They Shoot Pictures, Don't They - Top 100

Extremely influential... John Ford is a genius.

Important landmark

The greatest silent ever? Not my pick, but it makes an excellent case.

Very sweet.

Incredible intensity thanks to Dreyer and Falconetti; Impossible to replicate.

Incredibly well put together. Close to flawless.

Janet Leigh should really stay away from motels.

Welles is fantastic, and the opening shot is spectacular. An engaging, exciting noir. I can't even imagine seeing the studio's release.

And I choose to think that Heston was playing a Mexican who happened to spend most of his time around gringos, and therefore had no accent.

Large-scale romantic epic where the acting is the best part. Think Gone with the Wind, only with mimes instead of soldiers.

Good film, interesting commentary. It's a little too obviously didactic, but it's a practice for Rules of the Game a couple years later.

Could it really get any less than the full 5 stars? The 60's (and the rest of modern cinema) started here.

I have 'nothing' to say about this movie. Bergman's personal involvement with the actresses adds another layer of interest.

My favorite interpretation:
http://www.kinoeye.org/02/15/shaw15.php

If only Natalie Holloway were Italian.

One of the most moving - and certainly the most exhilarating - endings I've ever seen on camera. Yes, it takes a while to get going, but *wow*. This same story has been tried and tried and tried by direct-to-video evangelicals, but Ordet works where the others fail for two reasons
1) Dreyer believes enough - and is bold enough - to choose that ending
and
2) That ending really only hits home in the way that it did because of the realistic style. The camera never lies (you don't see phantoms, POV is consistent, no angles where things are hidden) and doesn't manipulate the emotions. (no close ups of people crying or lighted halos like in Dreyer's earlier Joan of Arc)

The combination means that we really believe. And that's what he was going for.

Best example of the French New Wave I've seen.

Poor, gullible Shelley Winters. She always seems to fall for exactly the wrong man. This movie has terrific atmosphere with a so-so plot. Robert Mitchum is a terrifying villain and I'm always a fan of expressionism.

Godard is always frustrating for me. Contempt is almost 8 1/2, almost Avventura, almost Scenes from a Marriage and almost a great movie.

Antoine is easy to relate to... Fantastic film.

I'll confess - I'm never comfortable with the slow pace of eastern films. Rublev had some amazing scenes and set pieces, but not enough to tie them together into a cohesive whole. If you're going to take up 3 and a half hours, you need to be saying a lot more than Tarkovsky does in this film.

Amazingly shot. Repeat, amazingly.

Has Bergman done anything I don't love?

Brilliant in its own right, a fascinating look at the type of filmmaker Fellini would later become.

Tarrantino's godfather.

Very well-made western. Excellent acting throughout.

I'm not a huge fan of neorealism, but I appreciate the economical, restrained style here. It's the only Bresson film I've seen. The ending is haunting, but even at only 91 minutes, it still takes a long time to get there.

Could be the greatest work of cinematography I've ever seen. Vittorio Storaro's bumping to the top of my Netflix queue. The combination of that moving, long-take camera work with the depth of field and beautiful, surreal colors is so unique and dreamlike. It's tough to find comparisons - maybe Godfather meets Eyes Wide Shut?

This is a must-see, and I'm a little upset no one pushed me to watch it before now.

Amazing how the same director can explore the same themes with the same tone and yet create starkly different films.

Fantastic everything

Altman's take on America. What did you expect?

Raskolnikov is a much more interesting character than a donkey... I'm glad I gave Bresson a second chance.

Wry look at modern society. Doesn't feel as dated as it should.

You've read this story a million times, but this retelling is enjoyable thanks to the efforts of Ophüls's creative direction that's unique without calling attention to itself.

Incredible timing - half a second too long or short on any of the gags, and they'd have fell flat. Buster Keaton was a genius.

Beware of breasts!

"If I shouldn't come back, I forgive you what happened between you and Sobinski. But if I come back, it's a different matter."

I already knew Carole Lombard was a genius. Now I have to start YouTubeing Jack Benny.

Nobody talks fast in movies anymore.

Maybe its just because I was ancy when I watched it, but I didn't think it was all that great, even for 1922. This is more than half a decade after Intolerance, remember.