Best movie of the year

Rating: 10/10 (13 May 2016)

This movie is great I do not see a lot to criticize here. The long scenes that are played out perfectly for how much room for error those types of shots can have. There is more ambition is a single shot of that movie than in recent movies that have been getting praise lately. It is slow it is s not quite what u want it to be but it is s not like any movie you have seen and that is what counts. I watched a DVD screen of this movie and it still blew me away. No way it can suck the beautiful imagery can often be thought as pretentious but it is just different than what any cinematographer is doing nowadays.
Let the beautiful shots engross you and get lost in this wicked story that is played out kind of weird I must admit I found the ending not satisfying but so have I in most of the movies I like the most. Ur not supposed to love a movie like this like the other blockbusters we get these days. And Leo isn't going to get the Oscar and neither is the director whatever his name is even though he should get it for this instead of bird man.
Comments on the cinematography: if a bright light source gets in the frame any lens will flare a bit. Some times the shot will have a bright light source that can't be avoided. Modern lenses flare much less, but still flare while certain isomorphic lenses specifically ones with a lens element that is only curved in the horizontal axis have a distinct horizontal lens flare which used to be avoided most times but is now embraced (JJ Abrams ). The Vintage C-series Panavision isomorphic lenses happen to flare like this and they ALSO happen to be some of the most beautiful lenses ever created! They get used all the time over modern glass and people either avoid or embrace the flares depending on the shot.
You can have visible light sources in current master prime level Zeiss, Arri and especially Leica lenses and get practically no flare. That's what decades of coatings R+D gets you compared to lenses from the 50s, 60s and 70s.
They get used now, after being shelved for many years largely thanks to the rise of Super-35. Flares are technically an artifact but the way these unambiguous would flare was embraced in the 1970s, survived through the '80s and then all but died for while. Music videos and certain commercials brought them back as well as a post-digital re-interest in film looks to differentiate a project from all the homogeneous, bland looking digital cinema being made. We're currently in a peak of what has been a cyclical interest in the look.