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There is poignancy in [Samantha Morton's] helplessness, and Spielberg shows it in a virtuoso two-shot, as she hangs over Anderton's shoulder while their eyes search desperately in opposite directions. This shot has genuine mystery. It has to do with the composition and lighting and timing and breathing, and like the entire movie it furthers the cold, frightening hostility of the world Anderton finds himself in. The cinematographer, Janusz Kaminski, who has worked with Spielberg before, is able to get an effect that's powerful and yet bafflingly simple.
Ebert didn't always go into the technical details of composition and technique in his reviews, but when he did, he always made them simple enough to understand. He didn't write for film studies scholars; he wrote reviews that, in some cases, a 10-year-old boy could understand. This was distinct from simplicity (he never talked down to his readership; he rarely talked down to the movies themselves), and absolutely crucial for me, as I'm sure it was for so many others: that voice, talking about all kinds of film. That voice also said, secretly: you can do this, too. Not be as perceptive or eloquent, perhaps, but maybe you can share something you love (or hate, or kind of like) with a bunch of strangers. Maybe, if you work hard and also be by all accounts a person of generous and high spirits, you can even make it look easy.