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Suffice to say that as lovers Clementine and Joel, Kate Winslet and Jim Carrey play against type-Winslet is the manic one, Carrey is the quieter, moodier one-to wonderful effect, and, as usual, Kaufman weaves in both subtle and window-smashing observations about human relationships. It remains one of my most sob-inducing movies, a bittersweet, jarring love story that, if you haven’t seen, I won’t spoil for you here. (Thank you, Charlie Kaufman.) I was also like, 18, so I was probably actually drunk, but still. I was so confused and stunned by the film, which didn’t play like anything else I’d ever seen. The first time I saw Eternal Sunshine, I remember walking out of the theater feeling drunk and disoriented, like I was shaking off a really bizarre dream. Ugh, it’s just the best, you guys.Įternal Sunshine Of The Spotless Mind (2004) (Go watch it, I’ll wait.) Meg Ryan and Tom Hanks’ endless chemistry helps, too, as does Ross Malinger’s preternaturally charming performance as Hanks’ sleepy-eyed, floppy-haired son Jonah.
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It helps that it’s full of homages to equally dramatic romances past, particularly An Affair To Remember-one of the movie’s most hilarious moments comes from Rita Wilson, who breaks down in sobs just describing Affair’s premise. But Sleepless is so self-aware, so earnest, and so well-written (Nora Ephron, that goddamn genius) that it pulls off its schmaltzy, insane premise and then some. In theory, the story is overblown and ridiculous-an unhappily coupled woman (Meg Ryan) falls in love with a man she hears on the radio (Tom Hanks) waxing poetic about his dead wife, breaks up with her longtime boyfriend and travels across the country to meet said man, and doesn’t end up in jail or hit with a restraining order. If you haven’t seen Sleepless In Seattle, I don’t know why you’re still reading this sentence. Even Jason Statham.įree for Amazon Prime subscribers on Amazon Mostly, it’s just really fun to watch because everybody involved looks like they’re having a blast. But suffice to say that Guy Ritchie’s follow up to Lock, Stock, And Two Smoking Barrels is a wild ride of a film, a wry look at London’s underground crime scene, a rapid-fire, exuberant farce that gives Brad Pitt a chance to speak in a nearly incomprehensible version of a “pikey” accent. Also, it’s confusing as shit, and I just don't have the space.
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I’m not going to try to sum up Snatch’s plot here, because half the fun of this movie is untangling its interwoven, rambling narratives and appreciating the cleverness and irony with which the characters’ stories are carefully layered on top of one another.
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