Screening Log
This new site feature is a collective effort to summarize our viewing habits. Occasionally, you will find titles here that are coming to a theater near you, in addition to films viewed on television, and even films viewed in piecemeal. The screening log is archived each month; to view past entries select a month in the menu below.
November 2007 activity
Total Log Entries: 25
- Adam (8)
- Chet (0)
- Chiranjit (0)
- Cullen (0)
- David (0)
- Eva (1)
- Evan (0)
- Ian (0)
- Jenny (0)
- Katherine (0)
- Leo (0)
- Megan (0)
- Rumsey (7)
- Teddy (0)
- Thomas (1)
- Victoria (1)
Total Comments: 6
- Ratatouille (0)
- Secrets From Another Place (0)
- Black Narcissus (0)
- Star Trek: The Motion Picture (2)
- This Is England (0)
- Hail The Conquering Hero (0)
- American Gangster (0)
- Frozen (0)
- Paris Je T’Aime (0)
- Leonard Cohen: I’m Your Man (0)
- Shake Hands With The Devil (0)
- Fido (0)
- American Gangster (3)
- The Zero Effect (0)
- Trapped in the Closet (0)
- The Big Lebowski (0)
- Begotten (0)
- Saw IV (0)
- Lions for Lambs (0)
- Death of a President (0)
- Stranded (0)
- Evil Dead II (0)
- The Evil Dead (0)
- The Goonies (0)
- Cemetery of Terror (1)
Full Archive
American Gangster / USA / 2007
Such a flawless ensemble, from Russell Crowe and Denzel Washington to Ruby Dee, Ted Levine, and Josh Brolin, makes this a worthwhile exercise in performance over screenplay. Steven Zaillian’s script is good, yes, but evokes Goodfellas far too much. (In fact, the similarities are uncomfortably eerie.) Still, American Gangster has the best closing shot of any film I’ve seen this year, period.
by Adam Balz | Source: 35MM Theatrical Print
16 Nov 2007 2:25 PM | Comments (3)
Dennis / 16 November 2007 / 4:14 PM
What did you like so much about the closing shot?
Adam B. / 19 November 2007 / 7:00 AM / URL
It’s this great, motionless, dialogue-free moment in which Frank Lucas realizes the world he’s being released into has changed; the city he once controlled, the city that used to revere his name, has managed to live on without him. And, for the first time, Frank Lucas seems outwardly vulnerable. Ridley Scott could easily have offered us a close-up of curious eyes or a long monologue about fifteen year’s-worth of transformation, but doesn’t; Lucas stands smaller on screen that he has ever before, buried in the loud, gray blur of New York City.
Roena W / 21 November 2007 / 5:00 AM
that’s such a pertinent observation of that closing sequence, i couldnt agree more, although overall i feel the film could have been a bit better.