In the vast majority of movies, everything is done for the audience. We are cued to laugh or cry, be frightened or relieved; Hitchcock called the movies a machine for causing emotions in the audience. Bresson (and Ozu) take a different approach. They regard, and ask us to regard along with them, and to arrive at conclusions about their characters that are our own. This is the cinema of empathy.

Life is made up of challenges that cannot be solved but only accepted.

Jane Austen wrote six of the most beloved novels in the English language, we are informed at the end of Becoming Jane, and so she did. The key word is beloved. Her admirers do not analyze her books so much as they just plain love them to pieces.

The film argues to the young that the old were young once, too, and contain within them all that the young know, and more.

Movies are like a machine that generates empathy.

Sarah Palin lacked the preparation or temperament to be one heartbeat away from the presidency, but what she possessed in abundance was the ability to inflame political passions and energize the John McCain campaign with star quality.

Beguiled by George S. Bush's easy smile and casual indifference to the details, we are on the brink of electing him to office. This isn't choosing a president, it's casting the lead in a sitcom about the presidency.