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This film is by far the best picture of the year. The only other 2 films that could outdo this film and I don't see how for me are The Aviator of Million Dollar Baby. I'm glad that when I was out of town 2 weeks ago I took the time to go see it *it still hasn't opened in fresno for some reason* Everything about this film was just perfect for me, from the acting to the direction. Payne has shown with each film that he is getting better and better as a director. After About Schmidt I thought that Payne couldn't come up with a better film as a follow up to it but he did. Whats sad is that a lot of people I think didn't like it cause it wasn't this down right funny, crazy male bonding film. I think many thought this was going to be an American Pie style road film for middie age men. It does have it's funny parts *Wallet Retrieval *, but I think this film is so much more about the time when you have to tell yourself to get over what happened in the past and grown the f**k up. And could there be a more beautiful scene in any film this year than a man in fast food restaurant drinking his prized bottle of wine.

I loved this movie, too. Liked it much more than I expected to.

Wow....finally saw this last night and talk about the most over-rated movie of the year....I mean, I liked it; it'a a very likable movie, but it's just a bit of fluff and about two small steps above a Rob Reiner/Nora Ephron/Penny Marshall effort....judging by all the hyperbole, I was expecting this to be the new Annie Hall or Payne's own Election...I'm happy that Giamatti and Payne are finally getting some critical acclaim and award attention, but much rather it had been for superior stuff like American Splendor or Election.....

Here's the NYT's review of Sideways. Whoever complained about Dargis is a contemptuous fool. I found her writing on this film brilliant.

exte wrote:Here's the NYT's review of Sideways. Whoever complained about Dargis is a contemptuous fool. I found her writing on this film brilliant.

I fail to see what you see in it. It didn't change my mind much. She spends the entire piece complementing the acting and singling out Giamati (who, even I will freely admit, is excellent). But her unending praise of the actors fails to sway me one way or the other about the film.

I thought the acting was the only good thing in the film, and from reading her review it looks like that's all Dargis liked about it too. I need more than good acting to name a film "great".

In the interest of equal time I submit Johnathan Rosenbaum's year end piece where he discusses Sideways: http://www.chicagoreader.com/movies/arc ... 50107.html

I enjoyed it. The middle drags a lot, but the third act was quite strong. A large improvement over About Schmidt, imo, which I thought became a repetitive mess about halfway through. The performances were great, though I found Church's performance a little too monotone for a party animal. Giamatti was excellent as always and I hope he gets the acclaim he deserves for the role. Payne's direction and the cinematography (zooms, yay!) were subtle, but strong. I thought the transitions (some wipes and split screen, holy cow!) were particularly strong. I would definitely recommend this film to others.

Rosenbaum is pretty hard on Sideways, but I suspect it's that resentment we all feel when our favorite movies get overlooked in favor of a decent, but far from superior one.

Now, I'm not a big drinker of anything alcoholic, but this film made me want to devote my life to wine drinking and appreciation.

I liked this movie a lot, but I'm still not sure if I'm supposed to like Miles. He may be the protagonist, but I don't really identify with him. I don't think he deserves Maya either. What does she see in him aside from a person who knows wine?

Some details on the Japanese remake of the film.

Antoine Doinel wrote:Some details on the Japanese remake of the film.

That's funny, as when I read that I suspected I was going to end up reading about this, which I saw on Apple's trailers page the other day.