Heat. A half-dozen screenings and it keeps on delivering. One thing that really stood out this time was the use of the color blue with McCauley's character. For example, early on, there's the famous shot at his house, echoing Colville's "Pacific" painting, but saturated in a moody blue. This is McCauley as the cool, remote professional. During a following celebration dinner with his team, you see his appreciation and envy of his crew's families. He goes to call Eadie. The shot of him on the phone has the frame split in half. He's on the left against a cool blue background, the right side is warmer. In the course of conversation with her he steps from left to right. Later in the movie, McCauley is on his way to escape, home-free. He gets a farewell call from Nate, who also tells him where Waingro is. He dismisses the idea of going back, and keeps driving, content. The camera stays on him at the wheel, and we can see through the rear window. As he enters a tunnel the lighting is a bright wash... that transitions to blue. He turns grim and decides on revenge before escape. Speaking of Waingro, interesting how his actions play up the appetites. In his introduction, he's looking for more coffee before the score. After the heist, he's smugly enjoying some pie while the main crew stares at him in disdainful silence. Later we see him with cigarettes, booze, women. Last little clever bit: in the course of the famous diner meeting, McCauley mentions, "There is a flip side to that coin. What if you do got me boxed in and I gotta put you down?" At the final climax, we see McCauley escaping into the airfield, making his last stand behind a shed, backgrounded with its large checkerboard pattern. Boxed in, the chess match coming to its endgame. 
Filed under: Heat.
The Dark Knight
The Dark Knight. Second viewing. (The first). It's not good enough to carry its thematic weight. But Ledger is brilliant. That scene meeting with the mob... ("You're crazy." / "I'm not. No. I'm not.") ...chills.
The Village
The Village. I'd heard it was among the better of Shyamalan's but I wasn't expecting such a... masterpiece? So very, very good. Imagery and structure and theme and camerawork and characterization is all dialed in and thoughtful.
Into the Wild
Into the Wild. Man, this dude, as portrayed, was insufferable. Awesome cast.
One Hour Photo
One Hour Photo. One thing I've come to regret is that I disliked Williams' sillier movies so much I ignored most of his other roles for a long time. A solid, creepy score and a solid, creepy lead.
Once Upon a Time in the West
Once Upon a Time in the West. Third viewing. (First, second.) I heard a snippet of Jill's Theme and there was no looking back. I had to watch it ASAP. One of my favorite movies, top 5 for sure. Filed under: Sergio Leone.
The Fountain
The Fountain. Second viewing. (The first.) I think I have to bump this up to my favorite Aronofsky. Izzy's lines drive me a little nuts. Thematic bludgeons. But the visuals, the score, acting, tone, mood, and everything else that's supporting the themes: on point. Filed under: Darren Aronofsky.
L.A. Confidential
L.A. Confidential. I think I've re-watched this on accident two or three times. Somehow it just doesn't stick, slides right out of my memory.
Nightcrawler
Nightcrawler. Third viewing. (First, second.) What a creep. Not sure if it's coincidence or foresight, but this movie anticipated so many of today's headline issues – journalism and technology, display over discernment, race, class, economics, sexual misconduct in the workplace, narcissism, freelance desperation, moral compromise. It's all there. And Bill Paxton is so great. RIP.
Noah
Noah. I didn't know much going in (except for, you know, one of the most famous Bible stories). There was a good bit of fantasy-type and action-hero stuff that, uh, I wasn't anticipating. Overall, pretty darn good. The flood scene juxtaposing the Ark and the small spit of land – completely gutting. And I don't know how that Creation scene works so well, but it's such a genius interlude...
The Two Faces of January
The Two Faces of January. I watched it the same day I finished the book. I should double-up like that more often. (I liked the movie more.)
End of Watch
End of Watch. A+, four stars. Blown away with how unexpectedly great this was, and how much I loved it. Start with something like Miami Vice, but dial back the moody cool and swap in more humor and camaraderie. Loved, loved, loved this movie.
Run All Night
Run All Night. Second viewing. (The first.) Not sure why I gave it another shot. There's not enough running! I like the looks at the various intra-gang relationships here and there.
Sicario
Mad Max: Fury Road
Mad Max: Fury Road. Second viewing. (The first.) Felt a little drawn-out this time around. Still a visual delight and I love how they fleshed out this insane world.
Allied
Allied. Oh man. I fell in love with it within a few minutes. I wish we had more movies like this. Old-fashioned glamorous romance, melodrama. Sweeping but intimate. The stakes are high because the relationships matter.
The Departed
The Departed. Third, maybe fourth viewing. Somehow it's compulsively watchable but I don't actually like it that much? I like the Japanese original Infernal Affairs more, I think. Filed under: Martin Scorsese.
Arrival
Panic Room
Panic Room. Nicely constrained in time and space. I like the hints for stuff that comes up in the story later on, little things that foreshadow and reward your attention. Things are often in the frame for a reason.
