My Favorite Movies Part 3

Totally sexy,for all the right moves,Brisseau is not afraid,French vie sexuelle at its greatest velocity.I felt caressed by the 2 girls' erotic pilgrimage,an asexual I dare say insight.Frames,zooms as cold as they can be keeping us distant and yet surprisingly touched by their "accomplishment".That of sadistic empowerment.

Another damn disregarded director,brilliant irony and obsession.According to the laws of libido,ignorance of the sex object is transformed into hidden passion.Richardson is magnificent and another stinging performance by McKellen.Mckenzie is aggressive to the compassion of the heroes inside this immoral story,clutching them by a tinging rope ready to be cut off.Pessimistic for sure.

Virtuoso comedy by Lester who was on a creative roll back then,at that specific point the Beatles were the tip of the iceberg.Oh those lads.Despite the vile comments which could be heard,it's a highly enjoyable flick setting aside the musical taste of the everyday viewer.Well,except the many songs in the film!

Camp fun and to tell you the truth,this almost cheesy but with the utmost suspense little b-movie manages to finish first in the line of fiery Academy nominated or even winning films.Blunt,"offensive" against human nature,the film Ed Wood would wish to successfully direct.

Dashing film and a great furioso.I was always curious why Edwards had to crumble apart after this film so he could submit to conservative,dumb-minded flicks such as Blind Date and Switch.Here you have performance class,especially the charismatic Robert Preston,in accordance to lovely musical spectacle.

Marshall's greatest achievement is also a sweet coming-of-age tale,something Hollywood stopped making ever since studios drifted on a toxic commune of crows and businessmen..Probably Hanks' best performance to date,the 80's sure had kitsch and down under facilities,it's a fact.They did have indecent guilty pleasures in any case.

I just wish Madonna didn't exist on this picture.Classy,aristocratic,ironically one of the splendidly made comic based movies,a worthwhile colorization of a cult storyline for all comic lovers,moreover it's a noir plot with exaggerating characters.Beatty works his path and adds up a massive amount of grotesque humor,so why say no?Would you prefer another Hulk????

Desirable in the lackluster glory.And yet the feeling it possesses compels your significance through millions of tides.A nobody king becomes the object of Bertolucci's magnum opus but not his signature work.Perhaps a distraction,still a wonderful distraction.It's unfortunate that this picture veils the abundance of his previous masterpieces.

Hicks' attempt to seal morbid childhood is a success and a brilliant equilibrium to the present salvation.Helfgott's true story marches as one of those small diamonds from Australian cinema and as a clean-cut biography where you don't always notice (Rush needs no introductions) the "paraplegic" in our case a mentally disturbed pianist.It is in fact a very emotional father-son drama.

A must-see not for the real background but as Ophuls once said,"happiness is never happy"....contradicting?A shocking statement for the western community to open those blind eyes.

A dream-scape of emotions and..flaming passions.The ultimate suburban satire (screenwriter Alan Ball went on to create the masterful series Six Feet Under) and of the films you could say aren't so bad as to winning the best picture at the Academy Awards.

It's kinky,it's sexy and there's amorality all over the place (and don't forget the stains).Gyllenhaal never looked so luscious and the wittiness of the script just doubles the fragrance of this flick.

We haven't seen Aronofsky's groundbreaking film yet.His debut clearly presents the effects of mystery and fantasy genres mingled in one speciment of cinematic quiz.Maths and theory colliding.

Sexy,cajoling,a stir to the senses.The most erotic and at the same time most sardonic Lynch.Cage and Dern look as if they're 2 savage beasts and yet victims of the bitchiness by the adorably satanic Ladd.Sweet finale.

Excluding the acting "skills" of miss Shields even as a child,Pretty Baby hides a deep melancholy Malle would continue exploring from Atlantic City's unfullfilling desires to Damage's forbidden coitus.A great underrated film with a far-fetched emotion of sexual responsibility.

Unlike the chaotically disjointed Across the Universe (Lennon would have debunked it!) and the expressive but cart-postal Frida (stellar art direction/acting),Titus deals with Taymor's fantasy more than one can imagine.Adapting Shakespeare needs a certain taste,well...adapting it like a visual,bombastic fandango is another thing.If there were a bit more craziness,it'd get the highest of scores from me,still...the technical and sociopolitical work is passionately endured,tragedy mingles with cataclysmic majesty.

Bloody brilliant,we might not have the likes of a traditionally based director but Mullan is ecstatic with his work,religiously blasphemous and condemning in an underlying,pious way the conservative real methods of those damn nuns.All of the young girls' cast is amazing!

No effects,beyond good and evil,a heartwarming and bleak tale of reconciliation with the past and..breaking with the terms o normality.What's unfair is generally portrayed better in films like Sling Blade and the eventual aftermath rather than In the Bedroom.Thornton achieves critical acclaim and a following support for this film is amongst '96's best with a luscious cinematography and a magnificent performance.

Forget the crappy sequel and stick with the original swinging comedy!Ecstatic and It's no wonder Landis was one of the last spectacular Hollywood directors of the American 80's.Less overreacting than Animal House and not much of a parody as Werewolf,the duo gives excellent tempo to the script.

A film that will bring shame to melodramatic Eastwood attempts like Changeling,Million Dollar Baby and overall a brilliant biography of a prolific jazz musician.Moody,plunging in details and yet the culmination in so many viewpoints offers such a joy and pity at the same time,the music is a sorrowful mourn to a past legend.

Bloody impressive for a medium-budget mystery story.Cage is awful as most of the times but Dahl has studied the early samples of neo-noir and stylistically fuses his picture with unearthly tones and old-fashioned editing to show that Hollywood's ideas can prove alternative at times.

A gangster flick in the eastern tradition,Yimou is not ashamed to produce vivid landscapes and some morbid ones in the first part.It's a mid-90's Yimou,compared to the heartless Hero and Curse of the Golden Flower,this one possesses a terrific strength/narration recent gangster flicks (in general) will never have.

I loved all of Querelle,regardless of the lukewarm finale of mister Fassbinder,his death marking a significant cinematic loss.His motion picture about all the self-centered egoism all these years reveals itself starring a rebellious young man in the form of an Archangel of Darkness,a similar reference to Genet's homosexual study.Yes,Fassbinder is not in his forte despite the beloved subject matter of his.Kudos to the theatrical prestige linking the degeneracy of the lower scums such is Moreau's character.

King Lear intertwined with pragmatic metaphors.The Jester protects the King and Three Brothers lead the penultimate rampage.Kurosawa is leaving behind him the Thrones and Samurais and unleashes his final epic film,valleys and meadows surrounding his vision.

A dark flash and there you go.Araki enters the independent sphere with a naturally eclectic movie,unconventional and open-minded as many reviews exclaim.Excellent imagery and a retribution for all those actual innocents,nothing pretentious about justice.

Sunday is sweet...like all Sundays it moves fast forward,annoying in its expedition of improbabilities.Little gifts and surprises and Nossiter offers us a great '97 diamond.Harrow is superb on this one,Suchet equally poetic.

The time when Hollywood used to create such wonderful weaving stories has passed and Penn-Bancroft will always preserve the status of real drama.Patty Duke on a career performance and of the last great cinematographies in old Hollywood.

Charming,intelligent and without a doubt,one of the origins of dramedy.It's not a one-man show,it's probably a very spiritual film,which will rise the soul even of the non-Christian groups of people like me,Poitier stomping his politeness in a flawless performance.

Greenaway uses groundbreaking effects to showcase his influence in mathematics,fine arts,puzzles,juxtapositions and erotic flavor,thus making a visually titillating film,introspective and with boiling lavishness.

Olivier,the brave little toaster.Megalomaniac beyond good and evil,a person who pushed Shakespeare to the limits,and in his personal Henry V vision tarnishes the philosophy of the play.He probably knows we're in the movies so in spite of the rejuvenating colors and the chirping atmosphere,we are aware of the Shakespearean pathos somewhere in that clamor of fight.

Brilliant conflicts.I wouldn't have thought Fellini could actually rampage a bunch of world-class,assuming they are,musicians,engage them in sociological battleship and pinch the audience like saying"The Maestro is the Spirit,the Force of Nature..",so in order for complete rule,anarchy must initiate first!A cult pleasure like Inland Empire for Lynch.

Psychos,a modern trend.Kurosawa fixes and intensifies an alternative stage play of executive dilemmas and mysterious deception.A kidnap is the reason for many secrets to be heard,what lies beneath the corporation heads,a Russian roulette of breathtaking resolutions.Excellent surprise by a clearly epic director.

Superb villain on a Disney film,many will assume it's their cup of tea but don't expect the sugary elements of Cinderella and as heroic as it is,it cannot be compared to the recent Disney abominations like Hercules and Atlantis.

Classic Hitchcock of the British period,equals the Lang and Hawks perfectionism in dark overtones and humidity crawling from beneath every corner.Homolka and Sidney are a supreme duet,although the film thrives with distracting propaganda during the pre-war period,this small diamond weaves Hitchcock's suspense with philosophy.

Liberating thoughts circling the masculine minds..so what happens when the female responds in equal tension and..bewilderment?crafting detail of the sunlight and perhaps a lighter work for Bergman excluding the last quarter.

Punishment,self-inflictive testament.Man in the face of his destiny..crumbled and torn apart.The trauma Jodorowsky implies is what will expiate us finally and leads us to personal catharsis.Wonderfully crafted film,exceptional tricks by the steady-cam,it often feels as if you're in another dimension and these unearthly events appear normal indeed.

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.

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!!!

A personal favorite from the early works of Bergman and possibly the most inspiring one (remember Woody Allen's homage on the elevator scene in Manhattan Murder Mystery).Feisty in its soaring delight,the film creates a warm affection towards women and this mysterious characteristic that makes the opposite sex so unique,even in their troublesome.

There has been a lot of clash concerning the ending.As a person who continuously supports the critics (most of the times),I believe it serves for the purpose of humorous detail on a person's wild imagination,not to mention an elderly professor's brain.Stupendous sequences and blackmail aura,Robinson is steady and clam in his stressful character,Lang directing one of his best American films.

The English can do no wrong.A rising star sitting in the director's chair having 4 future giants in front of the camera,deliberately tarnished cinematography for the social depiction of a counter-cultural status on Hardy's book.3 decades later Winterbottom would explore another Hardy book in perfection,nevertheless,Schlesinger gives us a magnitude of a film.

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.

Visconti's opera out of control...Loosened strings and the damage is catastrophic.If only it were in the middle of his creative period,we would be placing it amongst gigantic films like Ludwig.An artistic exuberance nonetheless reaping the inner personalities of the protagonists.The eye-candy costume/art direction representation is a wondrous contrast to the filth of aristocracy.

Revolting behaviors,gross-out S & M's clashing with a beautiful mood of irresistible,sensual satire.The decadence of the film noir in my humble opinion.

I aspire to become familiar with Hsiao Hsien's film package,in a greater degree through his past movies.His independent mambo derives a swaying emotion and a texture of images brimmed with poetry no matter how many neon lights appear.There should have been a more "undercover" mystery in all this,it's an obvious fact this girl's loneliness pushes her endorsed senses.The 2000's is a new era for Taiwanese cinema and Hsien.

Giannaris uses religion as a vibrant jukebox.Repressed emotions,metaphysical threat,all these are common themes referring to his style.So..one day in the midst of heating August...it's a fearful expedition if I may say.Ravishing for the weak.A portrait of some individuals,leftovers in their private road trip.Tzimou is grant,the picturesque editing provides the beat.

Let's be honest,few movies have grappled youth's troublesome occasions and personal scales.What forms this veil of coughing smoke is our social filth,the end of it all.Albert puts it in greater holocaust: "revolution will seize to exist".As is revolution ever occurred in the first place....

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.

From Egypt to Sardinia,Moore's Bond channels his bittersweet persona,a sensation in the eyes (and...accent) of Barbara Bach,right beside of a dueling villain.Jurgens gets one half star from me,well...I suppose Jaws is a cult favorite.Here's what happens when you have a good director on a Bond film: Moore isn't so annoying!

Top notch synchronization of the sword clashes-political backdrop,a perfect action/adventure film,possibly the best you can retrieve from mr. uneven Caton-Jones,Lang is a miscast but Roth is one of greatest bad guys of the 90's.An overall highly enjoyable (if pseudo-historical) flick,with that darn beautiful Highlands trademark and leftovers from Errol Flynn types of films.

A savage creature lurking in the dark,somber city of New York.Perfect!!!Kerrigan introduces to us a surreal environment in all its passiveness,how illuminating this is,Dardenne portray the suicidal community,their U.S. fellow director dwells in it.The relief of the everyday life,the late Cartlidge in a magnificent performance as the object of demolishing senses.

It is a cute and exuberant little Disney flick,avoiding the tear jerking moments of the lot in Walt's cupboard of tales,but there's also incorrigible pragmatism and forcing someone to be touched isn't always working.King John however is one of the most hilarious "villains" in cartoon history!

Of course it's a porn flick,undercover of a real storyline,historically designated and we all know Tinto Brass is but a mediocre naturalist.It surpasses paradoxically Emmanuella since it does not always contain a "supposed" passion to others' caresses.What am I talking here?If it weren't for MacDowell's splendid portrayal,it would be a bitter Turkish delight...

Ah,bliss,carefree honey-pie...no country for drunken horses,or an effective title for the parody of affairs by a master of literature.Ferreri justifies Bukowski in the role of Gazzara,and although not his premier erotic film,Marco assures us we are not in desperation,so viva la vita,eh?

Slick little film,Cruise in his early days and yet the indecency behind the plot covers a truly unsatisfying prejudice to mayhem.Why can't this film go to the limits and show exactly the underground wretchedness of so-called pimps and lousy post-teens?Because most Hollywood films are safe...
A second re-read brings in the key element of this feature.Temptation is eloquent.Brickman's sole worthy feature is how to create a truly underrated film and vanish afterwards.

Gaelic proportions for such a sexist film.A very hilarious Hackman compensates those 2 hours of enraged fury.No,really.A drooling picture,the Titanic pattern appears in excellence,so why the torn elements?None but the camp's desires...

A passionate filmmaker like Rossen could have switched off the engine,return credits to the producers and reject a project like Alexander's life.Paradoxically,not only he's successful in accomplishing it,Burton is hermaphroditic in a masculine facade just as Alexander was supposed to be shown!So Mr Stone you can kiss my sorry ass!!!

The bard would approve.Craftsmanship for the scholars,Branagh enters the American department with untouchable perfectionism.Ah,the joys of amour and distinct circumstances.All this while Keaton delivers the weirdest performance of his career as Dogberry.

The apathy of political consciousness.Andreotti isn't the first or the last corrupt politician (recall the Nixon and Stalin examples of the most famous exemplary state),it's just he has a unique desire like any single politician.The thing with Il Divo is Sorrentino's amount of information and endorsing background doesn't prove being a minus rather an uplifting mood,especially with the highly recommendable soundtrack.A peculiar statement but yes,it is one of the best movies of the year.Servillo is breathtaking.

Impressive epic tale,what I like about Ridley Scott is that after the 80's,exploitation would be the suitable genre for him.I mean,it's innocent and dark simultaneously,expertise villain by Curry and a fairytale atmosphere yet what's the big deal of this all?I prefer seeing it as a devotion to his imagination rather a class-A cinema.

Respected director Lewis Milestone struggles to achieve the sound of fury as in Western Front.Well,there's exclamation alright and noisy distraction but where has all this aesthetic poetry gone?A minor triumph in spite of the many introverted sequences and non-linear battles.

France as a lost identity and a preoccupied wall of diversifying wraiths frightened by their own disguise.Poland as the equilibrium of the black and white dreadfulness of both lands.Zamachowski pulls a very intense in its silence role and Delpy,the femme fatale by mistake.The second part of a grand auteur trilogy.

Touching,heartwarming and earthly illustrious!Environmental care although it's somehow plagiarizing out of the original material being the humanization of robots and their real infant acts contrary to our species' cocky immaturity.Excellent soundtrack and it may not overcome previous Pixar delights but it sure is a great era for animation.

A deliberately offensive uppercut to Chinese moral significance by a new director of the post-generation X of China.The near thriller elements of Blind Shaft are the heartbeat of his research.I'd normally accuse the script's tendency to drama but the acting is stellar and the unexpected finale events are as ironic as any Coen Brothers "dramedy" film.

Lounge atmosphere,dim direction,2 femmes dangereuses..what's missing?A mentally disturbed equation.There you go..and you all thought great horror has vanished?

Dickensian England is being described as a manipulative conversion of buffoons and upper class crooks and that adaptation is no exception to Charles' spirit.Edzard keeps a low profile and with the ever-mighty Guinness,the precise decoration of 19th century England,notwithstanding the fading background of alleys,moist corners..the book's rich complexity doesn't wither.

The main problem with Candyman is that it's strongly,unflinchingly based upon the serial-killer wraith of the picture whilst no one else of the characters supports this very sinister plot,an urban,demonic correspondence similar to the likes of a nightmarish Elm Street but this time the obstacles are the impending disaster.Honest like an Event Horizon but could have been developed as a b-movie and not as a major flick.
Remains of higher quality in any case than most modern horror frauds (Wolf Creek and Saw,I'm watching you!!!)

Exceptional,empowering by the minute,the outcome?Don't trust anyone.This is one of the best Greek films to come out this century of ours,no more or less,Mourikis is captivating.

Parallel "universes",indifferent war-zones and dream-like situations,a certain ironic slash as well by the sensitive Lee pertained to his characters.Carnal,espionage creation,moody and amazing nobility,Tang Wei is an attractive tigress.Do not miss it...

Some have Mummy for their guilty pleasure,some have Snyder's atrocities,speaking of several modern blockbuster releases...the reason for my choice would be Verbinski's sole accomplishment(second goes Mouse Hunt),a larger than life studio approach on pirate life,similar to the nostalgic Hollywood of the 30's and 40's,I'm not certain whether Flynn would approve or criticize Depp's extravagance but a performance remains a performance!

2 allegorical stories make this a demi comedy by that legendary scholar/poet/post-modern inquisitor.Cannibalism,a series of totalitarian fragments,the director Marco Ferreri and cult avant-garde figure Anne Wiazemsky in guest roles,why...it's a nutcase!It's more than a superficial story however,faithful to a leftist idea of freedom and anarchy,Pasolini presents us caricatures in unorthodox angles and...carnivorous lusts!

Humorous,terribly campy (for the Hollywood standards of the 80's) and THE most teen Spielberg,I defy the norms of criticism and hell yeah,this is a fun ride in the amusement park of archaelogy,why...even partial mysticism!

Apocalyptic manifesto,the last 20 minutes are what our subculture today should have been: decadent in a vicious square of thoughts.And here is the wizard's illumination,a plot where what's seen isn't less real than what's felt.

Harsh and realistically squashed by Omarova.No,Schizo is not the common peasant on a small town nor the bully against authority.It's a sweet debut despite the psychological weariness and the social comment of poverty.

Raw humor and incredible dadaism.Wes Anderson knows he's influenced by masters of literature and surreal comedy,so what's better than to present it in a feature more powerful than its irony.Morbid scenery,in addition to an over-the-top performance by Hackman,here's to the modern comedy of 21st century.

A breathtaking feature,supreme,challenging and tight inside the faculty and classroom anxiety,rhythm,call it whatever you wish.2008 Cannes Film Festival presented several great movies and one of them is this simple story unbound from prohibitions and puritan thoughts.The teacher as a means of knowledge and not just a strict individual.Anti-authoritative?Maybe reality is as disturbing as prismatic joy.

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...

Infatuating comedy of manners by the studio pro Michael Curtiz.Regardless of what might look as another frisky comedic attempt,the heart and soul of the trio is glaring,particularly Ustinov's Casanova/Thief talent.One of those moments that the film adaptation overshadows the original stage play source.

Another film which is a thousand times better than the book.Whereas the molestation nightmare surrounding the air is a profane matter,the film itself measures all of the character's decisions and fruitless wants from their futures.Eastwood emphasizes on a strong drama and achieves a place on the modern era directors.

A charming pearl,nowadays,real adventures require a special pilgrimage.The Warrior Within.Khan portrays the spiritual conclusion of an ecumenical hermit.As boring as it sounds,I assure you it's one of the recent "unknown" great films.

Tearjerker,profoundly didactic and yet Streep transforms Schepisi's dry,frustrating wrath into a dynamic noise,a justifying presence,an effect only real actresses like her possess.

Which is which?The primary insight is Paz Vega.A wild,carnivorous cheetah,providing a passionate,frivolous dash in a jolly film with hints of melodramatic strings about love's torments.How does fate sound in Spanish?

Pompous and overtly tragic,an alternate take on "what would be like to twist a Hitchcock mystery in a...Stallone style o' flick?",and Cameron's thinking is surprisingly an ode to the audience's camp pleasure.Weaver is however a much better actress than her first appearance in Alien.

Screenwriter Clavell offers Poitier a dynamic performance placing the antagonism on a counterculture highschool.A term harsh yet severely distinguished from the "noneducational" term.It's a cute film,It's also the pin-point of the Dangerous Minds type of films a few decades later,certainly...we all realize Clavell's film will be the one to stand the test of time,yes?

Panayotopoulos expresses his love for the medium,cinema.A Greek filmmaker who has re-captured the auteur essence on the one hand and like this film managed to over-impress with his capacity.It's a haunting film though,Variete,and don't let the meaning of the word fool you.

A simultaneously pompous and top-notch artistic edifice bloomed with the silence and photographic images and the poetry of one of the most important Greek scholars ever.The criticism it received from the Greek public and critic groups was undoubtedly for the lack of substantial linear,the usage of beginning and an end.Smaragdis' work was because of this thought.A variety film,a biopic inconsistent,avoiding the conservative environment and modern tapestry.

Marketaki didn't live enough to expand her talent.The few films left behind are proof of her personal style and careful observance.The Price of Love is one of the good films that happened to appear in an era where Greece had a downfall with straight-to-video film success.Interesting depiction of a conservative community though somehow steady compared to today's standards of film-making,but Loulou is truly moving.