Saw this in October 2018 at a legit full theater and remember distinctly how you could hear half the audience crying or shuffling to wipe away tears at the climax. Sometimes you catch a film with the right audience at the right time and it becomes a communal experience.

Upon rewatch, it's not hard to see why this was so affecting. Like Eastwood's The Bridges of Madison County, this seems especially attuned to the overwhelming sensuality of touch, the way…

Revisiting a fave and finding that it still works, but in slightly different ways, and finding yourself with a better critical faculty to work through and respond to its faults; that's always a pleasure. This works a heck of a lot better if you assume that Nastassja Kinski is a figment of Forrest's imagination, the promise of sexual conquest and libidinous available women that keeps his ugly ass from committing to his too-good gf in Teri Garr. I've always wished…

The most revelatory rewatch of 2017 for me, with the Ultimate Edition doing the lord’s work in increasing an already miraculously brisk 2.5-hour runtime by 30 minutes and bumping the rating from PG-13 to R. A completely transcendent melodrama where everything is widescreen emotion expressed in vignette, the moral and political dimensions of its titular characters distilled or exploded (take your pick) in sequences that jetset around as hyperreal money-shots, the soundtrack anchoring seemingly disparate scenes together to create a…

JCVD is introduced singing along to some bubbly Chinese pop song while he fights against a teeth-grinding coke rictus and navigates a BMW Z3 through some dreary HK bay highways. Tsui Hark's camera follows a foot into a shoe, a bullet through a convenience store's shelves, snap zooms into a CRT that is action-matched against a fight going on in the next room, and like a half a million other shots designed to drop jaws. It's the kind of insanely…