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Best movie of this year hands down!

Expected more

Absolutely the worst movie.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

I went on a long, hot walk around surprisingly dope Kansas City. Back at home base, I felt delirious, so I decided to return to Richter's Dreams That Money Can Buy.It had been a while, but I can now say that you do NOT need the help of sun-drenched lunacy for this one. Perfect just as it is.If there's any fabula, it's that bureaucracy sends people over the edge of mirrors, into bouquets of sterilized flowers resting in the dreams of others.Really, it's all about the digesis: "Let memory of mortgages, loans and property sales // dissolve into the cries of nightingales!". Obviously you're watching this in part for image, but the VO and script shouldn't be overlooked. Alternating between a crisp, white sound, in the manner of 1950's instructional films, and other more slippery and sensuous words, voices and jazz numbers, sometimes there's singsong-y rhyme, often there are jabs at structure in favor of chaos ("Sign, sign every dotted line! What's the difference? You'll never belong to anything anyway.").This is really a nice experience. Show it to hot friends and cool strangers.

The British Film Institute have re-mastered the film from an original print and have released it on DVD with some Richter shorts, a very good booklet and an alternative soundtrack by the band The Real Tuesday Weld who have been performing live to it for the last three years.It looks amazing but remains one of the most underrated art films of the last century. It's difficult to know whether its imperfections (particularly in the editing and soundtrack) are a result of a low budget or carelessness or were intended / happily included by the director. Proclaimed by David Lynch as his favourite film (He pinched the title 'Ruth Roses and Revolvers from it), it is not an easy watch and sadly is probably destined to always be for the cognoscenti. This is a film - not a movie - and whilst not completely successful as a piece of art, it pushes the boundary of film and narrative.

I spent my birthday watching this heretofore unknown masterpiece with a few non-filmie friends, who were also rewarded by the experience. First-wave abstract filmmaker Richter comes to America, picks up some noir affectations and calls it narrative: fedora'd lout in ratbag apartment sets up a business reading dreams for various clients. This allows just enough structure - and HUMOR, crucially - to draw the uninitiated into its tour of Surrealism's Greatest Hits. Man Ray, Max Ernst, Marcel Duchamp, on and on and on, Richter has assembled a powerhouse crew for his dream sequences, with the likes of John Cage on music, and the segments are varied, hypnotic, and hang together perfectly, from Duchamp's patented hypno-spiral shtick to a pipe-cleaner circus scene that reminds me of Allyson Mitchell. The color is great and well used, and Richter's own conception on the end sequence ties everything together perfectly. Furthermore, while it may not 'mean' anything, there IS a 'logic' to it, I swear, although I was having too much fun letting it wash over me to pursue it very far. These old men point toward a future that hasn't even arrived yet, but seeing it makes you want to join the project. I LOVE this movie.

A strange attempt to bring the work of surrealist artists to a wider public. The plot is than an average Joe (Jack Bittner) can conjure up dreams that will improve peoples lives. This gives an excuse to view sequences created by several artists, most of whom were living in the US to avoid World War II.Of most interest for those wishing to seeing the various artist's work, such as Alexander Calder' Circus being animated. I saw the Museum of Modern Art Print and the colors were in poor shape - the blue was almost gone.