into the Best Pic category. Still, this category at least got the best Twitter interventions from Patton Oswalt, another snubbee. Yet another 4 for 5 for me here.


  • Bérénice Bejo (The Artist)
  • Jessica Chastain (The Help)
  • Melissa McCarthy (Bridesmaids)
  • Janet McTeer (Albert Nobbs)
  • Octavia Spencer (The Help)

4 out 5 correctly predicted here, as Janet McTeer gets in instead of The Descendants‘ Shailene Woodley. Still, nothing too unexpected here.


  • The Artist (Michel Hazanavicius)
  • Bridesmaids (Annie Mumolo and Kristen Wiig)
  • Margin Call (J.C. Chandor)
  • Midnight in Paris (Woody Allen)
  • A Separation (Asghar Farhadi)

I went 3 for 5 here. Artist, Midnight and Bridesmaids were locks. And the final two slots I thought were down to about six films, Margin Call and A Separation included, I just predicted the wrong ones. Still, pretty happy about J.C. Chandor’s name being called out here, he’s an incredibly promising talent.


  • The Descendants (Alexander Payne, Nat Faxon and Jim Rash)
  • Hugo (John Logan)
  • The Ides of March (George Clooney, Grant Heslov and Beau Willimon)
  • Moneyball (Steve Zaillian, Aaron Sorkin and Stan Chervin)
  • Tinker Tailor Soldier Spy (Bridget O’Connor and Peter Straughan)

3 for 5 in this category. In my predictions I said that Tinker Tailor Soldier Spy and The Ides of March could take the fifth slot which I had predicted for The Girl with the Dragon Tattoo, which was again snubbed, the fact that both got in, at the expense of The Help, doesn’t spell great things for the chances of Tate Taylor’s film at the Best Pic trophy.


  • Bullhead (Belgium)
  • Footnote (Israel)
  • In Darkness (Poland)
  • Monsieur Lazhar (Canada)
  • A Separation (Iran)

4 for 5 here. Sad about the lack of Pina here, but at least it got into the Docu race (about which I’m really mad about for another reason).


  • Hell and Back Again (Danfung Dennis and Mike Lerner)
  • If a Tree Falls: A Story of the Earth Liberation Front (Marshall Curry and Sam Cullman)
  • Paradise Lost 3: Purgatory (Charles Ferguson and Audrey Marrs)
  • Pina (Wim Wenders and Gian-Piero Ringel)
  • Undefeated (TJ Martin, Dan Lindsay and Richard Middlemas)

Just 2 out of 5 here. The fact that Project Nim wasn’t included in the shortlist is absolutely atrocious to me, one of the most horrible things the Academy announced this morning. At least Pina got in.


  • A Cat in Paris (Alain Gagnol and Jean-Loup Felicioli)
  • Chico & Rita (Fernando Trueba and Javier Mariscal)
  • Kung Fu Panda 2 (Jennifer Yuh Nelson)
  • Puss in Boots (Chris Miller)
  • Rango (Gore Verbinski)

3 out of 5 here. Really shocked about not seeing The Adventures of Tintin here. Ditto for Cars 2, which I really don’t mind not being here, but thought it would sneak in just for being a Pixar film (this is the first time a Pixar film isn’t up for the award and isn’t nominated for any kind of Oscar). Hoping this means this award is Rango‘s already.


  • The Artist (Anne-Sophie Bion and Michel Hazanavicius)
  • The Descendants (Kevin Tent)
  • The Girl with the Dragon Tattoo (Kirk Baxter and Angus Wall)
  • Hugo (Thelma Schoonmaker)
  • Moneyball (Christopher Tellefsen)

I was awfully close to getting my first 5-for-5 category here. But in my predictions I went with my fanboy heart and predicted Drive instead of Moneyball. Still, good to see Thelma Schoonmaker here as well as last year’s winning team of Kirk Baxter and Angus Wall.


  • The Artist (Guillaume Schiffman)
  • The Girl with the Dragon Tattoo (Jeff Cronenwerth)
  • Hugo (Robert Richardson)
  • The Tree of Life (Emmanuel Lubezki)
  • War Horse (Janusz Kaminski)

Finally I predicted all five of the nominees here correctly. Probably a battle all the way between Schiffman and Lubezki.


  • The Artist (Laurence Bennet, production designer; Robert Gould, set decorator)
  • Harry Potter and the Deathly Hallows: Part 2 (Stuart Craig, production designer; Stephanie McMillan, set decorator)
  • Hugo (Dante Ferretti, production designer; Francesca Lo Schiavo, set decorator)
  • Midnight in Paris (Anne Seibel, production designer; Hélène Dubreuil, set decorator)
  • War Horse (Rick Carter, production designer; Lee Sandales, set decorator)

3 for 5 here. I thought Tinker Tailor Soldier Spy was an absolute lock in this category, and I also predicted The Girl with the Dragon Tattoo but was quite unsure about that one. War Horse I could see here, but Midnight in Paris was more of a surprise to me, though a very welcome one.


  • The Adventures of Tintin (John Williams)
  • The Artist (Ludovic Bource)
  • Hugo (Howard Shore)
  • Tinker Tailor Soldier Spy (Alberto Iglesias)
  • War Horse (John Williams)

Double-dip by John Williams here. Still, all I can think about here is how infuriating the lack of Reznor and Ross for The Girl with the Dragon Tattoo is.


  • Harry Potter and the Deathly Hallows: Part 2 (Tim Burke, David Vickery, Greg Butler and John Richardson)
  • Hugo (Rob Legato, Joss Williams, Ben Grossman and Alex Henning)
  • Real Steel (Erik Nash, John Rosengrant, Dan Taylor and Swen Gillberg)
  • Rise of the Planet of the Apes (Joe Letteri, Dan Lemmon, R. Christopher White and Daniel Barrett)
  • Transformers: Dark of the Moon (Scott Farrar, Scott Benza, Matthew Butler and John Frazier)

3 for 5 here. Kind of surprised to see Real Steel pop in instead of The Tree of Life, especially considering how much love the Malick film had managed to score in more important categories.


  • The Girl with the Dragon Tattoo (David Parker, Michael Semanick, Ren Klyce and Bo Persson)
  • Hugo (Tom Fleischman and John Midgley)
  • Moneyball (Deb Adair, Ron Bochar, Dave Giammarco and Ed Novick)
  • Transformers: Dark of the Moon (Greg P. Russell, Gary Summers, Jeffrey J. Haboush and Peter J. Devlin)
  • War Horse (Gary Rydstrom, Andy Nelson, Tom Johnson and Stuart Wilson)

I never know what I’m doing predicting these categories, so a 2-for-5 showing isn’t that shocking. Good to see The Girl with the Dragon Tattoo here though.


  • Drive (Lon Bender and Victor Ray Ennis)
  • The Girl with the Dragon Tattoo (Ren Klyce)
  • Hugo (Philip Stockton and Eugene Gearty)
  • Transformers: Dark of the Moon (Ethan Van der Ryn and Erik Aadahl)
  • War Horse (Richard Hymns and Gary Rydstrom)

4 for 5 here, I don’t know why I was so sure Super 8 was the front-runner here. Just insanely happy about Drive.


  • Anonymous (Lisy Christl)
  • The Artist (Mark Bridges)
  • Hugo (Sandy Powell)
  • Jane Eyre (Michael O’Connor)
  • W.E. (Arianne Phillips)

4 for 5 again here, strange not seeing The Help here, I guess it means its support isn’t as strong as we once thought.


  • Albert Nobbs (Martial Corneville, Lynn Johnston and Matthew W. Mungle)
  • Harry Potter and the Deathly Hallows: Part 2 (Edouard F. Henriques, Gregory Funk and Yolanda Toussieng)
  • The Iron Lady (Mark Coulier and J. Roy Helland)

2 for 3 here, I was super sure Albert Nobbs wasn’t going to get in here, but after the love thrown at Close and McTeer I guess this was expected.


  • “Man or Muppet” (The Muppets; Music and Lyrics by Bret McKenzie)
  • “Real in Rio” (Rio; Music by Sergio Mendes and Carlinhos Brown, Lyrics by Siedah Garrett)

Don’t know why there were only 2 and not 5 nominees here, so I’m not really counting it for my predictions.

And that’s it for the Oscar nominations. I went 72 for 102 in the predictions I made, which I guess isn’t all that bad, as the date comes closer I’ll make my actual predictions for who I think will win, but for now let us just think about these nominations. Here are my picks for The Good, The Bad and The Ugly:

The Good:

  • Hugo leading all nominees with 11 (the film with the most nominations has won Best Picture 15 of the last 20 years).
  • Woody in for Best Director.
  • Gary Oldman finally getting his nomination.
  • Rooney Mara in for Best Actress.
  • J.C. Chandor getting a nod.
  • Rise of the Planet of the Apes getting a nod somewhere.

The Bad:

  • No extra Dragon Tattoo. I mean, Mara getting in there and a slew of technical nods is awesome indeed, but no Fincher for Director or the film not getting into the big race was hurtful. But those categories were crowded. The one that really stung was the omission of its score. I’m putting this under Bad and not Ugly because at least Rooney got her due.
  • Tilda Swinton out of Best Actress. True, it was to give a spot to Mara (who gave a better performance), but Swinton’s performance was better than Glenn Close’s who did get in and should have been the one scrapped in order to make room for the youngster of the bunch.
  • Pina not included in the Best Foreign Language race. Bad and not Ugly because at least it’s in the Best Docu category.
  • No The Adventures of Tintin in the Best Animated Feature race.

The Ugly:

  • No Fassbender!!!
  • No Project Nim.
  • No Drive (except for a sole technical nod).
  • No more (Muppets) Original Song nominations.

Extremely Loud and Incredibly Close

3 Jan

Title: Extremely Loud and Incredibly Close
Year: 2011
Director: Stephen Daldry
Writer: Eric Roth, based on the novel by Jonathan Safran Foer
Starring: Thomas Horn, Tom Hanks, Sandra Bullock, Max von Sydow, Viola Davis, John Goodman, Jeffrey Wright, James Gandolfini
MPAA Rating: PG-13, emotional thematic material, some disturbing images, and language
Runtime: 129 min
IMDb Rating: 6.2
Rotten Tomatoes: 53%
Metacritic: 44

On paper, few films look as impressive and inspire so much expectation as Extremely Loud and Incredibly Close did when it was announced. It was directed by Stephen Daldry, who had famously racked up Best Director nominations for all three of his past films (Billy Elliot, The Hours and The Reader); adapted from a popular book by a popular author that used the topic of 9/11 as an integral part of its plot by Eric Roth, who won an Oscar for adapting Forrest Gump; it was produced by Scott Rudin, one of the best producers nowadays, the man responsible for such films like last year’s The Social Network and True Grit as well as this year’s The Girl with the Dragon Tattoo (all of three of which got an A+ from me); it had music by Alexandre Desplat, who’s brilliant; cinematography by two-time Oscar winner Chris Menges; editing by Oscar winner Claire Simpson; and a cast led by two of America’s most beloved actors, Tom Hanks and Sandra Bullock, as well as supporting turns by celebrated actors like Max von Sydow, Viola Davis and John Goodman, and introducing a promising young actor in Thomas Horn to carry the film. Like I said, Extremely Loud and Incredibly Close seemed bulletproof.

Ultimately, however, it just wasn’t so great. Don’t get me wrong, the film is still certainly very good, it’s really well-made and superbly acted by all involved, but it also feels all too mushy, and uplifting in a kind of self-important way made to appeal to Oscar voters. So I was split, I loved certain parts of this film, but there were others that were just so overwrought that I couldn’t fully get on board with it. I got to the point in which I just couldn’t help but think that this film would have been so much better had it just been less manipulating, that it would have gotten to me so much more and much deeper levels had it not been so focussed on doing just that.

Thomas Horn is in charge of playing Oskar Schell, a nine-year-old who loses his father, played by Mr. Hanks, in the World Trade Center attacks. Oskar’s father always gave him little puzzles to solve, scavenger hunts to go on in order to get his son to really experience the world and his environments, to get past his fears. And now that he passed away Oskar is sure he’s left him one final message hidden somewhere in New York City, namely finding the lock that can be opened with a key he finds in his dad’s closet. So you see Oskar’s journey through the city, and his mission to find the lock becomes an opportunity to observe both the personal loss he himself had, as well as his grieving mother played by Ms. Bullock, as well as the broader impact such an event had on the city and everyone in it, as represented by a slew of supporting characters introduced as Oskar goes about the city.

There hasn’t been a definitive 9/11 movie yet, and I don’t quite think Extremely Loud and Incredibly Close is it. Oliver Stone tried with World Trade Center, Paul Greengrass made the outstanding United 93, but the wound is still too fresh, and audiences either aren’t drawn into them or can’t find them resonating with them, much like the Iraq war hadn’t had a great film about it until The Hurt Locker came along a couple years ago. Stephen Daldry, you get the sense, was aware of how hard it would be to make a 9/11 film; maybe that’s why he looked at it through Oskar’s eyes, eliminating the other perspectives and narrators shown in the book, and eliminating some other gimmicks the book had to instead rely on sentiment and inspirational stuff. But I don’t know, good as this film is I thought Mr. Daldry relied too much on the emotional payback and shied away from the more political messages he could’ve brought out to make this film better, a balance the he showed he could achieve really well in all three of his previous films.

Having two hugely likable stars like Mr. Hanks and Ms. Bullock I do believe helps, it makes accepting a film about such difficult themes easier when you have two faces you know and love guiding you through it; Mr. Hanks is funny, a source of warmth to us as an audience and to Oskar as a grieving son, who considered his father his best friend, and Ms. Bullock though certainly not as bright as usual because she has to play a mourning, not always likable mother, is still Sandy Bullock who won an Oscar just for being likable. But I don’t think the film still earns the right to really use the images it does, the smoke and papers coming through buildings, a body falling through the sky in slow-motion, the many faces filled with shock and horror running through the streets, not knowing what to make of this.

It’s still a good film though, I don’t think it approaches the greatness I along many wanted for it, but it’s a good film. As the film uses Oskar’s search for the lock to his father’s key to get us into the lives of people from all over the city having to cope with the catastrophe that just shook them all, especially effective is the exchange he has with Viola Davis’ Abby Black, the actress showing why she went toe-to-toe with Meryl Streep in Doubt a few years ago, and why she’s now seen as the biggest threat to Ms. Streep’s third Oscar this year for the work she did in The Help, she nails this role here. Also shining here is Max von Sydow, as an elderly man who lives in the same apartment as Oskar’s grandmother and accompanies him on his quest, with a past so troubled that he’s chosen to go mute, and yet expressing so much with just his face and expressions that go along with the words “yes” and “no” that he has tattooed on each palm; Mr. von Sydow is brilliant here.

I guess this film was always going to be quite divisive as far as the reactions it elicited from its audience. The subject alone would make it so, factor in the huge amounts of emotions and it becomes that much more polarizing; people thinking it goes to far with the saccharine, people thinking it doesn’t show enough heart, people being pissed off about it poking at a wound that hasn’t fully healed yet, others thinking it does so with too much caution. These are, after all, pretty damn big themes for a film to tackle head-on, even as it humanizes them by seeing them through the eyes of a little boy. And it will make you cry, or at least it made me cry, it’s just that I don’t know if it really earned those tears. Good as this film is, it’s not The Hurt Locker on the Iraq war; by which I mean, as good a 9/11 film as this may be, it’s not the definitive one, it won’t take away the taboo from the subject.

Grade: B+

Robin Hood

17 Jul

Title: Robin Hood
Year: 2010
Director: Ridley Scott
Writer: Brian Helgeland, based on the story by himself, Ethan Reiff and Cyrus Voris
Starring: Russell Crowe, Cate Blanchett, Matthew Macfadyen, Mark Strong, Oscar Isaac, Kevin Durand, Mark Addy, William Hurt, Danny Huston, Max von Sydow
MPAA Rating: PG-13, violence including intense sequences of warfare, and some sexual content
Runtime: 140 min
Major Awards:
IMDb Rating: 7.0
Rotten Tomatoes: 44%

In press junkets or interviews we heard time and time again that this Robin Hood was completely different from the ones we had seen before, that Russell Crowe had nothing to do with Sean Connery, that Cate Blanchett had nothing to do with Audrey Hepburn, and that, it turns out, was exactly right, this version of Robin Hood is unlike any version we’ve seen before, it’s a prequel, Robin Hood isn’t the folk hero who stole from the rich to give to the poor yet, we just see Robin lead an uprising, forming an army to fight off the French, which, as we were told in the trailers, is what will build his subsequent fame.

This is indeed action-packed, and there’s a helluva lot of CGI action sequences that look great, but I just think we should have seen the story we all know, when instead the movie ends and tells us that that was how the legend began, but seriously, we should get the legend and not the prologue to it, we know the legend, that’s how we fell in love with this character, this telling isn’t bad, it’s just not that great, Mr. Crowe gives it his best but that’s just not great enough, and as for Cate Blanchett who plays Maid Marion, well, firstly let me just state that, to me, Ms. Blanchett is one of the five greatest living actresses, but Marion isn’t a maid in this story, this is all set before that, and as such this is a completely different character, and because of that she’s played differently, and that threw me off, I loved the Maid Marion character from all the past films, this one I liked because it was played by Cate Blanchett, but that’s about it. When this film was still in the speculation stages the many names that were thrown around for this character included Scarlett Johansson, Emily Blunt, Zooey Deschanel, Natalie Portman, Rachel Weisz and Kate Winslet among others, Sienna Miller was actually cast at one point I believe, and from that all I can say is that actress-wise we would have always had a great Maid Marion, it’s just that without the “Maid” part of her title, I didn’t feel I knew her.

And there’s nothing bad with introducing characters in new ways, I just didn’t love what they did to them this time around, I mean, it’s extremely well-done, the action is shot really well and the violence is quite cool, we’ve come to expect that from most Scott/Crowe collaborations, but I will say that I would have probably liked the film more had it not been named Robin Hood, sure, naming it that gave them a whole lot of better marketing options, but it also gave the audience expectations, expectations that weren’t necessarily shattered, but rather, I would say, they were avoided, and you can’t do that when you have such a heavy name as your title.

The film is a bit too long, that’s also very true, but I didn’t mind that much, I just liked it that we were given one seriously beautifully photographed film and a very intelligent actor in the lead role, yes, I have my troubles with the film and I have listed them above, but they’re mostly troubles with what this film did to the Robin Hood name, but as a stand-alone outing, this one, for me, worked well, plus, there’s a scene in which Will Scarlett says to Little Jon that he should never go for the most beautiful girl but instead go for the more plain-looking one, he uses the exact same words Russell Crowe’s character in A Beautiful Mind used when describing his theory to get girls, I thought that was a pretty genius nod to a previous film of this one’s lead actor.

Grade: B

Shutter Island

7 Apr

Title: Shutter Island
Year: 2010
Director: Martin Scorsese
Writers: Laeta Kalogridis, adapting from the Dennis Lehane novel
Starring: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Michelle Williams, Emily Mortimer, Max von Sydow, Jackie Earle Haley, Patricia Clarkson
MPAA Rating: R, disturbing violent content, language and some nudity
Runtime: 138 min
Major Awards: 1 NBR Award
IMDb Rating: 8.1
Rotten Tomatoes: 68%

Shutter Island is minor Scorsese, but, to me, minor Scorsese still is pure genius. Plus, I like Shutter Island because it shows Mr. Scorsese, probably my favorite living director, in a way we have never seen him before: completely loose.

That’s right, Mr. Scorsese is completely unrestrained at the helm of his latest, a personal homage of his to this genre which provides some genuinely nice thrills, a bit of mind-fuck and terrific performances by an outstanding cast headed by his go-to-guy Leonardo DiCaprio.

I’m having trouble typing this review because I feel like I have so much to say about this film but I don’t know how to start, or how to say it, if you know a bit about Martin Scorsese you’ll know he’s quite seriously the ultimate film buff, the guy knows absolutely everything about anything film-related and has probably seen every film ever done, and this is serious stuff he does with Shutter Island, he represents this genre extremely well, he stacks every single cliché the genre has on top of the other, and he does it in a way that it doesn’t seem cliché, but in a way that seems genius, Scorsese genius.

The music, the frights, the acting, everything is outstanding. Shutter Island, we are told, is a prison for the criminally insane, we travel there with U.S. marshal Teddy Daniels, the Leo DiCaprio character, and his partner Chuck Aule, the Mark Ruffalo character. They are there to investigate the disappearance of a child murderer, and once we’re there with them, the film doesn’t let us go. The prisoners, the staff at the prison, our two federal agents themselves, and especially the surroundings we’re in are worked to utmost perfection by Scorsese, who is completely crazy in this one, and he creates a tremendous noir film that, even though right now is nowhere close to his best films, I have the feeling that, when all is said and done, will be a really important piece of his cinematographic canon.

Mr. Scorsese plays with our minds like crazy, he makes us feel with the music, with the performances, with the way he makes Mr. Kingsley and Mr. von Sydow work which is so effective, with the way he and his long-time editor (and my favorite editor at that) Thelma Schoonmaker have arranged the film, this is a mindtrip for the ages. I read a couple of pieces in newspapers in which Scorsese and his actors told about how he showed them classic films which he wanted them to think of while shooting, that’s how good the guy is.

You may be reading this and thinking it’s a piece in which I just throw praise at the master that is Martin Scorsese, and it is, I guess, he does an homage to a genre with Shutter Island, I’ll give an homage to him with my review of it. The actors are also outstanding though, that’s to be noted, especially DiCaprio who always excels under his mentor.

Now, many reviews I’ve read, and pretty much every single acquaintance I have who’s seen the film has complained at one level or the other about the ending, and I get why that may be, I fortunately don’t feel like that, I mean, I don’t really understand why Marty (I feel like a friend calling him that, sue me, anyone can dream) went there, and I don’t think he does himself, but I do get it in a really bizarre way, and I feel like that about the whole film really, it’s a strange film, but it’s a film done exceedingly well by a master who decided to pay tribute to a great genre using terrific actors who delivered for him.

Grade: A-