ellauri022.html on line 509: • Relate the main characters’ experiences to those of the children. Make sure the children understand the book’s message and
ellauri052.html on line 85: I find this judgement troubling. Certainly, one can agree that Herzog is lavish and intense. But through his eyes, we see women as very peculiar creatures. We meet a devotee of sex in Herzog’s lover, Ramona, the sad, enigmatic, emotionless pencils that are Valentine’s wife and Herzog’s first wife, and the castrating sex bomb that is Madeline. Very rarely do we feel that these characterisations are different from these characters’ reality—the novel seems to suggest that these women really are as limited as Herzog sees them.
ellauri112.html on line 584: Reitman (Thank You for Smoking, Juno, Up in the Air) continues to work the “audacious” and “unique” edges of the most conventional possible territory, in movies that tend to conclude that the characters’ various challenges are all a state of mind.
xxx/ellauri169.html on line 471: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view.
xxx/ellauri250.html on line 416: The endless train ride might be a metaphor for a liminal state where everything is up for grabs, but “Compartment No. 6” never makes the enigmas behind its characters’ actions and feelings matter much.

xxx/ellauri250.html on line 431: Sometimes you can tell from the first shot. In “Compartment No. 6,” the camera follows a young woman at a party as she leaves a bathroom and enters a living room full of gathered friends. That walking, back-of-the-head shot is one of the soggiest conventions of the steadicam era, a facile way of conveying characters’ own fields of vision while anchoring the action on them. The familiarity of this trope suggests both limited imagination and an unwillingness to commit to a clear-cut point of view. When used cannily, it can convey ambiguous neutrality and looming mystery, but, more often, it suggests the merely functional recording of action, which is exactly what’s delivered in “Compartment No. 6,” opening in theatres on Wednesday. The movie sinks, fast and deep, under the weight of dramatic shortcuts, overemphatic details, undercooked possibilities, unconsidered implications. It’s heavy-handed, tendentious, and regressive—and it should come as no surprise that it’s on the fifteen-film shortlist for the Best International Feature Oscar.
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