The visuals are a wonder (though not as good as Coco's). The metaphysical world it attempts to describe is surprisingly thorough (but it doesn't ring as true as Inside Out's). The story is engaging and its lesson (there's always one) should resonate with any adult. And it's pretty funny, though sometimes the humor is a little too broad. Overall, it's amazing to me how Pixar can create these films that are created with the broadest possible audience in mind, yet maintain such high standards in every department. Respect.

These people talk too much. I'm not a big fan of Ceylan's more mature and lauded work, but thought I'd take a chance on this anyway. This one is amateurish, which is not how I'd describe his later stuff. One thing it does have going for it is that It betrays a real love for photography, but even that is hit and miss.

I'm not sure how much of it is true, but I liked learning the story behind the story portrayed in Citizen Kane. A lot of the dialogue felt like "insert witty banter here" and in fact the film had a larger feeling of style over substance and characters that don't quite come to life. That's not the issue with Oldman's character, but it is with just about everyone else's. Also, anytime a character's ultimate reward in a film is an award (whether an Oscar or anything else) it somehow feels empty, a pyrrhic victory for that character and nothing more.

Before watching this, I was by chance reading about the Buddhist concept of right speech and the perils of compromise – perilous in that leaves it all parties unhappy, and fails to achieve true empathy among the compromising parties. The ending of this film illustrates that concept beautifully. Its characters also dwell on the very existential dilemma of how to live a fulfilling life. It's high concept stuff for a screwball comedy. The only knock against it is that it's not all that funny in comparison to the best of its peers.