Now that it's premiered, let me tell you to get excited for this.

It's Robert Redford, stranded at sea. No dialogue... barely even any words. It's pared down to scenes of survival. And this comes from JC Chandor, whose Margin Call was all sorts of talky.

It's a gorgeous movie, Redford is sensational, and it's a virtual lock for my year-end Top 10.

Keep an eye out for the first trailer to get a sense of what it is you'll be seeing. In the meantime, here's Eric Kohn's review, which should get you excited: http://www.indiewire.com/article/cannes-robert-redfords-strangest-role-of-his-career-is-in-jc-chandors-all-is-lost?utm_source=feedburner&utm_medium=feed

Redford gives a swan-song career performance to be remembered here. And the tension is steadily paced but never lets up. Plus, there's definitely a vast-metaphor-for-life-and-faith thing going on that Open Water certainly lacks.

JC Chandor and Robert Redford was there at the showing. Chandor said the script for the movie was 31 pages.

Anyway really well done, beautiful cinematography (great shots underwater at times). Very tense.

Highly recommended viewing.

And the beauty of his performance is how he makes the mundane come off as fascinating, mainly because it's cool to watch him use his brain, to see what he'll do next to try to get himself out of this predicament.

The movie as a whole could have been paced up by about 10 minutes and would have been perfect.

Ol' Sundance still got it. He'll be at the Oscars.

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Passive-Aggressive is the new Hurt Feelings!

I'm so here for this whenever it makes it to Pittsburgh.

GRAVITY gets points for its incredible technical achievements, but I actually preferred the way Chandor & co. approached some very similar material here.

Redford is outstanding. So is everything else about the movie. It's in my Top 10 at this point.

J.C. Chandor is just not for me, right? He's a shrug-tastic 0-2 for me now.

visual effects.

I'll admit it's trite to compare them.

I wasn't happy with the score in either movie, but I tend to think movie scores are silly anyway. At least the All is Lost score was relatively unobtrusive.

In not trying to be a Chandor fanboy, which would be silly after only two movies. But as far as I'm concerned, both of those movies have been the best of their respective years.

no dialogue, emotional ties or dramatic set-up. just a man and his will to survive -- a will that is methodically dissolved with every scene. Redford's matured composure was vital (I would've just passed out from shock after the first 20 minutes), as it shows how much it takes to finally break him.

a running time closer to Cuarón's cousin in outer space would've been welcomed, but I did appreciate some of the details thrown in (Redford shaving...clinging to routineness, or human vanity no matter what the odds?). and the ending changes *a lot* about the movie depending on how you take it. for me, it was accepting the inevitable and the freedom that comes with that choice.

> the ending
>changes *a lot* about the movie depending on how you take it.
>for me, it was accepting the inevitable and the freedom that
>comes with that choice.