Saw this film at Full Frame and have ideas and thoughts about it I'll get around to sharing one day. For now, here are Matt Zoller Seitz's:
Despite the film's title, Block doesn't interview all 112 couples whose weddings he's covered — just a few of them. There are heterosexual couples and same-sex couples. Some followed up their ceremonies and receptions with long and/or happy marriages. Others basically peaked with the exchange of rings and got divorced a while later. Still others put on happy faces for Block's camera but seem to be hiding something, or tiptoeing around something.
A great piece on seeing the remake before the original:
The same goes for Against All Odds. I not only saw that before seeing Out of the Past, I saw it five or six times before seeing Out of the Past. That’s because it played on Showtime seemingly around the clock back in the mid-eighties. And I kind of liked it back then, too. Sadly, like every other remake I’ve mentioned so far, revisits have not been kind. And it goes without saying that Out of the Past is the better of the two and also one of the best, if not the best, noir of all time.
Tom Shone on film scores:
There’s much less Peter-and-the-Wolfing, fewer big themes, spelled out in strings, pegged to specific characters. If “Doctor Zhivago” were made today, there would be no “Lara’s Theme”. Instead you’ll find more layering, more washes of sound, less melody, more rhythm. The work of Thomas Newman is less hummable than it is hypnotic, often marking out empty space with spare, reverb-heavy two-part piano melodies, which step up or down an interval, then hold, as if poised on the edge of something vast. It’s horizontal music, made for the empty earthscapes of “WALL-E” or the oceanic ambience of “Finding Nemo”.
Mychael Danna did something similar with his “Moneyball” score: a work of pure, glittering expectation, like a wet lawn at dawn. That’s his Gorecki-like ascent of chords you can hear building in the trailer for the new Christopher Nolan epic “Interstellar”. Stylistically, Williams’s most immediate heir is Michael Giacchino, who has some of the same ear for high-vaulting melodic intervals, and is thus a perfect fit for any film that puts a low premium on the forces of gravity. That makes him a busy man—he wrote the beautiful cloud-bound waltz for “Up” and will be working on the next “Star Wars”—but not as busy as Alexandre Desplat, the French composer whose name so superbly evokes the image of a tomato hitting a wall. This year he has scored the unlikely trio of “The Grand Budapest Hotel”, “Godzilla”, and Angelina Jolie’s forthcoming second-world-war drama about the Olympic track star Louis Zamperini, “Unbroken”. Desplat likes to combine the lush romanticism of Georges Delerue with a rhythmic backbone of mallet instruments, harps and timpani that somehow recall the inner workings of a grandfather clock
Lisa Rosman gets personal about Roger Ebert:
So, like everyone who had enjoyed his reviews and borne witness to his courage - and especially like everyone who had benefitted from his enormous generosity of spirit - I was bereft when he died. But I was suspicious about the prospect of "Life Itself." I knew that Chaz, his wife, had loved Roger so much and was so understandably proprietal of his legacy that any documentary about his life, no matter how well-intended, might have been a mere puff piece.
I am so happy to admit that I was wrong, that I underestimated everyone involved in this extraordinary biopic. I should have known that Roger respected and loved movies so much that he never would have allowed one to be made in his name that did not live up to the cinematic standards he spent a lifetime upholding. Not to mention that "Life Itself" is executive-produced by Martin Scorsese (who appears in this film) and Steven Zaillian (who produced "Moneyball"), is inspired by Roger's best-selling eponymous memoir, and is directed by Steve James.