• • The Second Coming of 'Heaven's Gate' 
Manohla Dargis, New York Times The Fountainhead movie  | Adorned with the legend “A Moral and Exhilarating Experience,” the [roller skating] rink [...] mirrors the populist pleasures and democratic promise of an emergent mass entertainment: the cinema. [....] The cinema, with its film cans and unspooling reels, also finds an echo in the film’s striking use of circles, specifically in three astonishing, complexly choreographed sequences of roller-skating, a waltz at Harvard (to “The Blue Danube”) and a dusty battle. All these circles call to mind the carousel of time (time being another theme) and points to [Michael] Cimino’s interest in architecture and, perhaps too in adapting Ayn Rand’s novel “The Fountainhead.” The final image of “Heaven’s Gate” — of a man alone on the deck of a yacht — brings to mind the opening of “The Fountainhead,” in which the protagonist, Howard Roark, stands near a lake as the world looks “suspended in space, an island floating on nothing.”   Published: 2013-03-15