Urban madness

The peak of italian neoralism. an incomparable masterpiece which explores the avatar of a poor family in the post war escenario. tears invaded my face the first time I saw it. and to this day still amazes me, how bitter, shocking and yet touching and beautiful this film is. one of the most powerful endings in cinema history,

As beautiful and nostalgic as sad and depressing. Truffaut begins his film career with the right foot, as well as his alter ego.

Buñuel's masterpiece is also one of the most crude and heart-breaking stories ever told about children growing up on the slums of a corrupt, violent, blind and messy city. one of the most depressive documents ever produced.

A seminal neo-noir, one of the most powerful and violent psychologic dramas. Scorsese's master direction and Herrman's jazzy score bring a new meaning to god's lonely man...

A triumph of the heart and spirit over social standards.
Paddy Chayefsky's screenplay is gold on everybody's mouth, but especially in a magnificent Ernest Borgnine, as the modest and kind-hearted italian american butcher whose romantic life is far from idyllic.
Delbert Mann's direction shines for its simplicity and good judgment.
One of the warmest, most touching and rewarding self-examinations and sentimental recollections I have experienced with a motion picture.

A milestone of 60s cinema re-birth, one way ticket to the the decandence and misery of NYC, Voight and Hoffman are two hustlers with hope, innocence and compassion for each other. Raw, brutal, bitter and fascinating.

Fellini narrates his sometimes pleasent, sometimes hard youth with his peculiar friends. An overlook jewel that inspired many other, like Barry Levinson's Diner or George Lucas' American Graffiti.

Scorsese's take on a Kafkian comedy with deranged proportions, one of his most underrated and unknown little gems.

No one hits rock bottom like Sean Penn, in a contained but powerful performance of a deeply disturbed man in a hopeless crusade to shake the foundations of the ever indifferent government. Intense, grief and shocking hidden gem in the same vein of the anti-hero and suicidal glory tale epitomized in classics like Scorsese's Taxi driver or Peckinpah's The wild bunch.

Truffaut homages Henri Langlois, Laurel and Hardy. Hitchcock and Balzac, and brings back his alter ego, Antoine Doinel. Now at the doors of adulthood, he was kicked out from the army, and struggles to find a job, first as a night porter, shoe seller, tv repairing engineer and even as a private eye for a detective agency. But don't get confused, this is a pleasant, charming comedy, where all the sorrow and rebelliousness of his childhood is gone for good, and now his only concern is to win the heart of the girl he likes.
Nostalgic stroll through the beautiful Paris, in company of a magnificent auteur who always knew how to gather the sweetest moments of life into a film; Jean-Pierre Léaud's likeable absent-mindedness; Claude Jade's natural beauty; and Charles Trenet's sweetest ballad.

One of the most verosimil, startling, crude, and disturbing cinema vérité about a 14 year old playing with death in the heart of europe's capital of heroin.

Intense, visceral, raw. hard to digest and yet interesting existentialist tale of a god's lonely man, a troubledmind french butcher who will take what he conciders fair, no matter who falls on the way. director Gaspár Noe homage to Godard and Scorsese. not for the faint-hearted.

William H. Macy plays with brilliance another lonely wanderer of the night, tired of his pathetic existence. if only Stuart Gordon had more talent behind the cameras, and the photography wasn't that bright. In the end, it's uneven, and the violence a bit cartoonish, but the strength of the piece is, of course, Mamet's dialogue and edgy situations, always compelling and deeply moralistic.

Morbid and fun cult classic that shows the big apple's nocturnal agitation caused by a beautiful angel with a "death wish" m.o and a deep mental disturbance ala "repulsion".
Too bad Ferrara's impossiblity to push further into psychological horror, instead he goes for sensationalism. The leap between the innocent and disturbed young girl and the vexatious, psychopathic avenger was a little too abrupt, but it has a crazy soundtrack and the atmosphere for itself is great, sinisterly kitsch.

Scorsese's segment is the best, great story, cinematography and acting. Allen's one is pretty charming and funny, but Coppola knocks down the show with a worthless piece of childish crap.

Director Vittorio De Sica and screenwriter Cesare Zavattini, show again their good sense and total mastery over pathos. Characters of exemplary moral standards who find themselves unjustly trapped inside a somber existence, condemned to indifference and oblivion.
It's been quite a long time since I saw a film so beautiful, involving and heartbreaking. I'm not embarrassed to say I broke into tears at the finale. What a splendid achievement.