Sweet Adeline: Mervyn LeRoy

To read this review, go to: http://theretroset.com/dvd-review-three-from-wb-archive-collection-irene-dunne/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=DVD%20Review%20-%20Irene%20Dunne%20to%20the%203rd%20Power.

6/10

Ann Vickers: John Cromwell, Tommy Atkins

To read this review, go to: http://theretroset.com/dvd-review-three-from-wb-archive-collection-irene-dunne/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=DVD%20Review%20-%20Irene%20Dunne%20to%20the%203rd%20Power.

4/10

Consolation Marriage: Paul Sloane, Charles Kerr

To read this review, go to: http://theretroset.com/dvd-review-three-from-wb-archive-collection-irene-dunne/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=DVD%20Review%20-%20Irene%20Dunne%20to%20the%203rd%20Power.

5/10

Jujiro: Teinosuke Kinugasa, Bonji Taira

I need to revisit Teinosuke Kinugasa and Bonji Taira's Jujiro again in the future. Part of this is because the copy of the film that I watched was so heavily deteriorated that I sometimes had trouble figuring out what I was looking at. But another part is that I want to see it live with an actual musical accompaniment instead of the dead silence that complimented the aforementioned copy. Jujiro is fascinating: it uses montages in ways that would make Sergei Eisenstein jealous and double exposures that would make Dziga Vertov green with envy. When the film kicks into high gear it's an expressionist nightmare. But unfortunately long stretches of the film are quiet and still as a Noh play. Again, maybe a better copy of the film would make these sequences more engaging. But I'm not sure.

7/10

The Program: Stephen Frears

To read this review, go to: http://theyoungfolks.com/review/the-program-lance-armstrong-movie/75138.

7/10

The Starving Games: Jason Friedberg, Aaron Seltzer

I am clearly not the target audience for Jason Friedberg and Aaron Seltzer's The Starving Games. It's not just because I'm not a fan of the Hunger Games franchise and have read none of the books or seen any of the movies, it's that I'm not a teenager currently living in the year 2013. And because I'm not a teenager currently living in the year 2013, a lot of the then-timely pop culture references make absolutely no sense. Here is the problem with Friedberg and Seltzer's movies: they're immediately obsolete and outdated because of their reliance on pop culture references. I watched the film with my sister, a fan of the franchise who has read the books and seen the movies, and she admitted that a number of the jokes were actually quite clever parodies. And I myself must admit that some of the jokes did make me laugh. But the vast majority were puerile, stupid, nonsensical, and just plain unfunny. Whether it was the atrocious use of clip art for things as simple as melee weapons and fake toenails or the three separate scenes which centered on hilarious testicular trauma, The Starving Games aims for the lowest common denominator and still misses. Yet despite all this, I still think it's the best Friedberg and Seltzer film I've seen so far since a) it had some genuinely funny jokes, and b) it forced itself to have a coherent story-line since it had to follow a single film--much like their earlier project Meet the Spartans (2008).

3/10

Dirigible: Frank Capra

To read this review, go to: http://theretroset.com/b-roll-frank-capras-dirigible-1931/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=B-Roll%3A%20Frank%20Capra%27s%20DIRIGIBLE%20%281931%29.

6/10

Look At Us Now, Mother!: Gayle Kirschenbaum

To read this review, go to: http://theyoungfolks.com/review/look-at-us-now-mother-documentary/74784.

7/10

Ratcatcher: Lynne Ramsay

[Revisit Review]

The first time I watched Lynne Ramsay's Ratcatcher it just sorta washed over me in a watery wave. I only remembered two things: very depressed, very dour Scottish people and a scene where a rat with its tail tied to a balloon travels to the moon. I blame the Scottish accents. I literally couldn't understand anything they were saying. But this time around my copy of Ratcatcher has subtitles. I was pleasantly surprised by how effective the film was as a depiction of poverty and a cry of futile longing for a better tomorrow.

8/10

Ménilmontant: Dimitri Kirsanoff

The first time I watched Dimitri Kirsanoff's Ménilmontant, I had no idea what was going on. I was so confused that immediately afterwards I literally re-watched the film just so I could try and understand what had happened. After two viewings I can say that, while I can follow the first half relatively well--two sisters lose their parents to a double homicide, move to the city, and become engaged in a love triangle--the second half absolutely loses me. I don't know if a third or fourth viewing will help, either. Ménilmontant is an odd duck from a technical standpoint: it combines montage with visual impressionism, high melodrama with expressionist editing that frequently seems more concerned with disorientation than suturing a scene together.

Zootopia: Byron Howard, Rich Moore

Is it weird that the big thing I got out of Byron Howard and Rich Moore's Zootopia is that they were really, really proud of the fact that they got Shakira as a guest star? Because she's everywhere in this damn movie. Seriously though, Zootopia is a refreshingly original and sophisticated. Its commentary on stereotyping and racism was surprisingly astute: although there are clear similarities between animal prejudices and real life human ones, they never go so far as to ascribe any one species to a race of humans. Therefore the prejudices come naturally from the world of the film instead of from hackneyed equivalents to our own. Also, I like how the film seems to conclude itself halfway in when the Mayor Lion gets arrested for imprisoning feral predators. From there the film seems to improvise naturally into a new, better story.

7/10

FRANKƐN5TƐ1N: Bernard Rose

To read this review, go to: http://theyoungfolks.com/review/movie-review-frank%C9%9Bn5t%C9%9B1n/74636.

3/10

Scorpio: Michael Winner

To read this review, go to: http://theretroset.com/blu-ray-review-michael-winners-scorpio-1973/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=Blu-ray%20Review%3A%20Michael%20Winner%27s%20SCORPIO%20%281973%29.

7/10

Born Free: James Hill

To read this review, go to: http://theretroset.com/blu-ray-review-james-hills-born-free-1966/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=Blu-ray%20Review%3A%20James%20Hill%27s%20BORN%20FREE%20%281966%29.

7/10

A Man There Was: Victor Sjöström

Victor Sjöström's A Man There Was was the most expensive Swedish film ever made when it debuted. And that money shows: lavish boat sets, multitudes of costumed extras, location shooting on open water. But what strikes me most about A Man There Was is its storytelling acumen. For a narrative which spans the whole gamut of human emotions from joy to depression to misery to rage, it never feels forced or melodramatic. Sjöström's use of cross-cutting is equally exceptional. The early scene where the protagonist tries to outrun an English blockade on a rowboat was startlingly effective even by today's standards. Silent films have an unfortunate manner of diluting their emotional impact on viewers over the decades. But I imagine A Man There Was hit me as hard as it did its original audiences.

8/10

The Intern: Nancy Meyers

I can understand why a lot of people may not have liked Nancy Meyers' The Intern: it's a film where an elderly man swoops in and essentially "fixes" a young woman's start-up company, proving that his more conservative ways are better and more effective than those of a young career woman. But judging The Intern from a context of "older and masculine" triumphing over "younger and feminine" is to entirely miss the point of the film. If anything, Robert De Niro's 70-year old widower Ben Whittaker teaches self-respect and calmness: it's not that men should wear suits to work, it's that men should take pride in their appearance; it's not that Anne Hathaway's workaholic CEO Jules Ostin should drop her business duties and focus solely on her family, it's that she needs to find a way to balance both without self-destructing. De Niro exudes time-tested wisdom and experience, not fundamentalist platitudes left over from the misogynist boardrooms and office buildings of the 1950s. The Intern does something seldom seen in modern dramas about generational conflict: suggest that both sides can learn from each other. Here is a movie that argues that the old aren't foolish and myopically set in their ways and that the young aren't empty-headed and immature.

7/10

The Wave: Roar Uthaug

To read this review, go to: http://theyoungfolks.com/review/the-wave-2016-movie/74232.

6/10

Camino: Josh C. Waller

To read this review, go to: http://theyoungfolks.com/review/camino-movie-zoe-bell/74230.

4/10

Stage Fright: Jerome Sable

Most critics didn't like Jerome Sable's Stage Fright. But here's the thing they missed: it wasn't really just a musical, a slasher film, or even a combination of both. In my opinion, the film works as an intense exaggeration of backstage life in amateur stage productions. Speaking as a former high school thespian, much of the suspicious shenanigans that went on in this film--directors giving out parts to themselves or their friends, weird sexual favors, extreme narcissism and backstabbing--are authentic. I feel like the killer was an embodiment of these anxieties coalesced into a perfect exaggerated whole. But besides that, the music is surprisingly catchy, the acting is great, and the featured singers can actually sing! I don't see Stage Fright as a love letter to slashers, I see it as a hate-love letter to the theater.

7/10

The Great Beauty: Paolo Sorrentino

Watching Paolo Sorrentino's THE GREAT BEAUTY (2013). This film is everything I wanted Fellini's LA DOLCE VITA (1960) to be.

— Nathanael Hood (@NateHood257) March 2, 2016

I always felt LA DOLCE VITA was bloated and hollow. Sorrentino nails all the emotions and quiet devastations I expected from such a story.

— Nathanael Hood (@NateHood257) March 2, 2016

Honestly, THE GREAT BEAUTY feels like what would have happened if Fellini hadn't gone into an artistic decline after AMARCORD.

— Nathanael Hood (@NateHood257) March 2, 2016

These scenes with Sister Maria are absolutely devastating. I can barely watch.

— Nathanael Hood (@NateHood257) March 2, 2016

The film's genius comes from its enthusiastic embrace of the intangible: the grasping for the unknowable, the unfeel-able. The music elevates the film's images into a visual prayer of desperation, lust, and piety.

9/10

Ceiling Zero: Howard Hawks

To read this review, go to: http://theretroset.com/b-roll-howard-hawks-ceiling-zero-1936/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=B-Roll%3A%20Howard%20Hawks%27%20CEILING%20ZERO%20%281936%29.

6/10

Emelie: Michael Thelin

To read this review, go to: http://theyoungfolks.com/review/movie-review-emelie/74044.

8/10

Destiny: Fritz Lang

[Revisit Review]

Rewatching Fritz Lang's DESTINY (1921). The imagery in the framing story is some of the bleakest and most macabre of his entire career.

— Nathanael Hood (@NateHood257) February 28, 2016

It's interesting to compare the frenzied madness of the Persian scenes with the almost baroque frame compositions of the Italian scenes.

— Nathanael Hood (@NateHood257) February 28, 2016

The Chinese segment is easily the best, mostly because it seems like it's the only one Lang really wanted to make.

— Nathanael Hood (@NateHood257) February 28, 2016

Individual parts of DESTINY are great, especially the Chinese segment and the frame story. But it's a haphazard, tonally inconsistent whole.

— Nathanael Hood (@NateHood257) February 28, 2016

6/10

The Palm Beach Story: Preston Sturges

[Revisit Review]

Preston Sturges' The Palm Beach Story is a delightfully absurd film about mistaken identities and falling back into love. It's one of those odd divorce-remarriage romantic comedies Hollywood was so keen on back in the day, sorta like Leo McCarey's The Awful Truth (1937). The ending pushes the limits of credulity, but it still works because of how preposterously self-aware it is towards its own contrivance. But my favorite part is easily Claudette Colbert: she seems like she’s having genuine fun the whole time.

8/10

Le Dernier Combat: Luc Besson

Luc Besson's Le Dernier Combat is at its best when it's at its weirdest: sudden rainstorms of fish and rocks; strange cave-paintings on building walls; a captive dwarf forced to retrieve water from a sunken well. The setting is rather standard for bizarro post-apocalypse movies: a nondescript disaster has turned the world into a desert, killed almost all of the women, and left all survivors incapable of speaking. But Besson's dark, quirky vision manages to keep the film from collapsing into a pile of trite mythologisms: a new Adam and Eve; a two-dimensional Brute who only wishes to kill and destroy; a lone wanderer seeking a new home. Beautifully shot and ambitious, Le Dernier Combat is a low-budget, low-key triumph.

8/10

The Man Who Killed God: Noe

It's funny...but I feel like I learned more about Brazil, its culture, and its racial politics watching Noe's The Man Who Killed God than I did during an entire college course on Brazilian cinema. Though only about 15 minutes, the film is incredibly dense with creativity and anger. My one complaint is that during scenes where white people are killed en masse by Native Brazilians, the hand-held camera moved too fast to see what was going on. I think that might have been at least in part a tactic to cover up the fact that they weren't shooting real guns. Regardless, The Man Who Killed God is one of the best short films I've seen in ages.

Anomalisa: Charlie Kaufman, Duke Johnson

To read this review, go to: http://www.christianitytoday.com/ct/2016/february-web-only/puppets-and-predestination.html?start=1.

8/10

A Country Called Home: Anna Axster

To read this review, go to: http://theyoungfolks.com/review/movie-review-a-country-called-home/73866.

6/10

Only Angels Have Wings: Howard Hawks

[Revisit Review]

The first time I saw Howard Hawks' Only Angels Have Wings, I wasn't really impressed. I thought it was competent, but I didn't think that it was the classic that everybody deemed it. But now I realize how brilliant it is: the characters; the high tension flying sequences; the dialogue; Joseph Walker's achingly beautiful cinematography. Like a lot of Hawks' films, it's a bit longer than it should be. But of course, that's the point. His films are hang-out movies.

8/10

Fatherland: Ken Loach

To read this review, go to: http://theretroset.com/b-roll-ken-loachs-fatherland-1986/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=B-Roll%3A%20Ken%20Loach%27s%20FATHERLAND%20%281986%29.

4/10

Admiral: Roel Reiné

To read this review, go to: http://theyoungfolks.com/review/movie-review-admiral/73586.

6/10

Sisters: Brian De Palma

[Revisit Review]

Brian De Palma's Sisters is a fantastically crafted, fantastically cynical thriller that answers the unasked question of what a politicized Hitchcockian suspense film would be like. His sneering contempt for corrupt policemen and an easily manipulated mental health system are eerily prescient considering today's political climate. Sisters was really the first time (of what I've seen) that De Palma made a truly great film that wasn't part experimental student film, at least stylistically. And it has a truly fantastic downer ending which, in a strange way, seems to predict the ending of Blow Out (1981).

8/10

Cousin Cousine: Jean-Charles Tacchella

Jean-Charles Tacchella's Cousin Cousine is clearly not a film made for me. It centers around the adulterous affairs of several people, two of whom end up falling in love and running away together. The way I'm wired, I could never find adultery funny, endearing, or charming under any circumstances. But I readily admit that Cousin Cousine is an expertly written, expertly acted piece of cinema. It's practically a looking glass into French sexual mores, or at least the ones romanticized by the French themselves: couples fall into and out of bed with impunity; children laugh at wedding photos of people mooning the family, peeing into potted plants, and two people hastily dressing themselves after a quickie; a grandfather reacts to his 17-year old granddaughter telling her that she just had sex for the first time with a warm, knowing kiss on the forehead. I'm not passing judgement on any of these things. It's just that I couldn't imagine seeing any of them treated so warmly as in a French film.

7/10

The Witch: Robert Eggers

To read this review, go to: http://theyoungfolks.com/review/the-witch-movie/73540.

6/10

Room: Lenny Abrahamson

Lenny Abrahamson's Room is one of those rare gifts bestowed upon us by the cinema which helps re-contextualize the way we examine and appreciate our lives. The story of a mother trapped in a shed by her rapist and her five-year-old son who has known nothing but said shed, Room hits with the emotional intensity of a power drill to the spine. For me, the most powerful scene was when the son first unrolls himself in the back of his father's van and stares up at the sky. Even though I knew he would get away (the film was only about halfway done), I was practically screaming at the screen for him to move it. It's been a long time since I've responded so viscerally to a film.

8/10

Deadpool: Tim Miller

Tim Miller's Deadpool is the best romantic comedy I've seen in years. Yes, yes, I know it's superficially a superhero film. But at its core is the story between Wade Wilson (Ryan Reynolds) and his girlfriend Vanessa Carlysle (Morena Baccarin): it's warm, genuinely touching, and raunchy as hell. The action sequences are pretty great, too. I can't remember the last time I've enjoyed superhero action so much based purely on editing and cinematography. Everything about Deadpool works. And thankfully, the best laughs in the whole film aren't pop culture references.

8/10

Forsaken: Jon Cassar

To read this review, go to: http://theyoungfolks.com/review/movie-review-forsaken/73281.

5/10

La Ronde: Max Ophüls

[Revisit Review]

Few films embrace the artificiality of the cinema as boldly and creatively as Max Ophüls La Ronde, a film where an omnipresent narrator-cum-tour-guide literally escorts the audience through the machinations of the plot. However, the repetitive nature of the story becomes tedious after a time. What little humor exists—good as it might be—doesn’t do enough to truly keep the film afloat. It's a wonderful film, but a flawed one. What's worse: I don’t know how Ophüls could have fixed it.

8/10

Goosebumps: Rob Letterman

The first thing you notice about Rob Letterman’s Goosebumps (2015) is how compulsively likable all the characters are. Zach Cooper (Dylan Minnette) and his mother Gale (Amy Ryan) have fantastic together. Zach's romance with Hannah (Odeya Rush) was believable and charming. Jack Black struck the perfect balance between creepy, goofy, and doofy. The film embraces the fact that it's a silly kids film for kids. But instead of being purposefully stupid like a lot of other films of its ilk, it tries to tell a good story with interesting characters. The CGI effects were terrible, but complaining about them in a film like Goosebumps seems pointless. The practical effects, particularly those for Slappy the Dummy, were outstanding and made me wish that the whole film had been done that way. So I liked Goosebumps. Still wish that someone like Joe Dante had directed it, though.

6/10

The Veil: Phil Joanou

The Veil (2016), the new horror film by Phil Joanou--the guy who did that fantastic Punisher short with Ron Perlman--is pretty damn predictable with well-telegraphed jump scares. However it does have decent atmosphere and tolerable, watchable characters. In most of the low-budget indie horror films I see, the characters are usually obnoxious, repugnant, annoying, or all three. In fact, that's my biggest gripe with the slasher genre: it created a precedent where tertiary cannon fodder HAVE to be annoying and one-dimensional. That said, Jessica Alba isn't very good. Her old facial paralysis seems to have kicked back up; she reacts to finding a decayed dead body as if it was an old ham sandwich she discovered underneath a couch. But Thomas Jane KILLS it as the insane cult leader. I loved his whole crucifixion/alchemy shtick.

3/10

Pale Flower: Masahiro Shinoda

[Revisit Review]

I remember that one of the most validating things to ever happen to me as a film critic when I frist started writing articles at my other blog Forgotten Classics of Yesteryear was when Roger Ebert added Masahiro Shinoda's Pale Flower to his Great Movies list two or so months after I wrote an article on it. It felt like I had gotten the jump on my hero. At the time I gushed about Pale Flower as if it was one of the best Japanese films I'd ever seen. But upon second viewing I've significantly cooled on it. I still enjoyed it, but it didn't hit me as hard as the first time. I even suspect that maybe I had watched a different edit than the one that was inevitably used for the Criterion release which I watched this time around.

8/10

Bay of Angels: Jacques Demy

Bay of Angels is now, officially, my favorite Jacques Demy film ever. That's quite a statement considering my general aversion to his filmography. Cool, detached, and yet counter-intuitively gripping and mesmeric, Bay of Angels is one of the best films I've ever seen about gambling. Thanks to a tongue-in-cheek fantasy soundtrack, the film takes on the tone of a fairy tale set in the high stakes gambling parlors of Europe. Claude Mann shines as Jean Fournier, a callously self-centered and aloof bachelor who spurns his father and becomes a gambler after hitting it big during his first visit to a casino. I found him more interesting than Jackie (Jeanne Moreau), his soulmate and partner in mutual annihilation. I found her infuriating yet utterly predictable: I could see her betrayals and pathetic attempts at buttering up Jean for money coming a mile away. But Jean was an enigma: why does he love Jackie?; why does he insist on living a life of gambling after seeing it bring one of his closest friends to ruination? One of my favorite scenes was how he managed to beg money from his father after going broke despite the fact that the father disowned him for becoming a gambler. Instead of being thankful for an inexplicable, one-in-a-trillion about-face he gleefully runs off to Jackie with the money, not giving the father a second thought. What an asshole. What's more, I think he knows he's an asshole. But whether that fact brings him discomfort, solace, or anything at all remains a mystery.

8/10

Hail, Caesar!: Joel Coen, Ethan Coen

The single best part of my experience watching Joel and Ethan Coen's Hail, Ceasar! was the woman sitting in the row in front of me who yelled out as the credits rolled: "That was the worst f**king movie I've ever seen in my life!" In fact, almost the entire theater seemed to vocally express their distaste for the film as they left the theater...in spite of the fact that everyone in attendance had enthusiastically laughed their way through it (at all of the right places to laugh, mind you). I wonder if this mimics the reactions of the audiences who first saw The Big Lebowski (1998) in theaters. Anyhow, I enjoyed the film immensely. I loved the homages--particularly their version of a Gene Kelly musical which makes me hope they will do an actual old school musical some time in the future--and the general meandering nature of the plot. I suspect this latter factor was the major influence in our audience's disliking of the film; it completely eschews a three-act structure and starts, stops, and sputters back to life seemingly at random. But I found it refreshing and unique.

7/10

Adaptation.: Spike Jonze

[Revisit Review]

In addition to being Spike Jonze's supreme triumph, his 2002 film Adaptation. remains quite possibly the definitive cinematic rumination on the art of writing. If not for his later masterpiece Synecdoche, New York (2008), I would also trumpet Adaptation. as the pinnacle of Charlie Kaufman's genius. Endlessly creative, clever, and brave, the film is a sublime Gordian Knot of artistic anxiety, inspiration, and aspiration.

10/10

Glassland: Gerard Barrett

To read this review, go to: http://theyoungfolks.com/review/movie-review-glassland/72569.

7/10

Misconduct: Shintaro Shimosawa

To read this review, go to: http://theyoungfolks.com/review/movie-review-misconduct/72379.

4/10

The Ninth Configuration: William Peter Blatty

Watching William Peter Blatty's THE NINTH CONFIGURATION (1980). I have no idea if I like it or not. I have no idea if it's GOOD or not.

— Nathanael Hood (@NateHood257) February 5, 2016

Why would the army send such an obvious nutcase to run a mental hospital? #TheNinthConfiguration

— Nathanael Hood (@NateHood257) February 5, 2016

And why is this in its own way a better adaptation of Joseph Heller's CATCH-22 than Mike Nichols's CATCH-22?

— Nathanael Hood (@NateHood257) February 5, 2016

It's like Blatty threw random sh!t at a wall for two hours and paused every 20 minutes or so for really interesting theological discussions.

— Nathanael Hood (@NateHood257) February 5, 2016

Well batter me in butter and deep fat fry me. That's a pretty damn good twist. #TheNinthConfigurationg

— Nathanael Hood (@NateHood257) February 5, 2016

Okay, so, the film is still a ridiculous mess. But the last 30 minutes make it worth watching. WOW. #TheNinthConfiguration

— Nathanael Hood (@NateHood257) February 5, 2016

6/10

Lola Montès: Max Ophüls

[Revisit Review]

Rewatching Ophüls' LOLA MONTÈS (1955). It's one of the most voyeuristic films ever made; you feel like you're watching it through a peephole

— Nathanael Hood (@NateHood257) February 4, 2016

Love how during the flashbacks Ophüls stuffs his frames with so much foreground clutter you still feel like you're backstage at the circus.

— Nathanael Hood (@NateHood257) February 4, 2016

Watching LOLA MONTÈS, I'm starting to figure out where Kubrick may have gotten a lot of his emotional coolness from vis-à-vis BARRY LYNDON.

— Nathanael Hood (@NateHood257) February 4, 2016

9/10

Judith of Bethulia: D. W. Griffith

To read this review, go to: http://theretroset.com/b-roll-d-w-griffiths-judith-of-bethulia-1914/?utm_campaign=coschedule&utm_source=twitter&utm_medium=the_retro_set&utm_content=B-Roll%3A%20D.%20W.%20Griffith%27s%20JUDITH%20OF%20BETHULIA%20%281914%29.

6/10

The River: John Renoir

[Revisit Review]

Rewatching Jean Renoir's THE RIVER (1951) and it occurs to me that the first 10 minutes would have worked just as well without the narration

— Nathanael Hood (@NateHood257) February 1, 2016

I understand that he probably HAD to include the narration since it was a literary adaptation...but what a testament to his visual prowess.

— Nathanael Hood (@NateHood257) February 1, 2016

Patricia Walters was perfectly cast as Harriet. I'm sure she grew up to be beautiful, but in 1951 she was perfectly horse-faced and stringy.

— Nathanael Hood (@NateHood257) February 1, 2016

Thomas E. Breen was perfect, too: even when genuinely happy there's something pained and reticent about his face.

— Nathanael Hood (@NateHood257) February 1, 2016

9/10