I am a creative person and watching a movie is like writing a story. So when I see a movie, I also see the editing, the music, the camera angles, etc.
A film that I love is 'Deliverance' from back in the day. You start out with these archetypal characters - the hero, the bookworm, the pacifist - and by the end, it's all turned upside down. I love that.
To call "A Lot like Love" dead in the water is an insult to water.
'Rosemary's Baby' is a real New York movie, even though you wouldn't necessarily think of it as one, though I do.
What's disgusting about the Dirty Harry movies is that Eastwood plays this angry tension as righteous indignation.
My whole theory about why I couldn’t find any creators who realized they were leaving out female characters is because they were raised on the same ratio. I just heard someone the other day call it either ‘smurfing’ a movie, which is when there’s one female character, or ‘minioning’ a movie, which is when there’s no female characters.
Given the knee-jerk patriotism of recent war movies, it's discouraging to see 'Windtalkers' evade pertinent facts that could have recast the doubled-edged issues of racism and loyalty and made them relevant to contemporary times.
I'm frustrated when I see movies in which I feel like the plot is being told to me instead of shown to me.
The thing about the movie 'Navy SEALs' is that it was just such a waste. The script could've been shaped to be much better, and you just hate to see all that talent and passion go to waste.
In 'Training Day,' Mr. Washington's dry-ice grandeur - the predator's reflexes contrasting with a pensive mouth - deserves regard, and his powerhouse virtuosity will almost guarantee him an Oscar nomination.
'The Ides of March' was a fairly cynical film.
I don't know if 'Crash' is a good movie or not because I didn't set out to make a movie. Really, what I wanted to do is more of a social experiment.
I've been watching some film, understanding what I can work on, what I can get better at.
I believe if you come out of a movie and the first thing you say is, 'The cinematography was beautiful,' it's a bad movie.
I play a slave. How black is that? I have to wear chains. How whack is that? But don’t worry. I get free. I save my wife and I kill all the white people in the movie. How great is that?
A movie like 'Transcendence' may be pertinent in its political reverberations of all computer data held in a cloud and monitored by the NSA, but it also rails against the tools its makers so artfully employ.
["Where the Buffalo Roam" is] horrible pile of crap. [Bill] Murray did a good job. But it was a bad script. You can't beat a bad script. It was just a horrible movie. A cartoon. But Bill Murray did a good job. We actually wrote and shot several different endings and beginnings and they all got cut out in the end. It was disappointing.
People should not pass judgment until they have seen the film.
What was frustrating about Armageddon was the time I spent not doing anything. It was a big special effects film, and I wasn't crazy about pretending I was in outer space. It feels ridiculous.
I didn't think I was a humorless shrew in 'Knocked Up.' I think the women are just as funny as the men are in that movie.
of one hundred movies there's one that is fair, one that's good and ninety eight that are very bad. most movies start badly and steadily get worse
For me as an actor because I've been at it so long, it becomes much harder to watch movies because you really see the seams of everything.
Like some of my other movies, 'Conquest Of The Planet Of The Apes' is also a very political film, and many critics still consider it even the best of all the Apes movies, because it conveys a series of political viewpoints.
I don't really say much about reviewers. It's a very tough job to get all of the depth of a movie all at once.
Ambitious of vision and swooping of camera, 'I, Frankenstein' is no 'I, Robot,' let alone 'I, Claudius,' but it's definitely watchable on a cold Jan. evening or, a few months from now, on your I, Pad.
