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| | The New Yorker : critics : cinema |
 | | Sharp details are not enough in themselves to make a movie great; still, when Miles props his paper up on the steering wheel, it’s clear that the filmmakers—Alexander Payne, the director and screenwriter, and Jim Taylor, his co-writer—know what they are up to. |
 | | “Sideways” is one of the last: each man experiences the glories and the horrors of the other’s character and is forced, willy-nilly, to look himself in the face in a motel-room mirror. |
 | | The jazz score, by Rolfe Kent, plunks along uninterestingly, and when it accompanies the Saab zipping through loamy hills, or plays over a prolonged eating scene, the movie feels like an episode of “Great Getaways.” Some of the camera setups are too obvious—the shots of faux-Tudor inns and luscious vineyards come off as conventionally handsome. |
| www.newyorker.com /critics/cinema/?041025crci_cinema (1383 words) |
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