2006 Films: Back to Back

Guys,girls,a movie for all who wish to be entertained is moreover a movie of actual consequences and tragedies.Religion is a defiantly vague topic in society's progress,by accusing who's guilty is easy,what happens behind the curtains is what matters.If I were any president,I'd legislate pedophilia as a death sentence.Add rape on that,it is painfully relevant to this documentary.Oh to hell with it,just see it...

What is it about modern transgressions?Are there any loopholes so that personal property alters to forbidden environments?Litsis as the commentator of his privacy!
Which there isn't any,it's all a fake human interaction,or the urban solitude...or the compelling oral exchanges of his everyday routine...

Bringing it all back home is rather unreachable for those,let's call them daring troopers.The trigger of righteous devotions sets off as a superb dynamic to...well..pathetic results,yes?This particular platoon's hope was to somehow adjust to the altercations of the foreign lifestyle,and so was war.A lifestyle of deprivation.Less bolder than Kippur but what performances!!!

Brilliant melodrama from Bier,a renovator of touching scenes,roaring upheavals inside the souls of close interrelations.The core of this film lies to the characters,primarily speaking because Bier is calmly emphasizing on the hushes and inner voices.A pity for this creator deserves more than a Hollywood career.

Sublime foundation by Ferran,like a patient worker observing the everyday signs and wonders of Nature.The peasant's poetry could be an alternative title and despite a few interior frustrating paces,Hinds is more than enough.The overall achievement of this movie is to upgrade the classical novel adaptation and provide to Lawrence the best picture about Lady Chatterley.

The horror film genre lacks of decent representations of grueling/frightening spirit.Ils is a profound exception to the 21st "slashing" century rule,every corner is a heartbeat and along with The Descent,you care for the characters,you are not ignorant like a Resident Evil gore.

Elegiac transparency...and what culminating proportions...an almost perfect war film,dialogue flow and magnitude performance by Watanabe.Melodrama doesn't belong to Eastwood anyway and he was close to surpass the tragic outcome of Unforgiven...

Inland Empire is primarily a neurotic/psychotic/philosophic carousel.Let's chop off the first half hour,correct?Not really,the finale is an absurd dance hall commencing us to sway with the ladies.So..why the rabbits?Hell's broken loose and those fellows want to remind to that poor woman she's mentally doomed?Probably...

First of all,we need open minds!!!Mitchell,a worthy descendant of Oshima yet the artistic contributor can't be surpassed,Empire of the Senses is sexual expedition.Shortbus on the other hand is sensual,raw,morphological stuff.To ravish someone's brains and touch someone's ass.What's the true philosophy then?Breakthrough,boldness and backlash contrary to shallow themes about love and affection.

Philosophy of the wise and of the Methuselah.Now really,the ancient language fashion is withering,yes?Unless you bring a true auteur with the name of Rolf de Heer and condemn Mr. Gibson to eternal damnation.Pure and locomotive direction and the b/w interaction with the vibrant antique era is engaging to the folktale narration.

The wind is nigh,the skies fling above us like signs of Iliad's trifles.Loach on the other hand produces biblical terms to cover a brilliant yet distant to the wealthy in sharpness filmography all these years.A near magnum opus,it succeeds in the levels of unforgiving absolutism.I wish there were more iconic portrayal of the tons of information chopped off for fiction's sake.

Truly engaging story based on one of the exterminating missions during 9/11.The best picture on that subject is also the most controversial towards the finale clinging to the patriotic sense of team work and...constitution.Overall a great directorial work but without those "emotional raptures" it would be another modern classic.

A new director is born.Whether he will continue adding his private issues just like this first feature is unknown but I gotta admit: Elephant is a masterpiece and this is the catapult sequel.Gripping yet student-like somehow...

Inaritu uses the same old formula once more.Surprise!Not really,impression doesn't last forever and pearls will fade soon.Interesting storyline but it's so naive to cover your elements with subconscious desires,guilt,madness,for all these characters' personalities clash their personal fears.Yes,worldwide community.It still won't change the fact there's obvious resemblance to his previous works and if you have a writer's block Arriaga,don't cram us with immigration and anti-terrorist messages when other films are much concrete..

As much as I wanted to give this a higher grade,it is almost too Dumb and Dumber to me....only this time it mocks American values instead of being hypocritical like the Farrelly "disposal".Generally,a funny film,excellent improvisation by Cohen but the whole concept is falling apart by repetitive gross out phenomenons.Simultaneously anarchic and timid.

A tad over-hyped drama,Muhe is excellent and Gedeck could have been more powerful like she usually is,but for a debut,the outcome is convincing enough,for characters and audience alike.The catharsis might not be a superb resolution,even so...the claustrophobic atmosphere of the Stasi "ears" brings some interest to an otherwise common tale.

Cruel depiction on the killer's psycho-synthesis,Antoniou refuses to become a provocateur,still...her lens shows misery and instinctive miscalculations.A redemption tale in conclusion,partially an immigrant's Odyssey,with a great Durmishi on the leading role..

I could have liked this movie more.A special screening with conversation in the theater afterward.Too bad it dragged a bit.Don't get me wrong,it's even truthful than a Fahrenheit perceived on being.Occasionally however there are parts unnecessary of their existence like the investigating team and their subsequent clues.The interviews are pretty much insightful.

Second part of the ambitious 20th century majesty of To,a humongous presumption of events occurs 2 years later.Triads are coming to an end (fictional that is,hehe).What better way to celebrate it by swaying in a brilliant choreography of little scenarios and exceptional violence?The heir of Woo rest assure all of you directs the mob in all its fiendish glory,in spite of it being minor to the first part.

Female power and who could be more suitable than Almodovar?Dense and magically naturalistic at times,the kitsch environment is replaced by an uplifting mood,yet still appears to be a multi-layered canvas of secrets and acting textures.

High professionalism but a tedious sequence of "real events".Di Caprio and Hounsou are stellar and there's a fast,agonizing pace and that's it.

Good film,straight to the core's end, brings up trafficking issues and Hitchcock topics through subtlety.A great sub-plot on the relationship of the girl and the "candidate" mother,pretty empty during the finale yet it leaves you with a bittersweet feeling.Tornatore is playing with fire and unlike The Legend of 1900,he comes as a winner.

Excellent depiction of the administrative Amin and the cruelty of Uganda turmoil.It's a one-sided view however of sincerity and I would love to be an avid supporter but the contradiction of those characters detracts from the main theme,which is the cruelty itself,not theatrical aspects.

Holocaust and fried tomatoes.Your highness and lordship and anything else,what would you think if we created a developing,hideously ethical and ultimately appalling weapon against the Nazi era?Depravity at all cost so we can portray the manic canines of 3rd Reich kingdom?Black Book is the reply,should it be less didactic?No.Less love story?No.Less Verhoeven?Yes...and now reverse what I just wrote.

I'm seriously thinking of boycotting every single musical coming out of the stage.Chicago managed to overlook the theatrical influence.Dreamgirls is based on the success of stage and for that,arrogance is punished.Dazzling scenery and a glittering atmosphere,Hudson spreads her talent (but the Oscar is..let's face it: the singing),Condon is definitely doing something challenging,although he stumbles in the projectors.And why the hell Beyonce still "acts"?

Spike Lee is lurking in various fields these days,the heist film might not suit him at first and yet he manages to flare the thin air with a touch of political madness,Washington and Owen in high spirits and even if the scenario plunges a wee bit,it still remains an enjoyable film to check out.

Apart from the Bronzes sequels,I suppose this tricky little film by Leconte is the bottom line of his drowsiness.Boon is drastically superior even towards Auteuil,torn between his comedic clasp and the ludicrous rants.Incorrigible events,a typical demagogy in the likes of a typical Hollywood mannerism.

Stupid cartoon,there...I said it.Everyone should organize a protest against those family/similarly like movies.Oh sure,it's for the kids,like a brainwashed 9-year old will perfectly analyze the irony of the squirrel or the "social comment" towards human selfishness.Please....

A socio-political comment regards to...immigrants?Sorry Anthony,your death was sudden however,I will not spare my fury for a film so puzzling and motionless.The entrails of a declining upper class are but mere bones,summing up a film with the most banal way possible:the rich man's misery.Pity for Binoche,pity..

Folklore in Greek thrills.OK,so it's a delicate,respected and slightly picturesque rural community.Pandora is the treasure and a predictable screenplay is the oh-so-uncommon result of U.S. "invasion" in post-WWII Greece.It's better than the average Greek flick but too sour.Tzimou is so fine as always.

Pretentious and annoying minimalism in a so-called low budget film (of course with the appropriate Hollywood personas).When oh when will the Tarantino copycats stop?

Woody Allen has directed,written and played (mainly) on his own films,a lot of them considered to be (and I mostly agree) pinnacles of intellectual and inspiring comedy.Scoop is not one of them.In fact,I detest Scoop with all my heart (and I thought Jade Scorpion was the one I did).Scoop is exactly what the word says...reversed.Ha,if one can call Allen an obnoxious slob,then here is the chance.Another cute screenplay,another idiotic protagonist duo,another one of those flicks by the New Yorker brain.

Everyone in the cast is unable to act...so why should one give credit to De Palma and co.?
First of all...the lavishing perfume reminds us of L.A. Confidential..and unfortunately it's major theft by Brian...Secondly...I'll pass.It's supposed to be a detective noir,all I spotted was an error based on a book.