Freeheld stumbles over too many hurdles to recommend it. The film’s heart is in the right place, but its focus is not.
I'm supposed to be a movie critic, and yet I keep hearing about these great new movies I've never seen. Don't think I'm not on the job; my trouble is that I live in Chicago.
Not since “I, a Woman” hit the suburbs has a movie caused more excitement than “Bonnie and Clyde.” It's the blood-soaked, tenderly photographed love story of two bandits and the banks they called their own.
For many American moviegoers, Jean-Luc Godard's “Breathless” (1960) was an introduction to the new style of French filmmaking. Everything about the movie seemed filled with life, invented on the spot. Godard scribbled the script on the backs of envelopes every morning before shooting. For his hero he chose an unknown, Jean-Paul Belmondo, who was not handsome like Rock Hudson but ugly like Humphrey Bogart. Aware of the inevitable comparisons, Belmondo parodied Bogart in a memorable scene which put him in the tradition of the master.
It's a game you get to play everywhere, because so many people have seen "Blow-Up," and most of them want to talk about it. Movies that require you to figure things out for yourself always leave a lot of frustrated customers behind.