My Favorite Movies

I've been dying to see "Contempt" ever since I've known it exists, and it hasn't let me down. I knew it wouldn't be perfect, and I have a few complaints about it, especially its slow pace, but besides that, I adored this movie, and has become one of favorites. This film about film-making moves slowly and in beautiful colors, dancing carefully to Delerue's gorgeous soundtrack, which evokes the cycles in which the dialog flows, and the couple's feelings. Many symbols appear from the first scenes to explain Godard's exploration of cinema's possibilities and limitations, creating a deep and complex film. It's sometimes hard to follow, since it references many things at once, but frequently, it's a pleasure to immerse oneself in this experiment that keeps reminding one of itself being a movie. Quite an experience, and an unforgettable film regardless of one liking it or not, "Contempt" is for me a GREAT work of art.

Too much hype hurts a film. No matter how many times you have heard "Citizen Kane" is the greatest film ever, you will not believe it if you watch it nowadays. It has often been said that "Ugetsu Monogatari" is among the most beautiful of films; but there is no questioning that claim, really. Hear it once again, from me! The truth is that it is gorgeous, a majestic poem on film that captures the magic and power of the big screen in all its glory, exploiting its countless possibilities. Mizoguchi's camera flows through a world that combines fantasy and reality without a warning. Its stimulating images resonate deeply (the crossing of the lake, the dance, and the final scenes) and submerge one into this eerie tale of greed and women's sacrifice. About this last subject, I must point out that few films capture the power and serene beauty of women in such a way; that alone should make it worth watching. The music is nearly avant-garde: it fuses Eastern and Japanese instruments and styles, creating a score just appropiate for such an enigmatic, meditative film. A lyric masterpiece; as with all classic films, it won't be for everyone. But for those that do appreciate it, it will be endlessly rewarding.

When you start watching "Il Gattopardo" you think you're in a typical historical epic. There'll be war, death and impossible love, and in the end there will be either tragedy or happily ever after. But this glorious masterpiece is none of that, or better, it improves on all of that like never before. The film is a political discussion sometimes, but mostly it's a philosophical meditation on mortality, the emptiness of life, loneliness and alienation in what we know as our world. Burt Lancaster gives an incredible performance, as well as Cardinale and Delon. The cinematography is too gorgeous for me to describe in a few lines, as is the subtle symbolism present throughout the movie, which pile up until the ecstatic dance sequence, which must be by itself one of cinema's top achievements. Forgive me if I write too excitedly but "The Leopard" changed my perception on what film could be (entertainment+art of the highest order).

I finally got to watch "Cries and Whispers" yesterday, and I still couldn't bring myself to write anything about it. Usually right after watching a film I can begin to think of a couple lines to describe it, or some few ideas I could develop in an essay (I like writing a lot, and I've written two essays about "Rocco and his Brothers" and "The Leopard"). But in this case, which words could I use? Bleak, painful, haunting? Those are the most appropiate, I guess, but then it sounds depressing, and it's not! This film should be experienced, not just watched, because you run the risk of thinking of it as a "common" drama. It flows more like a dream, or a poem, made up of little fragments of emotions rather than weaving a real plot.
So, what to say? "Cries and Whispers" is very open to interpretation, as a poem is; it's meant to cause an undetermined effect on the viewer, whatever it is, and then the viewer should come to terms with his/her own ideas concerning death, incommunication, time, love, gratitude, happiness... and absorb the richness of this film.
Visually, it's unforgettable. Even those that don't like it (no film will be liked by everyone) will not forget the extreme close-ups, the long distressing scenes, the fades to red, the lights...Everything contributes to the dreamlike atmosphere of the picture, along with the sounds. I should point out that most of the sound, including music, is mostly and acoustic resonance more than melodic tunes to support the action. The bells, the clocks, breathing...
In terms of plot, it's hard to describe it, since, like I said, it's a poem or a dream. It doesn't follow a strict narrative line, but it chooses instead to focus on moments of extreme emotional tension from the lives of the sisters to explore their feelings of anguish and their inability to love and connect with each other and to others. It's a portrait of women, and as such men only appear in relation to them. Bergman explores the female body and face with his camera, which looks into places only cinema can find.
Well, right now I can't think of anything more to say. I don't like this review I just wrote because I have yet to give shape to my ideas. In a few days I hope to be able to write something more interesting. For now, I just ask you to experience his film, since there is no other like it. (By the way I could point out to some flaws, since there's no perfect work of art. Still this film is unique).

"Hiroshima Mon Amour" is one of the few films that I can say actually changed my life. I just watched it tonight, but already I understand and have faced one of my deepest fears: that of forgetting, forgetting things, forgetting places, forgetting love. And this movie has taught me not to fear it, but to learn to live with it. Time is here, time does not move but in our minds, as past and present are never individual unities: they combine and reshape each other, redefining the "real" events we have experienced and making it impossible to take our whole life and analyze it. Everything remains alive even when it's gone, for it subsists in our memory, which is impossible to share. She says she has seen and understood Hiroshima, almost felt it (through pictures, through monuments), but He could never express the extreme pain of the event itself, of the loss he had, of the destruction of mankind. For in a sense, every war kills the whole of mankind every time. After war (during war also, for those that dare not to understand what is going on, like Her in her twenties, falling for a German) the world is forever uncertain, as is the pain we felt, the pain that we carry with ourselves, and the love the rest may offer us. All that is certain is oblivion, the anihilation of love, harmony and happiness. All things must pass. Everything passes, time passes. All will crumble to dust and yet it shall remain, breathing, living in our confused and uncertain memories. My name is San José, this is the setting of my tragedies, the place for my crying. It will also fade away someday, but did it ever exist? When I leave, it will remain intact. "Hiroshima Mon Amour" makes the world unbearable and endlessly fascinating at once. A masterpiece of world cinema.

"Chungking Express" has automatically become one of my favorite films. It makes me feel alive, full of energy, and happy to love film. A light, free-style portrait of urban loneliness and the difficulty to connect, it entertains grandly while also making you think. Visually exciting, with a lively soundtrack and great performances, this film is one of a kind, and my favorite by this great director.

I'm surprised of how few people have seen this film here on Flixster. It's a wonderfully shot and directed story, filled with visual poetry, a lovely soundtrack and great acting by the one and only Jeanne Moreau, who probably never looked this beautiful (except on "Jules and Jim"). Maybe it comes off a little empty in the end, but it is delightful cinema. Malle was perhaps not so much an artist as an entertainer (this kind of cinema is often ignored, but one must have fun!), and "Les Amants" is a film I would have sure loved to see in theaters, for many reasons. Too bad commercial movies have lost this charm, simplicity and taste.

One of the best films of the 90's, "Blue" is an emotionally intense and richly symbolic drama about liberty and our assumptions about it. How Julie tries to redefine her life is shown to us directly: this character bares her soul for us, and we got so involved that none of the unexpected twists the story might take seem impossible: they are natural, real feelings. The use of music is extraordinary, as is the cinematography. Simply a masterpiece, though it's not perfect.

If such a movie exists, why the hell did "Crash" win the Oscar? "Hate" makes most Hollywood films about racism feel like made by a third grade kid, with its unforgiving critcism and REAL characters and situations. This feels like something right out of the real low class neighborhood, not some sugar-coated or "really shocking" fabricated picture. This is real, everyday stuff, not acted but felt. With great cinematography, involving characters, good music and a clever, even fun script, "Hate" is simply one of the best films of the 90's. But seriously, why does "Crash" exist, then?

A masterpiece of European cinema, with unorthodox edition and a clever storyline. Check it out if you can, but remember to keep an open mind. This is also one of the main incursions of philosophy in cinema, though not as directly as Bergman in "The Seventh Seal"; this movie is a great expression of the existentialist anguish that plagued 60's youth, and as such is a time capsule. But with its loose plot and lively rythm, it's sure that modern audiences can still find their philosophical questions reflected on this movie.

This is a fine, engrossing moral drama, with well portrayed and strange characters. I loved the look of the film except in the interiors (the office and the bedroom in particular, are awful); I adored, for example, the shots of women, the shots from inside the café, etc. It does get a bit tiring; it's still a unique, exceptional film, though it may not seem like such at first sight.

An impressive film, an opera of everyday life, magnificent and unforgettable, at the same time prefabricated and natural, intended and spontaneous. We know that Visconti is in control, yet the characters seem so real and vivid that they exist inside their own universe and don't let us go for a "lifetime", three hours during which we immerse ourselves in love, deception and brutality, excesses, greed and egoism. The tragedy of all comes from the fact that all is possible (I didn't find the violence exaggerated in the smallest bit: I even thought it was understated), and that we have learned to "live" with these characters, instead of just watching some actors perform. The cinematography is striking, especially in the spectacular box matches, which are at once beautiful and intensely cruel, as is the life that binds the Parondis in poverty and loneliness. For, even though they all live in the same cluttered home, they are all intensely lonely and detached, building their own world by theirselves. Just look at the punishment Ciro receives for daring to communicate and attempt to keep them all together. Their isolation is shared and necessary, as if they were ignoring that they are all different. Quite a normal story of a normal family, I would say.

An astonishing, groundbreaking work, still today. Though composed of still images, it has more impact than most sci-fi films, and will leave you pondering long after watching it. "La Jetée" is haunting, melancholic and philosophical, also engaging and powerful. A meditation on memory and time, this timeless classic is an interesting form of film-making, and it's now one of my favorite works of art. :D

An extraordinary heist movie, much deeper and artistic than most films in the genre. "Rififi" has a simple, common premise, but it is treated masterfully by Dassin. The robbery sequence deserves all its fame: it's tense and exciting, though it may sound boring when you read about it. The four robbers are captivating characters, well acted and dynamic. The setting is dark and oppressive, which added to the violence, makes the film a sample of human decadence, and the extreme individualism of our behavior. "Rififi" is still suspenseful and entertaining, despite its age, and I highly recommend it to crime film lovers.

A masterpiece! There aren't many films out there that are so delightful and lively, so vibrant and exciting. The plot is interesting and well told, with grat actors to match these characters. And on the technical side, the use of so many different elements, like freeze frames,make "Jules and Jim" unique and memmorable. The only thing I did not like was the weird narration, but the rest is simply perfect!

"Jules and Jim" is a hymn to love and friendship, poetic, inspirational and freely made, conveying the energy and passion for life its characters share. It's about many things, actually, more than I could list and analyze in this tiny space. For instance, it reflects the social anxiety of the 60's, showing us the sexual revolution and its actual consequences. Instead of defending free love, as it romantically seems to do, it shows the negative consequences of indecision and romanticism. The two friends idealize the woman so much that can't tell when she's becoming dangerous to any of both, or when she's a danger to herself. And she resists to fit into their vision of her, rebelling against everything, including herself sometimes. She is a rich and multi-layered character, larger than this film perhaps. Well I could go on discussing "Jules and Jim"'s many themes, symbols and richness, but I would go on for too long. I highly recommend it to anyone, not just art cinema lovers.

"Hannah and her Sisters" is the most beautiful film Woody Allen has ever made. It not only features flawless acting from the best cast he's assembled, but they count with an endlessly entertaining, perfectly knit script, which at the same time manages to be funny and quite philosophical. Allen's view of life is shown here quite directly, as he questions the very meaning of the world, the relationships that keep us here and decides that all of this shall be beyond our comprehension forever. How can one ever define whether God exists or not? Define love, our needs, our anguish? And in this film, Allen decides there's nothing he can do but rejoice in the exciting confusion of the world as it is. Yes, one will never get the whole meaning of life, but why not stop for a while to enjoy the company of such a n exciting group of characters (like this one, like our family, our friends)? Yes, there will be pain, there'll be enormous suffering we won't understand...but what would you trade it for? The film also discusses important topics like temporary happiness (addictions, sexual passion...) and the position of the artist, and if art is really worth anything. I would answer it does, since if art can give us such an opportunity like this one to reflect upon our lives and make it better, then it's definitely essential to the human experience. Above all, art is human. Love, time, God, happiness, they are all human as well and contribute to this beautiful building the world is. "Hannah and he Sisters", I am quite sure, is Woody Allen at his best.

Not for everybody, actually it's hard to read (quite easy to admire, though, for everyhting about it is beautiful) and understand. I like Mann's novel better, but this is quite a film. An achievement in cinematography, with Mahler's glorious music as background, and excellent performances. Discrepancies with the novel hurt it a bit, about the Tadzio part. Still, spectacular. This is about the eternal search for beauty and for art, and the ending comes as a revelation as the REAL artist's commitment to their work, and the importance of art to mankind. I think all those pretentious new "artists" that sing, film and write everywhere should pause and either read Mann's novel or watch this astonishing film to reflect on their mission, their compromise and at the same time the discouraging futility of the quest for perfection. Without the dull conversations between Aschenbach and some artist, this film is a superbly crafted piece.

Overlooked by most people despite winning the Golden Lion, The Return is worth more than one viewing to fully appreciate its meanings and symbols. A true cinematic poem in a time when that art fades away.
The interpretation for the film is really up to you. Political, religious, or just a family drama, in every way it's a wonderful piece, full of indelibe images and evocative moments. The acting is also quite good, especially by the younger kid, who didn't just "feel angry" but understood the loneliness and depth of his character, basically living his life in this film. "The Return" is one of those movies with the quality of floating forever in your head.

Dazzling, stunning, and unique, "2046" is among the greatest films so far this decade, and will most likely remain so. It's a nearly metaphysical meditation on love, the past, and how we can never return to it. This writer tries to go "back" to the future, I mean, to return to old feelings, to real love, but in the future, and realizes there is no way to repeat a sensation, much less true love and care for special people. Love occurs at the right moment, and this self-involved artist tries to understand throughout the film. "2046" feels like a good novel. It seems endless in a good way: it's hypnotic, devastating, poetic, and technically flawless. Sadly, it is a little confusing, though it doesn't depend that much on the viewing of "In The Mood for Love" as some recommend. I haven't watched the first movie, but I understood and enjoyed this one very much. It's like "Hiroshima Mon Amour" (with somewhat simmilar themes, but far superior): it's sure to alienate some viewers for being confusing and pretentious, but to a few that get to like it, it's endlessly rewarding and inspiring. The soundtrack is wonderful, helping create the alien atmosphere that pervades both past and present. Personally, I would've liked more color and more space, but the cinematography is excellent as it is. Be sure not to miss this one, though I don't promise a rewarding experience for all.

"Wooden Crosses" has left me stunned and devastated. It's one of the most powerful war movies I've ever seen (and I generally don't like them much), and moved me to tears from the first hour on, until the chilling finale. Calling it hopeless is being kind: it's gruesome, bleak, nearly oppresive with its realistic violence. It does suffer a bit from its slow first half (which still includes some unforgettable scenes) and some acting flaws, but later it grows in pain and excellence. The cinematography is more than impressive in the battle scenes, which are an incredible depiction of the horrors of war. I doubt there are many anti-war films as direct, elegant and moving as this one. A real lost masterpiece.

"Electra" is, simply put, the best adaptation of the tragedy ever made. It's hard to imagine how else could one turn this psychologically complex drama into film, but here Cacoyannis does it masterfully. It is almost a silent film, trusting most of the actions and emotions to images, and that is so hard to find today...In fact, throughout the history of sound cinema, it's been quite hard for directors to base their films around image moreso than dialog, but in "Electra" Cacoyannis does it almost flawlessly. Every single (and I'm not lying, every single one of them) frame is a masterpiece of photography. Including the actors themselves (Orestes and Electra are both beautiful). Perfect composition is an understatement. However, here's where the film's problems begin. It's just TOO perfect...I know that sounds impossible, but that's what slows down "Electra". In its search for the perfect shot, it delays actions and overextends simple things. Of course the final shot is aesthetically brilliant and stimulating, but it takes its time. In my opinion, that's the only flaw, but I could point out that the ritual-like manner of the movie could bother some, and its length. But if you're patient enough, you'll find unrivaled visual beauty that is more than style exercise, since it actually conveys emotions and tells the story. For better or worse, there's no other film like this.

One of the most complex and honest dramas made by Bergman, and almost everything happens between the same four walls.
I never thought it was possible to have two persons bare their souls onscreen. But these actresses tear their hearts (and each other) apart with power and realism, shocking and affecting any viewer who's ever had a major fight with his/her mother. I love how they throw their emotions at each other, like showing each other their souls with no hidden places. It's also a great example of the cinematic language, using a series of elements expertly, such as color, music and different shots that not only comment on the action, but expand, explain and are in themselves the action. It's not Bergman's greatest due to its rather limited scale: it's too tight and closed, but that also means it's an excellent drama that hits and shocks the viewer.

If I felt like it didn't blow me away, it was because it all seemed too familiar. And why is that? Because of the enormous influence this film has had over the past 40 years on films from all over the world. It's truly a masterful epic, an action film, and a piece of art; regardless of what you're looking for, you'll find it. Here the camera work is flawless and inspired, as is the somber music, the realistic sets, and the acting. Simply put: the best action/adventure film ever made, and one of the landmarks of global cinema (though, as every other classic, some people might dismiss it as terribly boring. It's OK, I guess....times have chnaged)

This film blew me away. I had never thought possible to analyze a relationship so deeply in a movie, but here Bergman's camera pierces through their souls and offers us the results of an exploding life together. The acting is superb, enhanced by a true, hard-hitting and well written script full of things we would never dare to say, but that are full of our innermost feelings. This film takes tissues by tissue of a complex relationship and tries to find the answers, the reasons, the love underneath all the sex and lies, and we find richly developed characters that may remind us too much of our own couples...Disquieting and addictive, "Scenes from a Marriage" is not perfect, but that may be due to its TV origin (I saw the edited version) but I can't recommend it enough.

The final scene of the "The 400 Blows" moved me deeply. I held my breath since it began, and still can't believe such a beautiful poem could be made on screen. Truly, this film is a poem to childhood, to freedom, to authenticity. The camera is fluid, quick, deep, as is the main character, a great creation by a young actor. Well, as often with great movies, I try to write about "The 400 Blows" when I'm tired and uninspired...But the film will explain everything I'm trying to say...It's free, gorgeous, and a masterpiece.

Slow it is, but you can't miss a moment. Every image in the film helps build this deep philosophical study, though there is NOT one meaning to 2001. You can make what you want of it, and I believe there lies its beauty and importance. It's one of the few ocassions in cinema where is no concrete conflict nor resolution, but it's just a painting, an exposition of images that provokes impressions on the viewer instead of emotions, and he/she is left with the task of deciding what to make of it. Cinema should rely mostly on images, and "2001" does that; it's helped by music in a way that has rarely been used, composing a massive symphony of color, image and sound. The work of an architect, but also that of a poet: a masterpiece.

Easily one of the greatest romance films ever made, and with the exceptional performances of Anthony Hopkins and Emma Thompson. Perhaps it isn't a film for everybody; some may judge it as slow, or unimportant. But it's a rich drama, mostly driven by symbols and small gestures, but emotionally complex and beautifully made.

One of the most introspective films, though to our modern, numbed minds, it might be easy to judge this as overrated and too loose. The truth is that "Wild Strawberries" is a meditation on our mortality, relationships, faith, and the impending death. Some critics call Isak Borg's life uninteresting, yet they forget that not everybody's life is a rollercoaster ride, and that doesn't make them less human nor interesting. Through an everyday existence, this films still questions such themes, making it only closer to us, and accesible. Perhpas the greatest richness of the movie comes from reflecting on it afterwards, from analyzing and comparing to our own lives, as short or uneventful as they might have seemed. In other aspects, the picture is succesful: it has very good acting and music. The cinematography is excellent, giving everything a nice oniric feel, an atmosphere of memory and passing of time. A triumph of world cinema.

Best romance ever! Striking landscapes, great acting, wonderful soundtrack. the cinematography makes this film a work of poetry as is the original novel. I understand that the film vastly diminishes the political meaning and importance of the novel, which I hold in high esteem, but they're really two different works of art. The film is like a poem inspired by the novel more than its filmic translation, so it doesn't bother me. Weaknesses typical of melodramas I can forgive because of the great directing and striking cinematography. There's good acting here, especially by Omar Sharif and Geraldine Chaplin. Rod Steiger I feel shoudl have been given more time, since he clearly expanded his character far beyond what we can see. "Doctor Zhivago" is my favorite screen romance (everybody should have one), and maybe nothing more.

The best tribute to the power of cinema. Maybe it changed my life, pushing me further into wanting to be a film director. I cried for half an hour after watching the final scene, a true classic.

"Dangerous Liaisons" is an absorbing and seductive masterpiece, which adapts the novel wonderfully, thanks to extraordinary performances by John Malkovich and Glenn Close (in, maybe, her best role so far), who playfully battle with romance and seduction through the film. Dazzling costume, makeup and set design give this a unique look, too. The dialog is fun and clever, and you're always suprised at what will come next (it doesn't matter if you've seen that thing, "Cruel Intentions"). The reason I don't give it a five is because of two bad performances: by Uma Thurman and Keanu Reeves. God knows what he's doing here. But for the rest of the film you'll be entertained, shocked, in love, or simply stunned at the beauty, cruelty and passions that fill up the screen. One of the 80's best, definitely.

"The Big Sleep" is, in my opinion, one of the best films ever. What makes it so great is that it makes no sense, although it remains entertaining and exciting all the way through. It can't be explained in a few lines, and even after watching it, it's hard to do it. Convoluted plot lines twist, mix up and crash against each other so much that not a single character knows what's going on. It's a detective story where no crime is really investigated.
"The Big Sleep" is driven mostly by sexual tension, and the emotional clash between the equally confused characters. Bogart and Bacall do an outstanding work here in that sense.
Many themes appear on "The Big Sleep": sexual desire, amorality, the impossibility to know the truth and our animalistic passions. Nearly existentialist, it also shows the randomness of death and its inevitability, our lack of connection to others, and the film functions in a world devoid of sense, it has no point living if it's all this way.
A recommendation when watching it is to forget to look for coherence. It might have a real plot, but it's too hard to spot it, and you would miss some essential points while searching for what you think is the meaning. In my opinion, this might be the only film that stands this kind of viewing. On the technical aspect it's also a jewel, by the way: great cinematography, clearly film noir, and clever edition. The script, in its random dialog, is tense and intelligent. Don't miss "The Big Sleep" for fear of finding out it really makes no sense.

"Closer" is a film that feels like a punch to the soul, and reveals the horrible things we often do to get satisfaction, either sexual or emotional, and it does this through excellent acting and an honest script. This story of four people that cheat, love, need, hurt, and use each other is unnerving and brutal. Its frankness and truthfulness isn't very common in films, as Nichols had once done with his earlier films. The four leads are perfect in their roles, and compose this tragic tale in an explosive way.
The clash of egos between Jude Law and Clive Owen is astonishing, while Natalie Portman shows she's become a really talented actress in full control and understanding of this role. Julia Roberts was for me the biggest surprise, since I'd never thought much of her. Seeing her here without make-up and being so egocentrical, unkind and desperate was refeshing, and I know actually think of her as a real actress.
"Closer" explores the nature of truth, our insticts, and the elements that are supposed to form a relationship but fall apart due to careless sex and emotional dishonesty. Truth makes animals of all of us when we don't reach it through reason, but through our instincts.
All of this would be nothing without the great direction, which is nevertheless ocassionally held back by "Closer"'s theater origin, since he trsusts everything to the the dialog at some points where image would have made it more absorbing. The cinematography is also interesting, and the sets perfect for the atmosphere of the scenes.
Melancholic, heart-breaking, and energic, this naturalist drama is truly a work of art, and one of the best films in recent years.

All the actors here are great in their roles, the script is intelligent, the music is perfect, and the director handles it perfectly. What more can I say?

A haunting film, beautiful in everything but its subject matter. Poetic and detached, "Elephant" achieves an all-encompassing view of a typical high school, and slowly grows into the desperate cry of the murderers: a cry for justice, for humanity, for understanding. Violence is appropiately treated and the camera work is impeccable. Though there are some pointless scenes and characters, it's a superb work, Van Sant's best.

The Lord of the Rings should be watched as a whole, all three movies are just one story, but this first one is, for me, the best of the bunch. And it's the opening chapter of the best adventure epic since Star Wars, even better than it.

One of the best films about this difficult subject, treated with absolute realism (despite the fantasy that surrounds everything) and more boldly than current movies. Very rewarding and original.

Piercing the average American through and through, American Beauty offers a brilliant character analysis treated through a fun and witty script.

"Oliver!" is one of my favorite movies. Of course it's not art, but it's high quality entertainment. Could anyone point out a sweeter rendering of the novel? It explodes in color and song, and it even manages to get darker than you would expect in a children's film. But perhaps "Oliver" isn't strictly for kids, but a cute musical for grownups. Its irresistible charm and beauty will win you over. Of course "2001" was more deserving of the Oscar, but who cares? Both films are great on totally different levels. I had the pleasure of watching this again this morning and I still adore it. I can hum six songs now!

A charming drama/comedy, with a perfect cast. Perhaps it isn't important, or terribly deep, but it's one of the best films of the year.

This may really be Hitchcock's best film (though I still prefer Psycho). Vertigo is many things at once, but what's more surprising is that despite being made in Hollywood and seeming so "accesible" as a mystery thriller in the first place, it has the depth and quality of any art film. It touches complex subjects and subverts typical expectations over and over, transforming the "good" guy into we don't know what, besides other much interesting details. It also look lush and colorful, features great cinematography and feels very modern through and through.

Sweeping and inspiring, Gandhi is a perfectly directed film, in the sense that Attenborough seems to be in complete control, making the film feel mind-blowing and unforgettable when it might not actually be so. What is impressive is Kingsley's performance, since he BECOMES Gandhi, instead of over-dramatizing him or making up his own person. A wonderful picture indeed.

The thriller of thrillers!

Sure, it's common, predictable, and you know it's gonna be lovely. But it never feels fake! And it IS, but it never feels like. I cried when I saw it and I'm not ashamed to say it. Ryan and Ali are so cute and charming you can forgive such naïve things as the illness. Simply enjoyable and perfectly romantic!

I just love it! Jamie Bell is great, here and everywhere!

Whether you love or hate Spielberg, and even if you think this claim is too much for him, Schindler's List put itself immediately in the list of the true jewels of the crown in this art. It's a must-see for everyone, so we know how far has man gone in destroying himself.

This is it. If we were to show an alien one piece of work for each type of art, this would represent cinema perfectly. Maybe we can't appreciate it nowadays as it deserves, but I did my best and found that no other film synthsesizes this art as well as Battleship Potemkin. Edition truly makes movies.

After revisiting "Chinatown", I have found a flawless and devastating masterpiece. In the end, you can't do anything, you just surrender. You surrender to the destructive corruption this film denounces, and to the movie's own irresistible perfection. There's simply nothing wrong about it: the cinematography is lush and fluid, the music seductive and gets you right in the mood, the acting intense and real (especially Nicholson, here almost tic-free, and Faye Dunaway is gorgeous and complex; John Huston is in for like five minutes and delivers an outstanding creation), and the script tight and perfectly constructed. To me, the final 15-20 minutes are among the best scenes commited to film, especially the very ending. It may seem like an ordinary film at the beginning, but as it progresses, it grows into an absorbing, disturbing and unique cry against the way our society works today. Money has the power in Chinatown and everywhere else.

What a great, fun, different film! It has everything right: the cinematography, the script, the acting, even the music! It's been long since I've laughed like this!!! Not even the remake was bad. You gotta love these realistic characters, with their honest conflicts and unforced emotions, without becoming stereotypical, moving in such a beautiful but strange desert.

Such a charming movie! It's so...sweet and pink and lovely and catchy...And yet so moving at the end, that I couldn't help feeling sad for them for some two hours afterwards (besides having the music stuck in my head for a longer time yet). A very original experiment in making musicals, one that should have been followed. It's a simple story, yes, but very touching.

Refusing to like it for many years, it's only recently that I have found my way into it, and now it's one of my favorites.

One of the best science fiction pictures, may be recognized as such in a few years. now people seem to ignore it, perhaps because they don't get it. The worst part is, of course, that it ISN'T hard to get at all, people are just put off becuase Hollywood has numbed them for years.

"Fanny and Alexander" is one of those great films that show us just how wonderful cinema can be. There are truly few films as well directed as this one, and even though it may be Bergman's "lighter" film, it's emotionaly powerful, magnificent, and unforgettable. i'm quite sure the complete version will make me a hardcore fan, but for now, the 3-hour version has just taken my breath away with its sheer beauty, style and so intimate anaylisis of a rather common family. And what a cast! Everyone here gives an excellent performance, especially Alexander and the creepy Bishop. A tribute to imagination, creative force shot magnificently, with such a script...a masterpiece in every sense of the word.

This is a greatly entertaining film. Sure, there might be some plot nonsense, yet it holds your attention with irony, surprises and of course, superb cinematography and the unforgettable score by Miles Davis. What the film lacks in depth it has in entertainment value and aesthetic details, and thus "Elevator to the Gallows" won't be easily forgotten. Of course there are better films out there, but few are as fun, thrilling and gorgeous as this one.

One of the best political thrillers around, since it has an universal message and was at the time really direct. The soundtrack is excellent, as is the cinematography (loved the restless, piercing camera) and the acting. I have read some reviews claiming "there's no real tension", or that the intirgue is just plain boring. But, THESE are the real political intrigues, you know? Not every week a nuclear bomb gets stolen, or a president is kidnapped. "Z" is more startling and tense because you know all this is real and urgent.

A film of extraordinary energy and emotionality, carried out by four excellent actors and one master director. Definitely Kazan avoids any "filmed theater" conventions, making this primarily a cinematic work. The erotic power and emotional tension conveyed by Brando is impressive, as is Leigh's slow decadence. The cinematography is beautiful, like the evocative score. A groundbreaking Hollywood film, driven by animal-like force.

A fantastic, confusing, explosive dystopia about the excessive control of bureaucracy that is very contemporary and still powerful nowadays. The bizarre dream sequences, fantastic costumes and sets, and the humorous script and acting form a unique film, for better or worse, a movie that stands alone. "Brazil" is a masterpiece, and though it's not my favorite type of film, this one blew me away.

You can be absolutely sure there's no better adaptation of "Les Misérables" on screen, and taking into consideration the massive amount of films based on this novel that have been released, it's quite an accomplishment. This one should be one of the classics of cinema; sadly, it's very likely you've never heard of it. I bought the Criterion Eclipse Box, which brings this nearly five-hour masterpiece, along with the superior (but shorter :) ) "Wooden Crosses", and I'm convinced that Bernard should be up there with Renoir and Ford. Sadly, he has been largely forgotten. "Les Miserables" is proof enough of his talent: the story is handled masterfully, and it never gets tiring despite the massive running time. The only part I wasn't much into was Part Two, but the first and last were on their own, masterpieces. Excellent, Expressionistic cinematography and a tour-de-force performance by Harry Baur (I dare say one of the greatest in cinema), plus a beautiful score. A cinematic spectacle of the highest quality. There are some flaws, of course; it has aged (unlike "Wooden Crosses", which remains devastating and interesting for modern viewers). If you love the novel, this is the best film you can watch.

"Diary of a Country Priest" is a minimalist masterpiece. How it achieves so much with such a limited plot and cold acting is impressive. It's more a meditation on faith than an actual drama, so it could be considered a bit boring by many. It's, like I said, cold and distant, but that doesn't make it impenetrable. If you get into the philosophical and stark tone, it's a highly rewarding masterpiece. The cinematography is ethereal, loose and well, poetic. I have yet to see more of Bresson, but if his other films are as deep and thoughful as this one, I'll surely love him.

I didn't take it as a movie about Christ in the first place, so that's why it didn't bother me. To me, it's about, like the author of the novel says, the eternal conflict inside of every human being. The scene that I will always admire is the part of the temptations. It slows down at the end, but it's a great movie!

"Dersu Uzala" is, first and foremost, beautiful. The it's interesting on a intellectual level. It is true that the script is particularly deep, but the sheer beauty of the film must not be missed. Dersu himself is a great character, one of the greatest perhaps, in film history. He represents nature and purity without bringing it down to clichés, and remains a poetic reminder of everything that we have lost. Even though I watched the film in the theater, it had terrible quality (it must have been stored for 30 years), it was still amazing and gorgeous. It's one of Kurosawa's most easily overlooked pictures, but it may be his most visually stunning, and one of his truest poems.

Original, different, unique. Those are the words which everyone uses to describe it, and they are truly the most fitting. Not for all tastes; it's actually hard to like for most people.

Yes, too traditional in style, too theater-bound, too predictable. But what a beautiful movie! And sad, too. This is a story about beauty and how we search for it, and how it might be hidden where we least expect. And also about how art can express these feelings often more clearly than we could ever do it. The art of Baptiste speaks for him to Garance, and that's what makes her fall in love with him. The film has a nice score, good cinematography, and though I wish it wasn't so tied to dialog (and GREAT dialog, it's true), I still loved it and I highly recommend it. A one-of-a-kind masterpiece.