Hard Eight (Anderson, 1996)|||||4.5
The Zero Theorem (Gilliam, 2013)|||||6
The Sacrament (West, 2013)|||||5.5
Roger & Me (Moore, 1989)|||||6
India: Matri Buhmi (Rossellini, 1959)|||||7
The Green Prince (Schirman, 2014)|||||5
Restless (Van Sant, 2011)|||||6
Proving trope, cliche, and a willful playing into formula can be to good ends. Van Sant simply saying a pure, affirmative story can be told purely - indie corrective to all the Walk to Remembers (conceived as an Harold and Maude remake), a contraband silent version of the film filmed in tandem a corrective to trendy-indie-film sound and fury and lack of good sense.
Breakfast of Champions (Parker, 1999)|||||3.5
The Usual Suspects (Singer, 1995)|||||5.5
To what ends is this romanticism, I don't know, but Singer showcases an impressively baroque style, infusing this tale with an oneirism quite appropriate for the neo-noir, making him seem like the even halfway point between Fassbinder and Brett Ratner.
God Bless America (Goldthwait, 2011)|||||5
Tristram Shandy: A Cock and Bull Story (Winterbottom, 2005)|||||5
The Trip to Italy (Winterbottom, 2014)|||||4.5
Sense and Sensibility (Lee, 1995)|||||6.5
Jodorowsky's Dune (Pavich, 2013)|||||5
* The Serpent and the Rainbow (Craven, 1988)|||||5
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