Therefore it’s even more impressive that Tommy Lee Jones is as likable as he is, in spite of threatening to derail every inch of progress. Cat and mouse movies are so much goddamn fun.

I was fascinated by the potential queer subtext between Highway and Stitch within a hotbed of homophobia, but couldn’t make anything meaningful reads. Bit difficult to do when Mario Van Peebles is in such broad comic relief mode that he hardly feels like a person.

I feel largely indifferent to the men in Gunny Highway’s patrol in their developments or motivations. Hardly seems like they break out of this spirited summer camp demeanor, especially during the Grenada invasion. It’s so funny that FULL METAL JACKET came out the following year.

I loved the few brief scenes with Philip Seymour Hoffman as a trigger-happy local cop itching to feel important. Laughed really at this one shot where he looks like Beavis.

I fell hard for the wintery milieu of this small NE town that feels so lived in. Everyone has their own way of conversing with one another whether it be watching TV in bars, playing strip poker or stealing snowblowers. The sentimentality in NOBODY’S FOOL is always honest.

An effective drama requires balance, which is difficult when every comically telegraphed omen trips over the other to make your heart sink. It’s all so overwrought that the film’s big denouement sank like a stone for me. Shame! I wanted to like this.

I knew I was going to love this the moment Jennifer Lawrence started stalking through the grass on all fours with a knife in her hand. There’s a controlled chaos in her animalistic rhythm that’s simultaneously sexy, anxiety-inducing and cathartic.