The repartee is as good as it gets, but you don’t love this film because it’s witty and western and Sundance can aim like hell. It’s the feeling that finds you after you’ve laughed through it, entertained, hooked on two-bit outlaws. “For a moment there I thought we were in trouble”, and you know they’re not just bandits, they’re brothers. And it wasn’t just wit, it was terribly sincere.

A renowned adaption no doubt, though some of the musical sequences dragged. Revealing my literary ignorance here, but only now, on my 6th rewatch, noting some caricature-like offenses during “Pick A Pocket or Two”, did I get the feeling Fagin was written as a terribly antisemitic depiction of a Jew. And Google confirmed it. The D in Dickens stands for disgrace. In fact, 6 rewatches is plenty.

Alfred Hitchcock has a name like gold, and Rear Window reminds us why. Only a savant of cinema could confine an audience to a single room for 112 minutes and create such an exciting experience. The viewer never leaves the apartment of handicapped photographer L.B Jefferies, and still, a unique mystery unfolds before us. From the screenplay, to the cast, to the set decoration and cinematography, Rear Window is a masterful execution of a thrilling idea.

Coming into this film, I braced myself for a tsunami of comedic nonsense, and, to no surprise, Palm Springs delivered...but it also delivered an unexpected trope: love. The film is an unusual beauty, you don’t expect to receive the story you get, and you definitely don’t expect to see J.K. Simmons snorting coke at a wedding. But alas, you gain so much more than you signed up for…and who can complain with that.