My Favorite Movies

I love this movie. I think it is one of the funniest films I have ever seen. Heather Matarazzo was born to play weinerdog.

A beautifull, realistic, intense love story. Some beautifull performances, and a couple in
need of some tuning up. Probably my favourite ending to a film ever.

A cool french thriller from the sixties. Jeanne Moreau and Miles Davis are one of the greatest combinations ever realized on film.

A quirky, fun biography of a truly strange man, with a great cast, and one of my favourite directors.

Creepy, twisted and disturbing, without blood or guts. A realistic and harsh look at Hollywood.

Realistic, beautifull and with a good bite to it. I love Faye Dunaway! A great American film.

Warren Beatty is one of those actors who I don't like very much, but always happen to be in my favourite films. I just love this film, and always will. The end always shocks me.

Dark and realistic, with some of the best performances anywhere.

A poetic and playfull love triangle.

Bitchy, classy and ruthless. All About Eve is a true, and deserving classic.

This is such a classic. I will never be bored of this film.

One of my favourite romantic films ever. Bitter sweet.

One of the most beautiful things I have ever seen. The whole film feels like some beautiful dream, filled with perfume, music and magic.

To me this film is such a classic. It certainly isn't perfect, but there are moments which never cease to give me chills.

Mia Farrow is hysterical. I love her. This is such a fun, light film to watch.

Everyone in this film is so good. How can Woody Allen make so many interesting films; Does he ever get writer's block? Diane Wiest is my personal favourite of the ensemble cast.

Heartbreakingly beautiful. I don't think I've ever really understood what neo-realism was until I saw this film. The little boy's performance is surprisingly awesome.

Must be the coolest movie ever made. This film is completely abstract, and one of the most facinatingly gorgeous films you will ever see. The sets are the movie; There's not much else, and there doesn't need to be.

A film entirely about the theatre. Quite magical.

Surprisingly modern. Louise brooks seems very much ahead of her time. It seems that she was made for the silver screen.

A great noir. I have never seen Gene Tierney be so soulful, though she is not really a lead. All of the performances are great, except for one, in my opinion. I found Richard Widmark completely ridiculous as the doomed hero, which I felt marred the beauty of the rest of the film.
Visually the film has the gritty black and white feel of many of Kazan's films, but still has some of the usual 40's Hollywood gloss in many sequences. The plot is wonderfully dark, just the way I like it. A real noir.

Love it.

Love it.

When I was younger I had an obsession with old Hollywood horror, and this one was always one of my favourites. The narration and lighting almost give this film a noir-ish tone. The plot is extremely suspensful and tense, and also a prime example of post world war 2 / Cold war paranoia. A really good movie.

Nonsensical, and magical. This is one of Fellini's most intimate films. Not as glamourous as many of his other films, but very personal, nostalgic and elegant. It almost feels like a personal apology from Fellini regarding his own behaviour.

So much fun, and yet so sad. Begins and ends in heartbreak, but it's the comedic centre that you'll remember. Giulietta Masina is amazing.

Four of Roland Petit's ballets are performed by some of the dance giants of Hollywood and ballet. Roland Petit has never been my favourite choreographer, but his ballets are well suited to the technicolor musical treatment. My personal favourite of the four is the 24 hours of mourning with Cyd Charisse. Maurice Chevalier narrates, which is fun too.

I would rcommend this film to people who like films like An American in Paris and the Red Shoes. The gorgeous Dali-esque sets are also a highlight.

My favourite Garbo film. I think that she is much more powerful in silent film, and seeing her so young is great. I don't think she was ever more beautiful than in the garden scene.

Don't let the title fool you. This is actually quite a good noir; One of my favourite actually. There's something so compelling about Bonnie and Clyde couples, and this movie hits the topic right on the nose. Wonderfully pulpy, melodramatic, and exhilarating. One of the most enjoyable and entertaining films I've ever seen.

Strange and beautiful. A strange story of two parallel and intersecting lives. This is probably the best part an actress could ever hope to get, and Irene Jacob is absolutely radiant. Almost like an episode of the Twilight Zone in its idea, but mysterious and delicate in its interpretation.

This film is so dated, and campy that it is impossible to escape its charm. I could watch it over and over, and sometimes I do. I love Joan Blondel.

I may even prefer this film to the more popular Pandora's Box. I think that Brooks is even more striking in this film.

A beautiful film about a family. Sweet, sincere, sad and painful. Everyone in this film fits their part perfectly. Perhaps a bit schmaltzy, but who cares.

This is one of my favourite film noirs. I prefer this one to the great Citizen Kane, which I find somewhat dull in its perfection, because this film to me is so much more stylish and flavourfull.

This isn't a great film, but I just love it too much to rate it any less highly. Wonderfully bitchy and catty. EVERYONE IS IN THIS MOVIE. Rosalind Russel is a genius. I just love the world of these rich society women of the 30's. Perhaps it can be a bit soapy at times, but it's much more often completely hilarious. Norma Shearer isn't a great actress, nor a great beauty, but man can she cry.

Weird and fun. It doesn't get much more twisted than this. Bette Davis' career climaxes in her role as the cruel, demented Baby Jane.

This movie blows the English version off the map for me. The main reason for me is Lupita Tovar as Mina. She is perfectly sweet, sexy, innocent and vulnerable all at the same time. And surprisingly, the absence of
Bela Lugosi hardly seems to have an effect. More atmospheric, smoother and has less of the "This should be a silent movie" awkwardness of the English one.

A gritty portrait of the Depression in the South. Very harsh and hard to watch, but magical. This is what a good Hollywood movie is.

Very sixties and very French. Jeanne Moreau stars as the widow taking her revenge on the men who accidentally kiled her husband. Almost like Truffaut's Kill Bill. Jeanne Moreau is as great as usual.

One of my favourite films. Bette Davis has never been so sincere and innocent in a movie. Very interestign setting and idea. You can
really see how this came from a play. Humphrey Bogart gives a stylish performance in his breakout role. The dialogue is kind of awkward, and there's one particularly bad performance, but overall its a very well constructed film.

So perfectly charming and classic. Very much in the typical style of old hollywood glamour, but a little more daring than most hollywood films of the time. Sort of like half way between Camille and Rules of the Game.

Beautifull, and strangely haunting. Isabelle Huppert is flawless as the hopelessly passive, young French girl who cannot hold the attention of her intellectual boyfriend.

Amazing. My favourite of the Kubrick films I have seen so far. A visual symphony. Timeless.

A film with its head in the future and its heart routed deep in the eternal. A sincere and warm hearted drama about generation, destiny and acceptance.

Refreshing and exhilarating. All of the actors are great and improvise brilliantly. Gena Rowlands is a godess.

This is what a good teen movie is. A wonderfully satyrical view of high school, which deals with now familiar themes in a highly original way. The visuals are as pink and candy coloured as the dialogue is perverted and disturbing.

One of my all time favourites. There are so many sequences in this film, which never fail to give me chills.

Theatrical, gorgeous , wonderfully over the top and filled with eccentric characters. A film like this makes me wonder why we stopped using technicolor.

So much fun. I love screwball comedy, and this is one of the finest examples. Barbara Stanwyck and Henry Fonda are great in this Preston Sturges classic.

Filled with fascinating characters, and fuelled by an extraordinary faith in humanity, and life.

So much fun. Inventive, and completely irreplacable. Halloween's my favourite.

The strongest of James Dean's films. Disturbing , twisted and filled with Dean's signature angst. Dean and Kazan complement eachother beautifully.

Pulpy, beautiful, creepy, strange, fantastic; I urge you all to see it.

Completely surreal, and imaginative. Cocteau must have had a lot of fun making this. It is a poem come to life.

I honestly think that this is the best film I have ever seen. Beautifull, intense and very claustrophobic. It will shake you up.

This is the perfect movie to watch when you need to just film to watch on a beautifull day when you just want to feel nice. Some are better than others, but you remember what you choose. My personal favourites were the vampire one, the Cohen brothers one, the Bastille, the Walter Salle one and Gus Van Sant, and of course tha American Mail deliverer, but none of them were a total waste of time. You'll wish you were in Paris.

Beautifull and dreamlike, yet realistic and imperfect.

I love this movie. Katharine Isabelle is so perfect as Ginger. She's so sexy and evil at the same time, like a Barbara Steele for our generation.

I love how the werewolf legend is used as a sexual metaphor for puberty. What happens to ginger is really just an exaggerated version of what all teenagers go through. Instead of just feeling like she's turning into a monster, she really is.

I think this is definitely one of the best horror movies/ black comedies/ teen movies I have ever seen.

I have to admit I only watched the European release version, but I was very impressed. I must say it was one of my favourite Hitchcock movies I've seen. I still find his earlier films much more interesting, and less romantic comedy like than his more famous films from the late fifties and early sixties.

Robert Walker was absolutely brilliant as the flamboyant Bruno, milking every nuance to a t. The supporting cast is particularly strong as well, with the exception of the somewhat lifeless Farley Granger as the lead. Oh and the climax was absolutely unexpected and exhilarating. Definitely worth a look.

AMAZING! I love this movie. Almost makes Kill Bill seem like total plaigiarism. Stylish, passionate, brutal and deadly. Great plot, extraordinary performances, and visuals that look like anime come to life set this kung fu movie above the usual b grade trash. Any fan of Kill Bill needs to see this movie. The similarities aren't only in plot and theme, but in the amazing style. A rare gem.

I've always loved this film. A great mystery and a wonderful film. The cast is great.

I never knew that one conversation could hold your attention for an entire movie. It did.

Unbelievably beautiful. Contrasts the devastating effects of war with the reality that could have lived in its place. Tarkovsky's camera moves in mysterious and spellbinding ways. Nikolai Burlyaev gives the most remarkable child performance I have ever seen.

A beautifull, sad, funny and heartbreaking film. Guilietta Masina holds up the picture.

I love everything about this film. The music, the cast, the plot, the direction;EVERYTHING. Could Anne Bancroft be any better?

Beautifull, intense and uncharacteristically serious for Almadovar. Almadovar creates a world of music, colour, passion and flawed love stories.

This is a great film. Robert Mitchum has never been better than here, as the fantastically creepy preacher/murderer. Shelley Winters is great, as usual. This is also probably one of Lilian Gishe's best parts, though she has had quite a few. The great aspect of this film, which separates it from every other 50's thriller, is the bedtime story feel of the whole film. You feel like a helpless child watching this film. It is a shame that it is the only film Charles Laughton ever directed.

This is my favourite Hitchcock film. A view which seems to be unique to my taste. Perhaps it is not as intense and sophisticated as his other films, but I could watch it forever.

Oh god, what an amazing and unsettling film. I can't communicate how amazed I am by this film. So perfectly written and put together. Emmanuelle Devos is great as the female lead. Definitely a satisfying film experience.

A strange and surreal science fiction film that chooses to communicate its themes in a sort of modern fairy tale. How do you separate your identity from your face? How does your face affect your character? Who is a man without a face? These are some of the questions this highly experimental film asks.

I love this movie. Definitely lives up to its reputation as the ultimate Depression musical. I had seen 42nd Street and thought that this one would be a slightly more scandolous version of the same thing, but it is so much more.

The musical numbers are great and very creative (like all of Busby Berkeley's musical numbers). My Forgotten Man may very well be the most beautiful, effective and politically revelant song to ever appear in a Hollywood musical, while Pettin' in the Park may be the most openly sexual number you will ever see in Classic Hollywood. Of course all of these numbers have the inventive sets, costumes and staging that are forever linked to Busby Burkeley, but in the case of the Shadow Waltz song he seems to have reached a new height in bizarre spectacle (and I mean this as a compliment).

The cast is made up largely of the familiar faces of this genre who are all very good. Ruby Keeler may be the one exception to this. She can't sing, her dancing doesn't have much grace and her acting is rather pitiful, but you can't help but like her. She is forever the hopeful little chorus girl, and though she may be an odd choice for a leading lady, her vulnerability gives her an enduring charm. Joan Blondell is one actress who I can in no way make a complaint about. She makes every line meaningful. Her recitation of My Forgotten Man is one thing I will never forget. She holds together the plot beautifully, and manages to add a little sincere emotion to her tough talking character. A great show.

Charming. I can't not like this film. There's too much to like. Amy Adams' performance is amazing. She can pull off blind faith and hope like none other, and it's nice to see her finally able to hold her own film.

Disney knows all of their own tricks too well, and it shows in the self deprecating opening sequence which revels in its own all to familiar conventions and idiosyncracies. Everything is there. All the actors are perfect in their archetypical characters. Don't expect anything genius or ground breaking, just sit back and remember what it was like to be a four year old.

Gorgeous film. A terrible tale of cruelty, revenge and betrayal. Maria Casares is unbelievably glamourous, cold and cruel. She is the perfect backstabbing bitch. Elina Labourdette is beautifully pure, even in her role as the tainted woman.

Everything in this film seems to glow. Gorgeous, glamourous black and white photography worthy of a Max Ophuls film. A beautiful excercise in glamour and melodrama. Highly recommended.

An adorable little refreshing comedy. A sort of backwards romantic comedy. Jason Reitman's youthful aesthetic, Diablo Cody's refreshing script and a few great performances make this film a joy to watch.

Cody's script captures all the uncertainty, awkwardness and general confusion of being a teenager. Juno is a girl, not really sure of why she does anything. In the process of finding out who she is, she ends up pregnant, and is expected to deal with something far beyond anything she could have prepared for. This is not a sob story nor a straight comedy. It is a wonderful mixture of everything, that cannot be slotted into any typical genre.

I really loved this film. I wasn't sure at first how much I would like it. I've always loved Tim Burton, but I wasn't sure how much of his vision would be able to flourish while working within the confines of an adapted stage play. I was completely and gloriously surprised.

As usual in Burton's work, the visuals were absolutely stunning. Dark, gothic and impressionistic. And the new found use of highly computerized graphics did not harm the film at all, but gave it an even more nightmarish quality. Burton's screen seems to be equally fascinated with the surreal world of German impressionism, Dickensian dreariness, and (particularly in the brutal murders) a sort of Hammer film style of English horror.

Johnny Depp and Helena Bonham Carter are pitch perfect. Sondheim's music are wonderfully dark and manage to add greatly to the atmosphere (not that Burton needs any help giving atmosphere).

A strange, gothic, romantic and magical film. Not Tim Burton's best film, but one of his most atmospheric.

Fascinatingly realistic and completely unapologetic. This is a film about illegal abortion, and it is about as unpleasant as it can be.

The look of the film is completely natural. Nothing appears to have been altered. I'm not sure of this, but it seemed to me that the film was even shot without traditional lighting, and that most of the light came from already existing sources. The bright, quivering flourescent lights seem to communicate the coldness of the harsh Communist society in which the characters manoeuver. Noone is understanding, everything is business.

Anamaria Marinca is brilliant as the young college student trying to help out her friend. She seems to communicate everything without saying a word. In one of her best scenes, she merely sits and listens uncomfortably to the dull bourgeouse chatter of her boyfriend's family, and yet she manages to steal the scene. Perhaps the reason why that scene worked so well was because she knew that they would never have to deal with what she was going through. She had just whored herself out to an illegal abortion doctor, and her boyfriend is upset and embarassed by her anti-social behaviour. That is a testament to the wonderfully tormenting script.

Mungiu follows her so closely we feel everything she feels.

A strange and magical, or shall I say mystical, masterpeice. No other director could ever manage to make an audience accept magic as a matter of fact part of existence as effectively as Fellini does. Fellini takes us into a world, which we need not relate to our own to appreciate. A world where the every day issues of our own lives co-exist with that of the supernatural.

One of the most intriguing premises, handled in a most playful manner. Unlike other film noir, where the corruption seems to cast a shadow over the whole thing, this film manages to keep a rather light-hearted tone. Beautiful, a classic, everyone should experience it.

I didn't expect to be as scared by this film. To my knowledge of what the film was about, I thought that it would be more in the suggestive and more unsettling than scary style of films like the Others and the Innocents. I was wrong.

This film is very scary. I don't think I've lost sleep over a horror film for quite some time, but I suppose that proves that although we may become more cynical, we can still be surprised and affected by a good horror film. As always, I don't think this film will hit quite the same chord with everyone. it begins quite slowly, which makes the sudden appearance of scary sequences quite unanticipated. The one problem I do have with the film is the ending, which proves less than gratifying and all the more disappointing after how well the film had been going up until that point. Never the less, I would definitely encourage people to go see this, if they are willing to expose themselves to some imagery that is sure to haunt their dreams.

I loved this film. I know some people may find it hard to watch, but for me it has managed to do something rarely accomplished. In all the musicals I have seen over the years (and this isn't really a musical at all), never have I ever seen such a seemless and plausible transition from traditional film storytelling to storytelling through dance. This is what all musicals struggle with, and this adapted opera turned flamenco film manages to do so in a magical way. I would say this is the best dance film I have ever seen.

A less than fond memory of childhood. A young girl finds her own way to deal with the world and the people around her. Her simplistic view of the world causes her to do things that she can not understand the gravity of. She is neither demon nor angel, just a child trying to interpret a world she can not understand.

Ana Torrent returns to play yet another symbol of confused childhood.

A truly original film. How rare.

I don't think I've ever been totally satisfied by a vampire film. Vampires are such an appealing and romantic subject matter to me that I've never quite felt that one has met it's full potential. This film has.

An eery, gothic nightmare. No other vampire film I have seen has achieved its atmosphere so effectively as this. None. Everything contributes to the over bearing feeling that something is wrong, from the very first frame. To me this film is beyond comparison with Nosferatu. Great. More people should see it.

A glorious bittersweet love story. The colour scheme is amazing. I could love this movie for the wall paper alone, but there is much more to love about this movie.

A movie without dialogue, and only singing could easily be tiresome and stupid, but this film gets away with the impossible and creates a world where even that is plausible. There is a lot in common with les Demoiselles de Rochefort, but this film is surprisingly more down to earth. Unlike Les Demoiselles, things don't always work out, and this subtle change makes this film all the more surprising and original.

Wonderful. Another superb film from the master of romance. This film captures all the shame, desperation, glory, and fun of addictive gambling.

The always incredible Jeanne Moreau leaves a memorable impression as the irresistible femme fatale. We know that she can only cause harm, but her allure is so strong that the audience itself is on her side.

The overall impression of the film is a portrait of gambling's highs and lows. In one way it is anti-gambling, however it does not fail to show the excitement and fun of it. The lovers lead an a care-free and completely irresponsible life style. In one way we can feel sorry for them, and in another we are totally envious of them.

Perfect classic Hollywood. Although I have always loved classic Hollywood cinema, I never expected to be as wowed by this film as I was. It is an exceptional piece of cinema.

Dietrich was the definitive muse for Von Sternberg. We are all familiar with the Marlene persona, and we have been happy to watch her play herself again and again. What is so shocking about this film is that we see a totally different side of our all-too-familiar German sex bomb. Von Sternberg let's us have a glimpse beyond the larger than life features and porcelain skin into a delicate and unfamiliar creature.

Her husky voice and masculine flair are nowhere to be found. Instead we meet a soft spoken, gentle, loving and human character. Although we love the Marlene of popular recognition, this version of her is infinitely more sympathetic for the audience.

Von Sternberg's camera seems to embrace her every move, and the equally beautiful Anna May Wong plays off her perfectly. The themes of lost love and the marked woman, work very well. Every move in the film is perfectly studied, so much so as to make the scenes with Dietrich and Wong have an almost ballet like feel to them. There is also an element of the pre-production code found in many of the more scandalous lines, such as "It took more than one man to change my name to Shanghai Lily."

Although this film is from a world far removed from today, I consider it one of the most satisfying film experiences ever. The film is all about Marlene, but in this case, she deserves it. A triumph of acting. Every gesture, every glance, every line has been slow roasted to perfection. Magnificent.

Totally awesome! I know this may be one of the most easily parodied films of all time, but imitation is the greatest form of flattery. The film plays itself out like one long episode of the Twilight Zone. Although it may be hopelessly far-fetched and undoubtedly bizarre, it was a creepy, campy, well put together, and thoroughly enjoyable movie.

I will love this until I die.

The only Wes Anderson film I find fully satisfying. His films, however stylish and alluring they may be, have a tendency to come across as self indulgent. In Rushmore, I feel that he has succeeded in creating a perfect balance between his natural sense of style and a satisfying narrative. In this film, the style does not distract from the narrative, which usually just tends to hang there like a piece of tapestry (see Darjeeling Limited), but instead manages to enhance the narrative and work towards creating a perfectly unified whole. Another thing that sets this film apart from his other films, is that the characters are just as unique and interesting as the visuals. Perhaps the characters in Royal Tenenbaums were original, but after Darjeeling Limited and Life Aquatic, they start to seem a bit repetitive.

Nostalgic, but never sentimental. Speaks to me perfectly. Finally a good, realistic high school movie that people can actually relate to.