Matt Damon

Affleck’s directing strikes the perfect balance between humor and heart; Robert Richardson’s cinematography is dynamic and engaging; and the production design brilliantly embodies 1980s nostalgia.

Even with its many perspectives, all of which lazily orbit Marguerite, “The Last Duel” never finds its way to the center.

It’s not often you find a world that sucks you in as well and as thoroughly as that of “Stillwater,” and once you’re swept up by its current, there’s no getting off the emotional rollercoaster.

Damon’s cocky and amusing attitude is matched by an interesting Texan accent which reinforces the viewer’s perception of Shelby as a pursuer of the American dream, tackling personal and professional struggles with a sense of grit.

Tuesday’s talk covered everything from the nutritional value of algae to Weir’s hobbies of mixology, woodworking and board games.

What’s more, the film ends up irresponsibly brushing every single issue aside with its belated, ass-covering “c'est la vie” manifesto.

“I’m only human,” he complained with a good-natured whine. “There's only so long I can go without talking about orbital dynamics!”

While entertaining in parts and visually appealing throughout, “Suburbicon” never becomes a thoroughly satisfying social satire.

Not to mention that when Allen was almost ousted from Hollywood after he sexually abused his seven-year-old-daughter, Weinstein agreed to distribute “Bullets Over Broadway.” Yep, you read that right. Weinstein was the man who gave Allen his career back.

Kyle’s excitement made my heart flutter. The movie was his — he sent me blocks of exclamation marks and little hearts, unwittingly coloring in magic marker hues over my tangle of nerves.