Ah, the long tracking shot -- cinema's most pretentious device. Sure, they can be fun and flashy, but like a loud and insecure extrovert, they also tend to draw a lot of attention to themselves. Isn't the point to get lost in the story?
As a young cinephile, of course, I loved them. They're the fastball of cinema language, and when used well, they can be masterful: in The Shining, for instance, when Kubrick follows young Danny at knee-level as he rides his Big Wheel through the hotel (one of cinema's... READ ON