Reverse Shot A different angle on moving images—past, present, and future

Jim Jarmusch’s steadfast commitment to the swings of an eccentric sensibility defines his output to such a degree that I can as easily understand why someone would hate his movies as love them, in the same way you either mesh with certain personalities or don’t.

Gone are lingering shots trained simply on the sight and sound of unrelenting falling rain and, in place of long stretches of naturally foreboding silence, this rendition inserts bad mother-daughter bonding banter.

Brothers is deserving of accolades for rethinking the genre but is, sadly, unlikely to garner anywhere near the same amount of fawning adulation as that which greets high-profile macho counterparts like Saving Private Ryan.

Death is present, literally, and tonally, from the first frames of The Machinist, subtly emanating from the washed-out darkness of the fluorescent-lit palette of blues, greens, and grays, which lends a murky, underwater complexion to the film's industrial wasteland setting.