My Favorite Movies

10/10
Transcendental. That is the best one word description I can think of for 2001. Beyond Sci-fi or film in general, this is one of the best works of art of all time and just about my favorite film of all time.



The best works of art tell us about ourselves, first as a collective, as humanity; and second personally, questioning our private existence, our beleifs, our souls and motives. 2001 does this in a way that allows the viewer to think while watching (as opposed to after) and apply the experience of the film deeply and personally, making for one of the most engaging film experiences. 2001 is just that, an experience, it's a movie about everything, transcending all cultural boundaries and yet has no real story or plot. It doesn't need the usual screenplay structure or plot, it is simply beyond this.



Even through all its complex ideas, 2001 finds the time to become a thriller of sorts, including one of the most supenseful sequences in movie history and one of the most chilling villains; the super-computer Hal9000. And with some of the best imagery ever put to celluloid and the perfect soundtrack to go along with it, 2001 is a movie classic, truly trascendental. Stanley Kubrick's magnum opus is a film everyone should watch and experience, regardless of personal tastes as it concerns everyone and anyone.

10/10

A must see for cine-buffs as well as Art House types, the release of this film marked the beginning of modern cinema (although many would attribute that milestone to Goddard's Breathless) as well as the start of what would become one of cinema's most memorable and enduring actor-director teams, continuing the story of Antoine, making 4 more films together.



Truffaut's masterpiece might be the most pure of all films, if that's even possible. Every time I revisit this film I fall even more in love with it. It's script which is so carefully restrained and calculated. Jean Pierre Leaud, who at 13 was more natural and had more genuine charisma than nearly any of today's leading men.

In order to not relate to this movie you'd have to have been born at age 20; one can't help but fall in love with this film. Like Jean Constantin's charming score, The 400 Blows is perfectly simple, the best debut film ever on that side of the Atlantic. Simply perfect.

PS. Check out Truffaut's short film Antoine and Colette, the suedo-sequel to The 400 Blows for a nice little follow-up on the teenage life of Antoine Doinel.

10/10

One of my favorite films of all time. The first time I saw this I was left stunned. Michelangelo Antonioni's L'Eclisse is about a woman who's in a state of transition, the transition from an old relationship to a new one (or so it seems). She seems disillusioned with love of course but she's also dissillusioned (even frustrated) with our so-called "civilized" society and how this increasingly mechanized world, along with its steadily accelerated pace, has made love rather impossible.



Every shot of this film could be hung up in any museum and its final sequence is, simply, pure brilliance. It left me stunned.

EDIT: Now my 3rd favorite film of all time, I've seen L'Eclisse roughly only four times. And it only gets better and better. Antonioni's genius is immeasurable. Everything in L'Eclisse, the choice of actors, to the set design, to the jarring score, to the hypnotizing cinematography, it's all so deliberate, manipulated and planned to the last degree. And after having seen L'Avventurra and La Notta, the first two films of his "alienation trilogy", I can now see clear thematic connections, with an almost linear pattern (an interesting counterpoint to the individual non-linear narratives of the three films) between the three. L'Eclisse is and will probably always be my favorite of his trilogy and therefore, of all his films.

10/10
More layers than most classic novels, Vertigo is just about the best Hitchcock film of them all and that's saying alot. The best score ever put to film.

10/10
AFI's #1 film of all time and rightfully so. It's the most IMPORTANT American film ever made and equally entertaining, I've seen it atleast 5 times by now and return to it every now and then to be reminded of just how much one film can accomplish.

10/10
One of the most beautiful films I've ever seen. Like reading an enthralling and complex work of literature. The ending is both captivating and hopelessly depressing.

10/10

My second venture into Antonioni's alienation-trilogy (La Notte and L'eclisse being the second and third in the loosely based trilogy) and my fourth Antonioni film, L'Avventura is considered his crowning achievment challenged in popularity only by Blow Up and I can see why. Of those I've seen it's his easiest film to understand and yet his most complex and ambitious. That's not an easy task. His film makes easily followed yet profound statements on everything from the impossibilities of love in a rapidly changing world to the intricacies of women and their lack of personal authority in a male dominated society. The women in this film, although controlled by their men, find ways of asserting some kind of control, usually by cheating on their husbands. The men prefer money as their means of power. There are no heroes in this film. There's no one to route for or admire. The audience's job is to learn from their mistakes.



The main protaganist, played effortlessly by the stunning Monica Vitti, is the closest to attaining any form of redemption from the audience. In the film's final frames the choice her character makes is profound and ultimately expected, cementing the film's various agendas in a simple yet climactic rage of music and stunning cinematography I won't soon forget.



Like his other films, one can expect stunning cinematography; compositionally, shot by shot L'Avventura is a true work of art . . . Why oh why can't films like this be made anymore?!?!

10/10
One of the most underrated films of this decade, AI rivals Munich and Schindler's List for best Spielberg picture honors. I call this 2001: a space odyssey's little brother. If you look closely, or perhaps not so closely, AI has too much in common with the Kubrick sci-fi classic for it to be a coincidence. Kubrick did hand over the reigns of the film to Spielberg so similarities were more than likely planned.



The only thing missing for AI when compared to 2001 is 2001's universal praise. This, I think will come in time. I know what you're thinking, I'm one of those "likes a movie so much he praises it as the second coming-types", even when the film isn't all that good. Hmm, all I can say is I'm not. The film's technical achievements easily surpass those of 90% of all films; the cinematography is stunning as are the special effects. The story is more than a mere retelling of Pinochio, it pays homage to the classic tale while taking the story to a whole other, richer level. The film makes philosophical statements that most films could only scratch their heads at in bewilderment. And that "undecided ending" many complain about, it adds an entirely more complex layer to an already mind-altering film.

It's easy to be distracted by the engaging and touching story and forget to contemplate what actually happens in this movie; AI is more than a story of one robot boy's love for his mother. It's so much deeper, and bleaker albeit, than that. AI certaintly deserves a second look from cine-historians, and I truly think it will be considered a classic one day.

10/10
My favorite Coppola piece. The pacing is perfect. Hackman's performance is beyond nuanced and once again flawless (or should it be flawfull?). I find something new everytime I watch this film, picking up little nuances and smaller details I didn't notice the first few times around. This is one of the best character studies ever put to film.

10/10
Another of Kurosawa's masterpieces, Ikiru is incredibly moving to say the least. Along with The Shawshank Redemption and a couple others, this film definately makes the viewer question life and the meaning of his/her existense. Very touching, it simply stays with you forever.

10/10
Scorsese's character study to end all character studies. Deniro is amazing.

10/10
The most stick-it-to-the-man movie ever.

10/10
The one that started it all.

10/10
The most free spirited and fun film I've ever seen, some may categorize this as merely a marketing tool released at the beginning of world wide Beatlemania, but this truly inspired comedy classic's effect on teenage girls of the early 60s was merely a side effect. Like a breathe of fresh air with every repeated viewing, one can't help but feel good during and after watching this film, putting oneself in the place of the fab four as they do whatever they can to not conform. And they don't do this by protesting or fighting, but rather by simply being themselves. It's a way of life for this oh-so-cool (particularly Lennon, of course) foursome. Denying what responsibilities even exist, they take advantage of any opportunity to have fun. The way in which they go about "getting their kicks" proves to be halarious and unforgettable. You won't be able to forget Paul's grandfather; "such a clean old man".



With catch-phrases to spare it boasts one of the freshest and funniest screenplays ever written, which still holds up today. A Hard Day's Night rightfully inspired the many documentary spoofs that would follow, including the universally touted This is Spinal Tap.

10/10

Never has a film gotten better with repeated viewings than Sunset Blvd. The power of this film is undeniable. Even after more than 50 years Billy Wilder seminal gothic film-noir/comedy captivates with a grip very few films can match.



We know from the opening scene how it will all end, but we haven't the slightest idea how it will all go down. And that, as opposed to most films today, is what truly matters; it's not what happens in Sunset Blvd. that makes it the classic that it is, it's HOW it all happens. The screenplay provides such depth and detailed complexity that multiple viewings are mandatory. The nuanced and purposefully over-the-top acting from Gloria Swanson proves sensational and more than pitch-perfect as Norma Desmond, a woman beyond obsession over her past illustrous acting career, she's in a silent picture 24 hours a day, trying to hold on to youth wherever she finds it. Frank Waxman's musical score is impossible to get from out of your head, adding a powerful and thick layer to the film.



Sunset Blvd. steadily builds towards the narrator's destiny, starting off as a clever comedy and steadily delving into the more macabre, finally plunging us into a rapturous climax and one of, if not the best, closing sequence of cinema.

We quickly learn as to where the film is heading with it's two main characters (an often revisited them most recently in the mediocre Hollywoodland), but to our surprise we find there's a reason Erich Von Stroheim recieved top billing along side Holden and Swanson. His character is just as important and, giving the film's objective a third and deeper facet, one that could easily be overlooked upon first viewing.

I've always been told, and rightfully so, that if one finds a film isn't teaching you something new or making you a better person than it's not worth your valuable time. Why waste one's time on mere entertainment? But why not both old-school hollywood entertainment and refreshing instruction? With Sunset Blvd. we get equally hefty portions of both, although with repeated viewings it becomes a reminder more than a lesson. But what a captivating reminder!

10/10

I finally saw this film after much anticipation and in no way was I disappointed. Let me start off by saying Audrey Tautou's skin isn't nearly as pale in the film as it is on the DVD's front cover; you may proceed with that off your mind.



You'd have to be coldblooded and without a pulse to not be charmed and/or amused by this film, with all the best quirks of any Wes Anderson film and all the charm and whimsy of old-gay-Paris; beautiful Montmartre has a leading role in the film . But not only is this an extremely enjoyable film, it also plays as social commentary and inspiring life lesson. This is definitely a film I'll never get tired of revisiting again and again and again . . . Look out for the ingenious red/green complimentary color scheme throughout the film.

Update: Upon second viewing (I finally bought it!) Amelie has now entered my top 20 at number 18 (previously in the 30s). I found I was correct with my initial reaction, I'll never EVER get tired of revisiting this film, which got even better with this second viewing (as is the case with all great cinema).

Amelie is inspiring. After my viewing I was compelled to get out of the house, go for a jog and watch the sunset (the timing couldn't have been more perfect). This is the beauty of Amelie. It teaches us, in the most memorable way, to appreciate the everyday and find beauty in the mundane. To appreciate life for all it's small eccentricities as well as its great joys.

Update (again): I think it's been 4, maybe 5 times I've seen Amélie now and I'm happy to report that this time, more than ever, I comprehend nearly every aspect of the film. Of course there are certain stylistic choices I still don't understand, or small tidbits of the story that continue to baffle me. But what the film is really about, its essence along with its many pieces, I beleive I've now fully grasped. And I love and enjoyed the film even more because of this.

Amélie is a celebration of imagination, passion, life, love, humility, altruism, and joy. It claims life is agony. This world in general sucks. But only when seen from afar. When one zooms in on the details getting personal with and analyzing others, that's when we find joy and meaning to our lives. When we view the things that keep us all going we form bonds, help each other, and make the microcosm better which consequently and eventually makes the macrocosm (our world) a better place. Every little bit counts. Of course, communication is key. A lesson Amélie has to go through great extents to learn. But as we see at the end of the film, it's well worth it if in the end we're left with at least someone to share our agony and that which makes us forget about our problems

10/10
You need about a gizillion viewings to fully grasp this film but once you have you'll never let go. If you don't like it than you probably just don't get it.

10/10
Not only important historically, but actually SCARY (admit it!), and provides hours of philosophical discussion afterwards. Lots of fun.

10/10
One of the most beautiful movies I have ever seen; not just in it's visuals, which they quite possibly are, but also in its subtle pacing, uncontaminated emotion, and unforgettable raw power. From the trailers you might expect this film to be a more adult Pirates of the Carribean. God forbid. This movie is as slow and quiet as they come; and sets itself apart from other films because of it. This slow, subtle pacing is Terry Malick's trademark, found in his other films (which are released about once every decade) such as Badlands and The Thin Red Line. Its quiet nature gives the audience time to think for themselves. With very little dialogue and even less between characters, Malick, in a stroke of genius, uses voice-over narrations from the principal characters to tell the story from their individual points of view. The film can have various meanings and one must be the most active of viewers to take it all in and come out of the film with any sort of meaningful conclusion.

The New World is about Pocahontas, although they never call her that in the film. It is about her search for and tragic discovery of inner peace and purpose. How, where, and with who she finds this peace is portrayed beautifully and rather unconventionally by Malick. Colin Farrell's John Smith is on this same search. But his search leads him somewhere far from Pocahantas's. They meet at a crossroads in both their lives, she goes one way while he takes a different path. This makes for one of the most complex and tragic of love stories. Pocahontas is played by 14-year-old Q'orianka Kilcher who seems born for the role. She lights up the screen, which lends itself perfectly to her character who gives herself completely to others, even at her own expense. She teaches Farrel's John Smith how to live.



Directed by a master filmmaker, I noticed on two occasions how the audience is conditioned to conform to certain kinds of images only to be blindsided by thier total opposite: tranquility then violence and the open land of the new world then the claustrophobic buildings of England.

The film's use of Wagner and Mozart as well as a more subtle original score by James Horner adds several more layers to this film's immense power; particularly during the film's final scenes, a 5-or-so-minute sequence of visual poetry.

Not since last year's The Aviator have I been so emotionally stirred by the end of a film. My heart was racing, my breath quickening as the film's final shots presented nature's beauty in such literary depth and grace. This is a true work of art, the work of a genius and a true visionary. These last 5 minutes are ethereal.

The New World is the best American film of 2005. A work of art to be studied, experienced, and cherished for years to come.

EDIT: After purchasing The New World and seeing it for a second time it has now cemented itself a spot on my list of my favorite films of all time. I now better understand the complexities of the film's rich love triangle, both its literal and symbolic meaning. The ending sequence was as affective as the first time and its Oscar-deserving visuals (Malick and Co. were robbed) were nearly as stunning although they lose some of their impact when viewed on television. It's a shame this film wasn't seen by many in theatres. This is definately a film to be viewed on the big screen.

9/10

This is a film that needs to be seen more than once to be truly appreciated. After watching it for a second time, I can now say without a doubt that this is my favorite romantic comedy. That is, if it even can be considered a romantic comedy, as I would refer to it more as a tragic comedy, more realistic than it might first appear. Why do I like it so much? Because, in essence, Woody Allen's Alvy Singer is me. Although, grant it I'm not nearly as sharp or witty, I have very similar problems with women; I don't want to be with a woman that's at my intellectual level and yet I don't want an idiot. I want Annie Hall. And, call me an idealist or just plain obsessed, I truly believe the love of my life will be a girl that's very much like Diane Keaton's tragically genuine character. The type of girl that gets tounge-tied the first time she meets a guy she likes and accepts a ride from from him as she forgets her own car is parked out front. I girl so wholesome she calls her grandma "Grammy Hall" and takes photographs simply because she likes to. Annie Hall is unmuddled by the pretentious nature and self importance of Alvy's past love interests, so unself-conscious she mutters out phrases like "La-di-da" without pretext of any kind.



That's the beauty of this film; it's entirely genuine. And by genuine I mean people like Annie and Alvy really do exist. The complexity's of these characters are tremendous, and established with minimal amounts of dialogue. Woody Allen works off of what you already know. He tells jokes assuming you'll understand them as nearly every line of dialogue is a joke whether you realize it or not. You don't have to understand every joke in the film to enjoy it, as I don't think it's even possible there's so many.

Sadly, the world truly is as evil and self indulgent as LA is portrayed in this film. There will always be people who want to take advantage of someone as genuine as Annie. That, and the fact that Alvy will go ahead and dive into yet another doomed relationship, is what makes this film a tragedy.

This film shows us that life is basically one big tragedy. To be completely happy with life is to be complacent and stop growing as a person. Our unhappiness is what forces us to change, to grow, and in some cases, to discontinue relationships that simply don't work anymore. Amongst all this angst why do we keep on going, believing we'll eventually find happiness? As Alvy would say: "I guess we keep goin' through it because most of us... need the eggs."

10/10



Required viewing for anyone who loves pure cinema, and by this I mean stunning and beautiful camera work, as well as any Antonioni fan as this could easily be added to his alienation trilogy as the series' comedic fourth act. What Allen says about modern relationships proves not only true and provocative but also ingeniously simultaneously tragic, heartwarming, and hilarious.



The cinematography could very well be the best I've ever seen, particularly for a film of its genre, with incredibly configured metaphorical juxtapositions. Coupled with an electrifying Gershwin score, which at first I thought a bit "too much" but later found essential in ways I never thought possible, this film is rightfully hailed as Allen's crowning achievement and has easily, instantly become one of my favorite films. A film that dares to criticize those who critique, dilettantes who live up to other's standards of what high standards ought to be, phonies who wear masks as often (if not more) than those "below" them intellectually. For this, Allen is a saint and responsible for some of the truest and most original cinema ever produced.

10/10

9/10
Comedy/adventure/action/supense classic. Zemekis, straight out of the School-o-Spielberg did his professor proud and left an indelible mark on movie history.

10/10

To say this Sidney Lumet classic was ahead of its time would be a grave understatement. I can't begin to imagine what it must have felt like watching this film in '76 upon its release. It must've seemed like a revelation, the second coming, or something akin. Network is a firecracker of a movie, overflowing at the seams with one thought provoking statement or idea after another. Scene after scene is breathtakingly eloquent in its development and meaning, sheer visual and literary poetry.



"I'm mad as hell! And I'm not going to take it anymore!!" The now famous line and scene made me cry, gave me chills, it awakened me really. And this, simply 10-or-so minutes of a 2 hour film.

I need to see this film again, right now if I could. A chilling, provocative work of genius, I can't beleive I hadn't seen Network sooner.

10/10

The best Holocaust/Nazi/WWII movie ever made (yes, better than Schindler's List).

10/10

10/10
Believe the hype! Don't let those who claim to enjoy this film simply because thier from New York or think their gangsters fool you. This is the geniune article. Not only entertaining and historically important, its multi-layered themes and story make it one of very few deserving Best Picture winners and one of the deepest movie experiences of all time.

10/10

10/10
Winner at Cannes 2005 for best director, and robbed for best picture (although L'Enfant is no mere film either), when reading a brief summary for Cache' (French for "hidden") one would get the idea that it's a thriller like any other: A family of three with a preteen boy begins to receive tapes on their doorstep. These tapes record for hours the outside of the family's home or other areas in the city the couple is familiar with. It worries them. The end. It is what the film does with this material that is ingenious.

This movie raises questions when other films would give you answers, including the film's finale. I was left with an uneasy feeling as the credits rolled, pondering it's significance than wondering why I felt the way I did. The movie is meant to show us things we don't want to see or know. It's unconventional in every sense of the word, with much more layers than necessary. If you're brave enough to see this film go with your brain turned on and at full capacity; if you feel lost at the end simply, think. If you think hard enough I'm sure you'll come to some conclusion.

Even though this film is drenched in political, social, and historical symbolism it's also a tense thriller; not the best thriller, but it will make you jump once or twice and have you sweating a bit. Cache' is very much a product of the French New Wave and of films by Antonioni and Bergman. I haven't wanted to have a discussion about a movie this badly since I saw The Passenger a few months ago, a movie Cache' is very similar to. This is a film to be studied in film classes throughout.

Finally, look at the screenshot from Cache below. Juliet Binoche's character is on the phone trying to locate her son who is missing. Notice the television image in the rear displaying Middle Eastern war footage (I know it's small, you'll have to trust me). In the forground there is only the dialogue between the parents than Binoche on the phone, while in the rear there is lots of movement and chaos on the television screen; both command the same amount of attention at the same time. This is powerful subtlety to say the least, although I'm still trying to figure out exactly why.



EDIT: Yes, I was compelled enough to return to see this film yet again, and within a 3 day period. After discussing the film with my good pal Ralphy (I actually went with someone this time) we came to the conclusion that the uneasy, almost irritating feeling the audience gets by the end of the film is purposeful. The movie leaves more questions unanswered than when it started, and in a world dominated by the confidently secure bourgeois this is irritating and is not tolerated. This film represents one big slap in the face of the high-horse riding, seemingly intellectually superior upper crust of today's society.

The level of irritation this film produces in you as a result of its finale can be thought of as a barometer of sorts. A higher level of irritation equates to the audience member's dependence on control and his lack of trust of others. It's hilarious to witness as the credits role in the theatre (this second time was worse than the first) to hear the annoyed voices begin to rumble as many of the audience members feel they've just been duped; they're money waisted on a film they're too lazy to try and understand. The lady next to me exclaimed in sheer intellectual prowess: "This movie's so stupid!" These are LAZY people who need everything spoon fed to them Sesame Street style. Sadly, these people represent the majority of moviegoers today. They are exactly the kind of people Cache' is meant to criticize . . . it's really too bad they don't understand it.

10/10
The ending left me breathless . . . literally without breath.

10/10
A classic for a reason, E.T. is one of the highest grossing films of all time and rightfully so (wierd how that used to work). I just caught this on TV not too long ago and it made me cry as if I was watching it for the very first time. Only Spielberg can pull that off, whether you like it or not.
---
Great film to watch after E.T.: In America.

10/10
One of the best comedies of all time. Jack Lemmon is classic and Shirley Maclaine is oh-so-cute. This is the movie In Good Company could only dream of becoming.

10/10
Riveting thriller with style to spare and layers like a . . . multi-layerd cake . . . yeah, cake . . . mmmmm.

10/10
I refer to this film whenever anyone asks me about Antonioni. It was my first film of his and I'm glad it was. It's a perfect bridge from typical cinema into the sublime pleasures of Antonioni's films. First of all, it's in English. It stars a well known lead, Nicholson who does a tremendous job in this complex, nuance-demanding role. And lastly, but certaintly not least, The Passenger has a somewhat linear story most can actually follow. Also, it is almost without his typical drawnout, probing, slow moving shots which can take newcomers by suprise, confusing them and turning them away from furthur Antonioni films. There is actually one such camera sequence which is quite famous that plays out at the film's finale. The shot is breathtaking and truly grabs your attention, letting go only as the ending credits appear onscreen.

The film's two leads are perfectly cast. Its minimal music, is perfectly constrained as is the film's screenplay and subsequently its performances, particularly from Nicholson.


(David Locke [Nicholson] stares into his new face)

If even remotely thought about, I believe this film can change someone's life. We all can relate to Nicholson's character in one way or another. We all compromise our lives, our needs and wants to appeal and fit in with others, be it our families or society in general. Sadly, that's life. But it is our responsibility as singular-minded human beings to find out who we are and know what we stand for and live for. To lose this is to lose our soul. That is what happens to Nicholson's character. To watch The Passenger is to learn from and avoid his mistakes. When we first meet him it is already too late, we can only watch as fate takes its toll.

This is a very simple film on its surface, as nearly all Antonioni's films are. Dig deeper, perhaps with repeated viewings, and you'll find enough complex themes and ideas to fill your next 50 Micheal Bay films. I can't wait to see it, study it, admire it, and be blown-away by it again.

9/10
This is a very basic film, Carpe Diem-101 if you will. Sure it's overly sentimental, extremely calculated, predictable, maybe even pretentious. But it's only pretentious if you think yourself better than its message. I certainly don't. This movie is formulaic for a reason. It knows what it wants from the viewer and uses every trick in the book to get it. I can't help but be taken by this film at the hands of a talented director, Weir, coming out deeply moved by its end. If this movie's sole purpose is to make you contemplate your own existence and even possibly "seize the day" and truly make your life extraordinary than Dead Poet's Society is a terrible success; a film to be viewed periodically, when needed, as a reminder to celebrate our individuality, embrace the unconventional, and live everyday as if it were our last.

10/10

Million Dollar Baby is steadily becoming one of my favorite films. Besides the obvious, everytime I see it I try to study it a bit and pin point exactly how it grabs and holds one's emotional attention so well. And yet, everytime I see it I can't help but be distracted by the fact. I can't help but be sucked into the subtle power of the story and its characters.



The first time I saw Clint Eastwood's masterpiece I couldn't get it out of my mind. It has such underlying yet undeniable power, it truly stays with you, affecting your mood, outlook, and perception of yourself and the world around you after seeing it; the mark of a truly trascendent work of art.

When it beat out The Aviator for best picture honors in 2004 I protested, although I acknowledged the fact it was a fantastic film and enjoyed it immensely. I still think of The Aviator as the more ambitious of the two and would probably still give the Oscar to Scorcese's epic bio-pic, but I understand perfectly how the Academy could of been charmed by Eastwood's film and Paul Haggis's writing. Million Dollar Baby's about life's most beautiful yet most taken-for-granted gifts. It's about taking chances and "making it happen" before life passes you by, but recognizing when it's over and learning to appreciate the fact that it ever happened. Finally, it's about family and the most-powerful of loves that comes along with it.

10/10
Gets better every time. More timely now than ever.

10/10
Best film of 2004.

9/10
Audrey Hepburn, what more can I say?
Oh! Alan Arkin, who truly stands out in this, one of the best and classiest thrillers ever made, which, after all these years, still scares the daylights out of most who see it; even after repeated viewings. You shouch be prepared for one particularly hair-raising scene that still gets me; and I've seen this film atleast eight times.

The structure of the screenplay is what truly makes this film what it is; a small subtle work of genius that grabs you and keeps you in that basement floor apartment for the rest of the film, making for one supense filled ride. And suspense is the key word; Wait Until Dark doesn't opt for cheap thrills but builds its suspense carefully leading to a gripping climax. Because of this, when the thrills finally come they pack quite a punch and are much more satisfying. What you know and when you know it is ever so carfully chosen. Many reveals are left for you to make while others are given to you, as you hold your breath waiting to see what Hepburn's character will find out next.



When Wait Until Dark was originally released theatres were informed to turn off all lighting to the legal limit during the film's final fifteen minutes. I'd recommend watching the entire thing in darkness; it's that good.

10/10

An instant favorite of mine, in my mind I cannot stop praising Jacques Tati and his genius. I don't know where to begin! The immensity of the film's details. The brilliance of its sharp witticisms. The clever critiques of modern society, many of which are before their time. The sheer halarity of it all. It's definitely all too much to take in in one sitting and definitely worth buying the $40 plus Criterion Collection DVD version.



Playtime is about the absurdity of modernity and all of our modern world's many, many trivial yet halarious facets; from the everyday annoyances and absurdities, to modern-day capitalism, economics, and society in general. Tati even delves into globalism at least 30 years before the term came to existense. No one is safe from Tati and his all incompassing farce.

It's amazing how well the humor has held up. I was laughing from start to very finish. The humor, as does the plot, while still very funny and entertaining, verges on banality halfway through. What saves the film is its attention to detail throughout and its stunning conclusion which brilliantly ties up all the film's thematic loose ends, reminding us that each day in our modern world is just as moronic as the last.

9/10
Almost a ten. This is a simple story with some complex themes and emotions. But even if you don't understand the entire movie with all it's intricate allusions and references (The Grapes of Wrath comes to mind); it's hard not to be moved by the film's basic story, the raw, touching emotion of the characters and the universal life lessons that it teaches. The acting is nearly perfect, with two of the best child actors since Dakota Fanning, and an Oscar worthy performance from Samantha Morton. In America is just plain beautiful, and guaranteed to make your eyes water up on more than one occasion.

10/10



At first I was a little hesitate. After what has to be one of the most beautiful opening sequences ever, the film seemed to drag on in superficiality and cliches. Catherine Deneuve was almost too pretty. The music, almost too self referential. And the completely sung dialogue, which caught me completely off guard, was simply too much. But by the end of the first act I could see where the film was heading and couldn't wait to get there. By the end of the second act I had already gotten used to the lack of "normal dialogue", singing becoming the norm of communication in my mind for the rest of the film. And by the end of the third act I was completely entranced by its heartbreaking story of love lost amidsts disillusioned comtemporary youths. It's overly cheery beginning seemed necessary now in such stark contrast to its all too realistic conclusion.

Also, the sheer audacity of its production and set design cannot be ignored. It's so darn pretty you can't take your eyes off the screen. Particularly during the first act.

How deeply and profoundly tragic this film is! And yet, refreshingly unidealistic and suprisingly unsentimental, particularly for a musical. The Umbrellas of Cherbourg isn't simply another romantic musical, but a heart-rending and irresistably powerful statement of our times. I find it more affecting and far more tragic than Romeo & Juliet and now more timely than when originally released.



EDIT: I could not stop thinking about his film over the past week and had to see it again before I returned it to my local library (who needs Blockbuster?). This film is now a 5-star classic for me, among the best film-discoveries of recent memory, and a great way to close out what's been a fantastic year of personal and artistic growth.

Nothing, absolutely nothing is wasted in this film. Not a single shot. And certainly not a single line of its sung dialogue. Everything has meaning, so pay attention! From the camera angles, to the set design, the time and place chosen, and the specific musical themes given to each character; they are all intricately selected and purposefully attended to.

With a second viewing the film seems to come that much more alive! Its meaning that much more clear. Its ending that much more poignant. Simultaneously tragic and, in a roundabout way, optimistic; The Umbrellas of Cherbourg is the most refreshing romantic film I've seen, probably since Gond With the Wind! And more relevant and new than almost anything even remotely romantic coming from Hollywood over the last decade.



Simply put, the French seem to truly know how the human heart works. Demy's Umbrellas ranks among the likes of Jules and Jim (released only three years prior) and others as one of the most sincere and unsentimental portrayals of love ever put to celluloid. It's definitely garnered a place among my favorite films of all time and perhaps, with another viewing, I'll officially label it my favorite musical ever. I can't wait to see it again!

10/10
Not the funniest comedy ever made, but it's certaintly a candidate for the best.

10/10

This film is beyond ahead of it's time, it's from another dimension. On the surface it's a stylish thriller starring 3 of our best leading actors, one of which is one of our most iconically good looking and universally famous. Dig a little deeper than that, without forgetting the fact, and you find comments on everything and the only thing that matters: the way we all live our lives, not in the past nor the future, but in the present. It's all that truly matters. Even deeper than that you'll find in this masterpiece of modern cinema comments on our existence, god, evolution, and everything in between as nothing is left untouched by this deeply engrossing film.



Brad Pitt is brilliantly cast as Tyler Durden, practically playing his own social persona as the man all (insecure) men want to be. Edward Norton is also perfect in his role, proving himself when the entire film falls on his shoulders during the final 30 minutes of the film.

I can't imagine anyone (particularly male) not being moved in the slightest by David Fincher's auteur magnum opus. This is a call to the individual made for the masses.



The only question I have after watching this film; Is the final outcome reached in the film possible? I think so. But the means presented in the film, although immmensly entertaining, are more than ludicrous. Of course, I don't beleive it'll happen in my life time, not quite.

10/10



From its realistic and perfectly cast leads, to its gritty, nothing but the bare essentials cinematography, Half Nelson is a near perfect film; the kind of film for anyone who is afraid to go to the movies, deterred by the very genre this film enlivens: the inspirational drama. First time feature film director and co-writer Ryan Fleck steers way clear of the over sentimentality that so easily could've inundated the pitch-perfect, so unprententious it could've been a documentary screenplay. This is my favorite American film so far this year (yes, it's better than United 93 or Little Miss Sunshine).

You can read the full co-review here

10/10

The third of the "three amigos" (Mexican directors Alejandro González Iñárritu, Alfonso Cuarón, and Guillermo del Toro) films to be released, Pan's Labyrinth is by del Toro and it seems they saved the best for last. I hate to sound like almost every other critic at the moment, but aside from L'Enfant, Pan's Labyrinth is the best film of the year (though not quite my favorite). Everything, every sub-plot, every character, every line of dialogue, it all comes together effortlessly and naturally. With nary a flaw in its screenplay construction and plot development, it was easily the most engrossing film I've seen all year and the only film that held my attention completely throughout its nearly two hour running time.



When there is nothing but suffering and injustice around you, where do you go? What do you do? Pan's Labyrinth is about one girl's quest and how she stumbles upon the answers to these questions. Ivana Baquero is perfect in the lead role, setting just the right tone. We can't help but unflailingly follow her character along all the twists and turns of her journey.

This is an extremely devestating and bleak film. Like fellow "amigo" Cuaron's Children of Men, it descends to the single lowest point possible only to end with a bit of much needed, though hardly comforting, hope. It ripped my heart out and handed it back to me but only in many pieces I could hardly put back together, if very slowly.

Like last year's Munich, this is the most violent film I've seen all year. But also like Speilberg's great film, the violence is used to perfect effect, making the villians look like the worst of their kind. And so this is hardly a children's tale, despite the child at its center and the mythical world of characters in the film. Del Toro is reminding adults of what's missing, why our world is as screwed up as it is. And our negligence of imagination, creativity, and otherwise child-like behavior is a major part of this and one of the main points of the film. Another is the refreshing pro-religious viewpoint: Christianity can in fact do good, it's simply those in control that are giving it a bad name.

Many, if not most good films are best after seeing them, once the experience has passed over you, when it's easier to pick the film apart and determine exactly what it was trying to say and how. Fewer films, however, present the opportunity to pick them apart while you're viewing them. Last year's The New World was the last film that I understood completely while I was viewing it, my heart beating uncontrollably in cinematic ecstacy by the ending credits. Now Pan's Labyrinth joins this list as what I'm sure will go down as one of my most memorable movie-going experiences. Everything pulled together by the end in my mind in a way I rarely ever experience, particularly on a first viewing.

UPDATE: Wow! This film got better by leaps and bounds this second time around (as all truly good cinema should). This has got to be the best Christian film ever (its Christian themes becoming much more obvious but not in the least pretentious this second time around), if only because it's profoundly Christian and yet simultaneously reserved, not hitting your head over with its message. It deals with selflessness and self-sacrifice in complex and profound ways I would've never imagined possible.



With this second viewing, while losing some of its initial awe, its character's and their intentions are clearer and more memorable and meaningful (not unlike viewing Fight Club for a second time). The film is also, now, far more tragic and heartbreaking than before, affecting me much more emotionally as I found tears under my eyes at times that had previously not affected me.

Pan's Labyrinth, I find, is one of the most baffling and original ideas for a film in ages. The film works on numorous levels I would've never imagined could work together.

This is a masterwork, definitely one for the canon. I can't wait for del Toro's next effort, although I don't see how anything could match his latest.

10/10

Wow, what an experience! It's been some time since I've seen a "classic" that's truly deserving of its title. The Bicycle Thief is a very human film, I don't think anyone couldn't understand or appreciate.



De Sica is almost too effective and deliberate at what he wishes to accomplish. This film should be mandatory viewing for any aspiring director. The power each scene holds and how each scene holds more power than the last, building to the film's brilliant climax, had me thinking out loud, "why hasn't anyone done this before?!" And yet the simplicity of the entire film grounds it in the most real of reality (it IS said to be the preeminent example of neo-realist cinema after all). The depth and emotional range of this film is unbelievable. It could change someone's life.

What man has done to himself, this complex bureaucratic nonsense we call life in the 20th and 21st centuries, is put on naked display in this landmark of cinema. I can't believe and I'm embarrassed I had not seen this sooner. As with Kubrick's 2001 or Welles's Citizen Kane, De Sica's The Bicycle Thief is a film every movie lover, every human should see.

9/10

God I love this film! And it just gets better and better each time I see it. Andrew Niccol's directorial debut is the most touching and essentially human of sci-fi film's. A film with such massive ideas, and yet is driven almost completely by the power of its character's and their basic, universal struggles. How rare a film like this could've been released in the late ninties. A film with such arresting players as well as a huge message, warning us of the dangers of our future and how we must take caution with every scientific/technological progression.

The science of this film is practically Huxley's Brave New World all over again. But its characters, with their own fully realized journeys and compelling struggles, and the complex and epic symbolical ideas of its screenplay are all Niccol. Gattaca's cinematography, like waves of color, washes over you consistantly, every shot as meticulously planned as the last. Micheal Nyman's tremendously effective score is thoroughly touching and just as memorable.



Gattaca is a thriller when most films of its genre would settle for action, with a protagonist one feels for and relates to in ways only a perfectly flawed human could. This film is a stunning reminder of what humans can accomplish if only they pushed themselves more than what it is expected and acceptable. A capable sci-fi thriller and moving romance with an undeniably inspirational center.

EDIT: Well, I think this is my third or fourth viewing and while I can understand many of the critics who trashed it at the time of its release, claiming it's not only cliched and manipulative but flat-out juvenile in its metaphorical themes and ideas, at this point I can't help but not care. Call this a guilty pleasure, perhaps one day it'll lose its charm over me, but sometimes the simplest joys are the most profound. There trully is no gene for the human spirit . . . you can't fault the film for false advertising.

9/10
Ha! I saw this a while ago but was recently reminded of it while watching Lizzie Maguire of all things, lol (yeah, I couldn't believe it either), in which they made a reference to Kubrick's classic film, copying Alex's medical treatment. Anyway, this film is simply amazing and the most unorthodox Christian allegory I've ever seen. It's violence, much like Spielberg's recent Munich, is meant to repulse and disturb, which might be hard for contemporary film fans to understand; if you can grasp that much then you're half way to understanding the picture entirely.

10/10

Babel is the most intricate and fascinatingly complicated film this year, if not this decade. Iñárritu has followed up his last two films, Amorres Perros and the masterpiece 21 Grams, with a film that's far more ambitious in both thematic and narrative scales. While I think 21 Grams is the best of the loosely based trilogy, Babel is an extremely close second and the most thought provoking of the three, warranting repeated viewings more than the other two. This is one of the best films of 2006 and will most likely go down as one of the best of the decade.

Continuing his exploration on the essense of the human experience, beginning with love (Amorres Perros), then death (21 Grams), and now in an interesting confluence of the two he adds life and the way we use it and/or take it for granted. Babel is about the walls we all put up, individually and as nations, due to different reasons all with one common variable: languange. In the film we find characters who are alienated from the people around them. They are forced to tear down these walls, in one way or another, reaching out until they get a reply from those who would otherwise ignore them.



Both Brad Pitt and Rinko Kikuchi have individual scenes of tender warmth, humanity, and candid emotion in moments of despair that brought tears to my eyes, gettting to moments in which each of their characters seemingly let go of themeselves and any inhibitions they had left within. Both deserve recognition for their exceptional work.

The film takes place in four different nations, all with varying degrees of political and economical significance. They all seem worlds apart, but Iñárritu reminds us that they're not. With Babel we're told it's time to let go of our petty differences, and proves to us that languange isn't a big enough barrier to contain the human spirit. Instead of the entire picture, we only get the reality of whats going on, nearly devoid of any complications due to politics or otherwise. When we do get a large enough glimpse at how the rest of the world views the situation it's used for great effect as we're disgusted at the sheer discrimination we all take part in every day. And this is just one piece of a very intricate puzzle.



Babel is going to rub many viewers the wrong way; it's simply too metaphorical and ambiguous for mainstream moviegoers. One must come to Babel willing to put forth a bit of effort in order to fully grasp its concepts, effort that's well rewarded in the end. And if you get a bit lost along the way, just wait until Babel's lyrically beautiful and stunning closing shot; it should spell it all out for you.

UPDATE: Seeing it for a second time in theatres I would now place this ahead of 21 Grams as Iñárritu's best film. Not a second is wasted in the detailed screenplay. The power of the images now more resonant than ever. And never has silence been so deafening.

I stared mesmerized and heartbroken during the final portions of the film and wallowed in a somber yet introspective mood afterward. I was physically drained and emotionally exhausted, the impact of this film and its purpose resounding ten times more effectively when compared to the first time.

Babel is a film to be admired for its complexities and audacity as well as its simple yet profound delights. It's a film that does what every film should try and accomplish, altering one's perception of the world around us during and after its running time. Personally no film this year, besides the possible exception of the Dardenne brother's L'Enfant, has realized this as effectively. I absolutely cannot wait to see what Iñárritu does next.

10/10

9/10



I never knew existentialism could be so amusing. And so romantic too. This is Woody's most personal film and definitely one of his best. It's his 8 1/2 and almost as good.

Definitely a new favorite.

10/10

10/10

I find, upon my second viewing of Carol Reed's masterpiece, that it's not so much during but after I've seen The Third Man that I truly love the experience and I'm reminded, in retrospect, of why it's one of my all time favs. I fell even more in love with it this second time around as a proud owner of the new '07 Criterion DVD version.




Of course the cinematography is just as breathtaking as it was the first time. I wanted to pause the film on many occasions. The ending, the final stunning chase up until the end credits, is as fresh and intense as I remembered with one of the most memorable closing shots in history.

I've noticed that many say the film really has no agenda, that other than its impressive technical achievements, it has nothing to say or accomplish other than to be considered a great piece of entertainment, something people will enjoy watching. While it certainly is a fantastic piece of entertainment bliss, certainly some justification and merit can be found in Joseph Cotten's character and his actions. And while this is true, it's obvious who Reed's rooting for. The screenplay makes it rather difficult to not be on Orson Welles's (Harry Lime's) side. This blurs the line between good and evil. The film, taking place in post WWII Vienna is thus most blatantly poking fun and criticizing those involved in the war. This all does a good job of pointing out just how delusional and deceptive political leaders can become when involved in a war and just how idiotic war can be on a whole. As in The Third Man, there is no right and wrong. People are simply "dots" moving around. And if a couple of those "dots" simply stop moving in order to make some money, it's well-worth the effort.

Classic film noir at its very best.

10/10
One of my favorite Hitchcocks. Amazing how it holds up even today, inspiring such films as Flightplan.

9/10

One of my favorite films (for personal as well as general film-loving reasons) and perhaps my favorite bio-pic of all time.

10/10

10/10
Fantastic entertainment with a welcome message. 3 hours, you ask? They fly by like seconds. This is easily the most ENTERTAINING film of the year. As the cliché goes: I laughed, I cried . . . add on to that: I screamed, I squirmed, I was in awe. I loved this film.

EDIT: I had the privilege of seeing King Kong for a second time. The film was much sadder and more human on this second helping; less an "epic", more a tragic love story. It was a different movie for me this time around and definitely a better one. I can't wait to see it again . . . and again . . .
Also, I am now even more in love with Naomi Watts.

9/10



Regardless of the fact that it recieved the Oscar for Best Foreign Film instead of the more deserving Pan's Labyrinth, The Lives of Others is nearly as good and certainly deserving of the wide attention it will now receive.

You can read my full review here


Update: I had the incredible pleasure of viewing The Lives of Others a second time and enjoyed it twice as much. Knowing its final outcome, the film's incredible amount of subtle and complex forshadowing struck me immediately. It's also very lovingly done with a great amount of care and detail. The performances, this time, were more impactful and resonated quite a bit more; its emotional power and tragic depth proved all the more impactful. This is now on my all-time favorites list and gaining.

9/10
Arguably the most loved musical ever. . . it's certainly my favorite. You can't help but fall in love with Audrey Hepburn or all of the movie's beyond-catchy tunes that make the film's nearly 3 hours fly by.

10/10
The best of the bunch.

10/10
Most underrated Hitchcock. Vertigo's younger sister.

9/10

With one of the most moving conclusions in movie history, up there and in the same category with endings from Dead Poets Society and others, this film (more than any other I can remember) makes me wish I was born three decades earlier. To have seen this film fresh in 1967 during the year that gave us the summer of love, listening (perhaps discovering) Simon and Garfunkel for the first time, I can't even imagine how stunning the experience of Mike Nichol's second film must have been for the youth of that generation.



The Graduate is filled with contagious blind optimism but also honest, almost depressing cynicism, it's ending being the best representation of this meanigful and refreshing duality. Nichol's knew exactly how to blend interesting complex cinematography, complementing great acting and a screenplay filmmakers are still taking notes from (Zack Braff?), into an otherwise straightforward and completely engrossing film.

I've been putting off this film, who knows why, for quite some time. Thank God I didn't wait any longer. Amongst the greatest of anti-establishment films, The Graduate gains immediate inclusion into my favorite films list.

Now, I'm off to give S G's Bookends another play. "here's to you . . ." Mike Nichols.

10/10

10/10
The human mind is the most powerful thing on the planet, and I think no other film does a better job of epitomizing this than The Vanishing. As I am typing, thinking about this film and its beyond disturbing/chilling/horrifying/stunning conclusion, I have to stop and look around as if to find some kind of comfort; I feel as if I've just lived what the film's characters' went through. It's mystifying how remarkably effective this film is. The uncommon screenplay, with it's intricate flashbacks, is the set up; as is the in depth backround information given on the film's abductor, one of the most interesting villains ever put to screen. As I said, most of this films suspense comes from its ingenious screenplay. Ebert puts it best when he says: "One of the most intriguing things about "The Vanishing" is the film's unusual structure, which builds suspense even while it seems to be telling us almost everything we want to know." This film, which has more than mere similarities to Hitchcock's Psycho, haunts the viewer to his core, and not with cheap scares or mere moments of thrills, but genuine, almost universal SUSPENSE ( . . . yes, it's worthy of being typed all in caps) Sir Alfred would be proud indeed. PS: STAY AWAY from any information giving away plot details of the film, including the back of the DVD cover, especially anything concerning the film's ending (this would truly spoil the entire experience).

9/10

9/10

Reading a couple comments on here, the consensus seems this is an overrated, boring, confusing film. Umm . . . you're all wrong. I've seen this film twice and while I can't remember much from my first encounter (hehe) this second time was definitely a memorable experience.

The film's 1st 3rd is magnificent, the build-up is immeasurably effective. I beleive it's during the 2nd portion of the film, when much of the dialogue takes place as the film delves into the characters' lives, that most viewers lose interest. I admit, this portion isn't very riveting nor as exciting as the beginning would lead one to beleive. But hang in there. The brilliance is in the details. Our patience and attention is more than rewarded during the final act of the film as all the loose ends are tied together and we figure out why we've been following this dysfunctional father this whole time (played brilliantly by Richard Dreyfuss).



Close Encounters is a display of Spielberg's affection towards imagination, innocence, creativity and uninhibited curiosity. Dreyfuss is pitch-perfect in this regard and who better to play ever-curious French scientist Lacomb than forever young French New Wave director François Truffaut?

Curious as to which of the three version you should see first? I'd suggest the director's cut, Spielberg's final version, or the original theatrical version. Only watch the severely tampered, botched Special Edition, including a misleading tacked-on ending, after seeing one of the other two versions.

9/10



Of all the great cinema this past year, with the notable exception of United 93, I don't think a film has touched me as deeply as Children of Men.

You can read my full review here

9/10

Everyone is more or less a racist in this unbelievably powerful movie relating a day in the lives of multiple people of differing race, gender, and social status in modern day Los Angeles. I can't remember the last time a film moved me this much and in such a unique way. When a film forces the viewer to put his own life under the microscope, while simultaneously captivating and entertaining him, then the film transcends mere entertainment, it becomes an experience, it becomes art.

9/10

The best super-hero movie ever made. A super-hero movie for everyone as it's every movie genre in one.

9/10
You wont be able to get this movie out of your head for quite some time after seeing it. Russian writer/director Andrei Zvyagintsev's debut film Vozvrashcheniye (The Return) explores the mixed emotions and layered tension the return of a missing father brings upon two brothers.

A stunning, haunting film with one of the best ending pay-offs I've ever seen, The Return is impossible to categorize with elements from many different genres and more to say than most other films combined. Expect to use your brain for this one because it doesn't tie up the loose ends at the end Hollywood-style, that's your job. The performances are flawless, particularly from the main child actor, and the cinematography is nothing short of (subtle) brilliance. This movie hits your heart like a ton of bricks, half of which you don't even feel until the credits have long since rolled by.

10/10
Who needs dialogue?

9/10

10/10

It's rare to find a film like The Deer Hunter nowadays, with so much ambition, such raw humanity, and such a grand scope. Forget all the fantasy films of today, this is a true EPIC. I plan on watching this film over and over and over again, as I anticipate it will gain a secure place amongst my favorite films of all time.

9/10

Before seeing this film, which I had set aside for quite some time, I heard from many how it left them confused, dumbfounded, and (for some) annoyed. Most of them praised the film for its originality and mindblowing premise. Of course these comments weren't entirely from avid movie-goers, most of them modern cult-movie followers rather than true cineasts. And so I came to this film cynically with my guard up, ready to dismiss the first time writer/director Richard Kelly's overhyped film. Instead I was gladly proven wrong by a film with so much on it's agenda that, although I don't feel I need to (as so many think they do), I want to see again.

An alleged "cult classic" concerning everything from politics and religion to time-travel and the ridiculousness of suburban life. I was completely engrossed by the main character and his Christ-like journey towards the end of the world. What he goes through within those last "28 days" runs the entire gamut of emotions, proving fascinating and at times inspirational. With a virtuoso performance from Gyllenhaal and an ambiently scary score by Michael Andrews, ambitious doesn't begin to discribe Kelly's debut film. No other film blends genres and styles quite like this and with such deep affect.



I read somewhere that this incredible build-up towards the film's climax doesn't pay off. Directly after the film I would've been hardpressed to disagree. The film's ideas on time travel. while compelling and essential to the film. aren't convincing enough and don't hold up during the film's final scenes. I found the way it all ends almost anti-climactic. But after some moments of contemplation I realized that not only is this one of the most layered pieces of cinema in quite some time but this film is saying things most films forget about entirely.

Taking place in an election year, in which Bush defeated Dukakis, it parallels the time of its release (2001) and uses Donnie as the voice of reason (no BS whatsoever) and progress as he brings balance and truth to his town. As the closing song says, this is a "mad world" but we all need to cope somehow being careful we don't let it get to us. Donnie makes sure that can't happen. He listens to a creepy rabbit and does what he's told, for better or worse. Is this God, perhaps an angel, or just Donnie's hallucinations? I personally think it's the second choice but that's obviously open to debate.

What isn't up for debate is that this film is a proponent of creation. This refreshing viewpoint is obvious as the viewer is asked to experience the same self discovery Donnie goes through. In this we find the answers to his questions on love, existense, and everything in between. As so, the film's ending is ultimately a happy one, satisfying in ways I never thought possible. God I want to see this movie again!

10/10
I went to an early matinee of this film (as usual) and so the audience was nearly 90 percent elderly (as expected). What I didn't expect was the reaction from them. Usually such opinionated and outspoken people, they were nearly silent during and after the film. Before viewing it, I read Munich is a powerful film, a strong, difficult film to digest (and it was). I expected some of the audience to stand up and walk out of the theatre in outrage or at least talk up a storm afterward. But they sat there silent, many remaining seated even during the ending credits.
Thing is, the film presents us with such undeniable truths. I think, to many, it's a big slap in the face. How long have we been taught, you can't fight fire with fire? Munich is the ultimate take on that statement.
Perhaps Spielberg's best film, it's right up there with Schindler's List and Close Encounters. Munich is much what The Conversation was for Coppola (although its theme is much more like the Godfather's). Munich is easily the most violent film I've seen all year; but also the most socially/culturally revealing (coincidence?). Munich says more about our world, our country, and our society's beliefs than any other film this year. The eerie final shot says it all.

9/10

This is quite the rare animal, a nearly unclassifiable movie. A film that initially seems to aim low, then scatters about and finally aims at and reaches the sky.

8/10

An instant new favorite of mine. I absolutely loved every minute of this film. One of the most fun, easy going, and entertaining movies I've seen in years. Not since my last encounter with Hitchcock (whom is very present in this film), The Lady Vanishes, have I laughed so hysterically just seconds after and before genuine suspense. A riotous tape recorder scene in particular had me laughing quite a bit.



While watching the film I was almost certain the payoff and solution to the titular "murder mystery" was going to be a disappointment. Very few thrillers besides those of the master of suspense ever provide a satisfying conclusion. But Allen, with his humor always "on," here gives us an effortless, at times hilarious, near-perfect ending. He even throws in a stunning mirrored Orson Welles homage and a happy ending that's not sappy, tying up all the right loose ends.

Even with his smaller, more "entertaining" films such as this one, in my book Allen can do no wrong.

9/10

What a great time this is for music films. In just one day I've seen two of the best films I'll probably see all year: The powerful Edith Piaf biopic La Vie En Rose and this subtle little musical masterpiece, Once. I can't recall the last time I felt this much emotion during a film's musical numbers (besides earlier in the day with La Vie En Rose), or the last time I was this involved in a simple on-screen romance.




Do not expect any Hollywood bull from this little indie. The authenticity of the love story is refreshingly new in its sheer familiarity and subtlety. It's not pretentious at all. It's not sentimental in the least. It simply is.

The Frames' lead singer and writer, Glen Hansard, is fantastic in the lead role. As is Markéta Irglová in the female lead. Producers of most of the film's soundtrack, their individual and collective music easily makes for one of the best soundtracks ever in film. The songs give the film it's soul. The film's heart, on the other hand, would be provided by the lead performance. Hansard and Irglová have brilliant chemistry and are a joy to watch on screen. They play two people who connect and help each other through conversation and song equally. The music, the art makes them better people. And they in turn make great music, great art together. It's all a wonderfully meaningful endeavor; with songs that say just as much, if not more, than the rest of the dialogue.

This is the first film of the year I look forward to purchasing on DVD and the first film in an extremely long time I look forward to purchasing the soundtrack of.

I wonder how anyone could not like Once? It won the Audience Award at Sundance for obvious reasons. It's wistful, magical, enrapturing, a glass of cool lemonade on a hot and rather disappointing summer movie season. I don't see how anyone could only see it once. I'll be seeing it again soon.

update: I've seen it twice in theaters and counting. I loved it even more this second time.

update, again: I saw it for a third time and fell in love and had my heart broken all over again and nearly just as badly. I now proclaim Once one of the best romantic films ever made.

9/10

I've always loved the jokes and neverending amount of quotable lines and catchphrases. I've also always been able to get caught up in its straightforward and inescapable love story. But it wasn't until the third time I saw this film that I noticed The Princess Bride's pure genius. Rob Reiner took the most esssential of love/adventure stories and, by merely adding the element of self-referential comedy (due in part to the fact that the story is being read to us as it is being read to a child), anyone young or old can't help but forget that the entire movie is one big cliche and get wrapped up in the adventure. The child being read to (a pre-Wonder Years Fred Savage) expresses his dismay towards the film's banality for us in the beginning, but by the end of the film we're as excited and somewhat embarrassed as he is for enjoying the experience as much as we have.



It's possible to watch this film again and again and again without getting tired of it simply because its basic story is universally relatable and yet entirely unique, the mark of a great piece of entertainment and an original masterpeice. Also it doesn't hurt that Robin Wright the Princess Bride is exceedingly gorgeous.

Rob Reiner accomplished what Wes Craven pulled off with the Scream movies nearly ten years prior. Inconcievable!

9/10



Certainly one of the most beautiful films I have ever seen. A mashing together of sorts of a Godard film together with an Antonioni, French New Wave director Alain Resnais's Hiroshima Mon Amor is a magnificent account of love during and after war. And like many of Antonioni's films, Hiroshima is about the impossibility of true and unadulterated love in a modern (and in this case, war-torn) world. This is very much, and in many ways, an anti-war film. Like the main characters of the film, we only seem to come in contact with people of other cultures and other cultures in general during times of war or conflict. Why not during times of peace? "Sometimes we have to avoid thinking about the problems life presents. Otherwise we'd suffocate." This, one of many poetic, heartbreakingly beautiful lines delivered effortlessly by the stunning Emmanuelle Riva, presents a good summation of the film. Very tragic indeed.

I plan on returning to Hiroshima Mon Amour in the near future, to be entranced yet again and avoid suffocation from my own problems, if only for a short while.

10/10

Rereleased in theaters for the first time in a long time (the "Final Cut") Blade Runner is a film I saw early on in my current film obsession (now going on its fourth year). Of course I praised it. I had never seen anything like it. I found it fascinating and perplexing. It was darker than anything I had seen before and just as quiet and meditative as 2001 which I had seen just before. Returning to it nearly four years later and in theaters no less, I figured I'd be blown away. I expected a life changing, vision altering experience. I won't say I was disappointed but it seems my memory of Blade Runner was greater than the film itself.



Its still as dreamlike and jarring as I remember, particularly towards the end. But if I didn't know it was originally released in '82 I don't think I'd hold it in such high regard. Many of its themes and ideas, those of essential humanity, humans vs. artificial intelligence, and the questioning of creation have all been tackled often afterwards and with far greater success. Spielberg's AI for example did a superior job of delving into these themes recently in 2001 (something I'm sure many will animately refute). Of course this and other films of its kind wouldn't exist if it were not for Ridley Scott and his visionary epic.



And so, much like Lang's Metropolis, when viewed in its historical context Blade Runner is one of the best Sci-Fi films ever made and I still love it. Essential cinema for sure but not the magnitude of greatness it was when first released. If anything it will surely leave you thinking for hours after you've seen it, even if you were left a bit disappointed otherwise.