My Favorite Movies

Definitely not for everyone. Only by reading the book I have understood why it had to wait so long to be filmed (Where the Buffalo Roam with Bill Murray is not an adaptation). Overwhelming with colors, pure insanity and the bitter truth about hippie era. A must-see for fans of Gilliam/Depp/the sixties (fans of so called recreational drugs as well).

Unappreciated by critics, but loved by me and many I know (even many more I don't know. I unite with you all, dudes & dudettes!). Packed with twisted humour, hilarious dialogues and f-words. Goodman, who appears constantly in Coens' pictures, has made his best performance in years. Great supporting roles, just can't find any flaws in this movie. Man.

This is ultimate sci-fi classic, a fairy tale about robots, and as someone wrote, the film about the will of life. Scott's another (after Alien) succesful trial with such difficult genre, as sci-fi is, combined with some film-noir elements. I 'm not the biggest admirer of Vangelis but his soundtrack is just great. Indisputably five star picture.

One of the most laid-back movies I've ever seen. Ghost Dog character has been written especially for Whitaker who seems to perform the role effortlessy. Easy, dream-like photography of Muller plus the score made by RZA (whose Jim Jarmush is huge fan), plus cool cross-over of two "ancient tribes" equals incredibly suggestive film. I went to cinema three times to watch it, word is bond!

The top of my very few beloved films about vampires. Coppola's homage to vampire movie subgenre (practically to the history of cinema itself) with many juicy references. Nevermind wooden (as usual) performance of Reeves, or Ryder - Oldman is the man (as usual). A love story with the music composed by our Wojciech Kilar, straight out of Katowice!

The climate of Berkeley in the late 60's, experiments on people with exotic psychedelics/sensory deprivation, great acting (Hurt), and overwhelming SFX - what more can you want?

This is the best horror movie, ever. Period. (Interesting thing because Stephen King's book is total rubbish.) If you haven't seen The Shining,you can't be treated seriously, at least not by me.

One of my personal cheer up films as well as one of Burton's favourite. So if you suddenly lack of enthusiasm towards anything you want it to maintain, choose Ed Wood - the story of a man in angora. Believe me: I am Criswell, I know all.

Very dark, dirty (not to say 'sleazy', in a sexual way), cold (with some 'hot' moments as well), and ambitious - as for sci-fi field - picture of the divine director, Terry Gilliam. Acting of a very high hallmark (Madeleine Stowe, Brad Pitt, Christopher Plummer, and, to be remembered, best for years Bruce Willis. My Oscar for scene in which he's crying to an old song heard on car radio). Absolute a must-see (if not a must-have) for all my people.

The cinematography, the cast, the music, the story - all just great. A must-see for every fan of Jim Jarmush/Johnny Depp/Neil Young/William Blake.

Neil Jordan (The Company of Wolves, Crying Game) has knocked me down again. Interview (...) provides vampiric subgenre with gender issues and sexual understatement, misery of immortal life and remorse. Being metaphysical outcast was never an easy thing, but children of the night weren't always so human thus miserable. I'm not familiar with Anne Rice's Vampire Chronicles but it's a matter of time. The movie so great that even scientologist doesn't bother.

My favourite Miyazaki's film, which left behind Princess Mononoke and his other works. Animated top shelf fantasy for all.

It's not documentary nor so called mockumentary, rather something in between. Well (and quite originally) narrated story of Manchester music scene and its influence upon the world (that is mainstream). For music lovers and fans of Steve Coogan.

Next to mentioned parts of Batman and Rodriguez's Sin City, Hellboy is my favourite comic film. And again, to be honest, it's partially caused by sympathy to the demon character and the talent of his creator, Mike Mignola (original drawing manner, Gothic elements and great stories, similar to Dylan Dog or Constantine comic books). It's visible that the collaboration between Del Toro (Pan's Labirynth) and Mignola went very smoothly, even romance (non-existing in the original) between Red and Liz fits to the whole. About the cast: Ron Perlman set the record playing comic character at the age of 50, also having John Hurt in this kind of movie was just great. And I know on which summer-hit movie I'll go (Hellboy II: The Golden Army).

Western culture participants may not fully understand Crouching Tiger (...), and, unfortunately, I have to admit I was no exception (at least for the first time. I laughed my ass off on memorable scene of running on treetops). Parallel love stories which derives from folk tales, incredibly shot fight scenes (and for three hours movie you can expect a few), all in the ancient China. It's unusual the world (e.g. Hollywood) has given well deserved credit to this exotic beauty.

How to start bitching about anything in this one? Even pretty Keanu seems to put some effort to his role (actually the scene of despair at hospital's ward is one of the best pieces he's been ever capable to deliver). Divine Al is, as always, divine (best antichristian monologue to date), same with she-devil Connie Nielsen, but from completely different reasons. With no doubt this is the top position on my 'satanic' shelf.

Stop motion animation masterpiece made with musical impetus. I'm not a particular X-mas or Halloween holidays zealot, but it has nothing to do with this picture which is simply crafted.

First collaboration of Burton and Depp, two friends-to-be. Edward, Vincent-like, little bit retarded homunculus, thrown in the middle of evil suburbia resembles minority - harmless and innocent, but extremely strange what eventually leads to the (unsuccessful) lynch. Great alternative for X-mass pulp on telly.

I remember shivers even whilst watching few seconds of Batman on telly (the shortest/worst teasers in my life!). So watching it for the first time (I might've been 8-10 years old) was quite a thrill. Unlike most of comic books I was quite familiar with Batman, since Batman was my favourite hero. So at the right time some right people have met together in the right place and set very high standard for such seemingly trivial thing as screened comic books. I mean, Jack Nicholson playing the Joker? Come on!

Only the very few was able to achieve such a difficult goal as shooting sequel which is good at least as much as the first part. In most cases such achievement demands comparable cast and crew, the condition executed in this one. Somehow Batman Returns seems to be darker, but - what's more important - consequent in many ways. Everlasting respect for that, Mr Burton.

Master of pop Gothic has surprised his audience with (unexpectedly) good, ironic comedy. The main idea and many production concepts were inspired by sci-fi standards from the 50's, obligatorily class B. Mars Attacks! is a quirky pastiche with all-star cast, fully enjoyable for connoisseurs.

I haven't seen such affectionate film, without feeling embarrassed, for a long time. Big Fish, a story about the least easy of relations (father-son), the power of imagination and (the art of) passing away. This is far the most personal movie of Tim Burton (the realization of BF converged with the death of the director's father). McGregor and others are good, but outshined by Albert Finney's remarkable performance.

Corpse Bride is as great as The Nightmare. Formally it's not that pure (although entirely made in old-fashioned stop motion animation it has some CGI support) but who cares? Being dead is fun, especially in the Victorian era. Favourite bit: the skeletons on stage.

I think I've made myself clear about Schumacher's abortive Bats but I use the opportunity again and state: up to now there are three cinematic parts (soon four) of Batman: Burton's and Nolan's. British director brought very accurate quality to Batman film, so visible in Insomnia or The Prestige. Also choice of Christian Bale was very right, all cast is exceptional (for a comic flick). Ninjas, hallucinogens, the introduction of the Scarecrow (Cillian Murphy), ill as hell, revamped Batmobi, sweet (but wooden) Katie and moderately rewarding plot - all bathed in dark sepia. Can't wait to see The Dark Knight (25/07, UK)!

Very plastic movie (and I don't mean PCV), from smart introduction with jolly elf to the end credits. Unlike Harry Potter series, protagonists of Unfortunate Events doesn't depend on magic but their wit, science and some extraordinary skills. Carrey in another role requiring hours in make-up room, but he's OK in that one. One of these movies my niece and nephew will be entitled to watch (since uncle knows what's best for them).

Arthur Penn's classic from 1967 about most wanted couple of bank robbers from the Great Depression era. The real characters were far less beautiful (oh, Faye) and far more thick but eventually this is not a document. Anarchy, childish fooling around with machine guns, sublimation in least sublimed way (Clyde really suffered from impotence) and extremely violent, crushing climax. The pantheon of gangster movie genre.

So far The Witches of Eastwick is the only comedy on my 'satanic' shelf (I've realized some time ago I have a number of movies with an embodiment of the Evil one, very tempting role for an actor, always reserved for someone big, not to use word 'good'). The devil incarnate (Nicholson) reads women like an open book, wears eccentric outfits and is always willing to have sex. Prince charming from hell against three wise women against small town God-loving community. And cherries, plenty of cherries.

All-stars tour de force: Al Pacino, Jack Lemmon, Ed Harris, Jonathan Pryce, Kevin Spacey and Jonathan Pryce. Hell, even Alec 'Twat' Baldwin is quite quite here.

I don't own many animated movies which are R-rated (by the way, censorship's another misunderstanding), I don't have many animated movies in general. But since I have a thing for samurai/ninjas I have to get this one, especially since it's so cultic. If you are into feudal Japan, folk beliefs and sword masters chopping each other up, you should be pleased with NS. And I promise you won't find a single character with eyes taking one third of the entire face (I'm referring to regular anime stuff).

According to modern standards in sci-fi, 2001 may be very slow-paced, or even boring. But it's first/final sequence are absolutely remarkable. Kubrick has succeed again, proving that (another) movie genre is not a mystery for him (anymore). Most of technical solutions during making of the movie were revolutionary, leaving passage for Lucas and many others. Further films based on Philip C. Clarke's Space Odyssey series were completely unnecessary.

This film was a blast. Still is (apart from being my second favourite from Fincher to date).

Remember times when good o'le Mickey was cute pretty boy (even when 'bit chunky, as playing Angel) before booze and professional box fighters had fixed him to real life Marv from Sin City? Well, his boyish look is one but lets not forget about Rourke's solid acting, too. Would you believe that young Lisa Bonet was given official permission from TV station bosses and Bill Cosby himself to take a part in new Parker's project, even if known it's going to be controversial? Helluva good performance of Robert De Niro places this movie as the pearl on my 'satanic' shelf. Great shots & lights, and dense climate of Brooklyn/New Orlean in '55. Heavy stuff but I love it.

One of the few remakes that are actually better than original. Brutal brute Pacino and anorectic trophy Pfeiffer in the landscape of Florida in the eighties - heavy!

It's great from every angle. Immortal and extremely trippy classic.

'I want to believe' since I was 7. Is there any better movie about UFO phenomenon? I doubt it. Another movie affected by boyish fascination, probably forever.

Have you noticed that in One Flew.. there is no weak face, nor bad actors - at all? So the casting/acting is phenomenal. The novel may be not big in size but it's massive in warnings, meanings and messages on few levels. On film field however, Forman's movie defends itself easily and with grace.

Unusually honest biopic of a living public enemy. Superb performances and intriguing conclusions. Forman again hit the (American) spot.

First and original of (still) unique series, sci-fi/horror masterpiece with most sublime hints and stuffy air of gothic castle somewhere in space. Also best cast ever concerning Alien quadrilogy (Alien Vs. Predator is a crossover, doesn't count). Fine introduction of one of the most hideous creatures in cinema/sci-fi universe.

James Cameron, as reliable craftsman, had made profitable sequel in plural. Military part guarantees plenty of angry Xenomorphs vs. bored marines who would kill for kill. Not many big names in crew but (obviously) Sigourney, Michael Biehn and Lance Henriksen as Bishop. Mother - unforgettable.

As years were passing by, I'd found out that third part is at least as good as the first one, of course from different reasons. It has to do with the person of David Fincher, but not only. Great script (abandoned prison-planet, criminals' sect, new abilities of Alien) provided great movie. Even stop motion shots don't bother (for the first time most of shots required a man in costume, new 'edition' of Xeno needed a model).

What hit me about Alien Resurrection is that French director made most Hollywoodish part from all Aliens. However, this is great entertainment. Also, as rather severe sci-fi spectator, I was fully satisfied with plot's solution (Ripley died in previous, to be last part). Gore level recompensates CG (for the first time) Xenomothers, and new breed kicks ass (it's mother's even more than that). Proper, neat volume in quadrilogy with tiny gateway at the end.

I say best Schumacher's work. The message? Be careful with imploding types - I'm one of them. Kidding (but just a little bit). To the point: very reliable title in collection, just solid cinema without total banality, and interesting reflections concerning modern society's pressure, pace of life in concrete jungle; swelter as violence factor, gang wars, and such. So this is nothing but special one about stress and desperation. But I never, EVER, forgive you (yes you, Joel Schumacher - I'm talking to you) double sodomy on Dark Knight.

I remember how horrifying The Witches have been to me once. Anjelica Houston as the boss of all witches, and special effects of ever memorable Jim Henson and his crew. I'm going to scare my niece with it, definitely.

History about quiet midlife crisis (Murray repeating himself a bit after Lost In Translation), the blast from the past, embarrassing confrontations and loneliness. The score is delightful (thanks for Mulatu Astatke, Jim), the ending - funny and miserable at the same time.

Boyle's zombie movie is the best British horror in decades. Actually zombies are not regular zombies (in Romero's way) - they move much faster and are much more aggressive but still not too bright. 28 reminds of The Virus, with an idea of epidemy, quarantine and military in charge. The cast pulls together the young, promising ones (Cillian Murphy, Naomie Harris) and the established actors (Christopher Eccleston, Brendan Gleeson). The exposition with abandoned London is very impressive but one of my favourite bits is the scene of rescuing Selena - so violent yet, well, romantic.

A truthful portrait of clubbing culture generation represented by twisted but likeable characters who are struggling through five working days so they could reunite and have fun the way they like (that is getting spaced on the dance floor). One of the funniest flicks I've ever seen.

This is not another serial-killer-chaser movie, no. Se7en is the Masterpiece with big 'M' - undoubtly Fincher's achievement of life. Absolute opus magnum which made the director immortal for cinema and which had given number of followers (better or worse). Even cliche duo of protagonists (two cops: old hand and rookie) is awesome here, everything just works smoothly. Great photography, great lights' work, and so on. The ending has been stinging me since 1995 to the last view. Very nihilistic. Love it.

Most of biopics are dull, sweetened congratulatory cards dedicated to some dead legend. Fortunately, the portrait of Andy Kaufman is not one of these. There is no question it's a merit of Milos Forman, Czech director who made one of the best movies about America and its culture (it seems that objective point of view requires somebody from the outside of the matter). The cast, like in every Forman's movie, is simply stricken (Love, De Vito, Giamatti, and Carrey in his second dramatic role).

Tom Green's directing debut and five Golden Razzies winner, including Worst Picture of 2001. I respect a guy who can make his trademark/gross by playing with carcass (we're talking about mainstream). Green puts Farrelly brothers' scatology into shame, and I bet that many describe him with no other words than 'sick f***'. But for me Green is the very last manifestation on Nietzsche's overman, not to mention a hilarious one. However, I might stop laughing next year (Gordon is 28). My top silly movie.

This movie had no chance to be done wrong. Talented director (Spike Jonze's cinema debut) and great actors (Diaz, Keener, Cusack, Malkovich) are one thing but absolutely remarkable smartness of screenwriter (Charlie Kaufman) cannot be underestimated, especially in this case. Fantastic movie.

There aren't many Coens' movies without people being cold-blood killed. Instead Raising Arizona is a cordial film with fast-paced plot, witty lines and good performaces (Holly Hunter, and - surprise - Nicolas Cage). As a comedy ten times more funny than Intolerable Cruelty. And my name ain't Nathan Arizona if you won't like it.

Exactly ten years after 'Scarface' De Palma made ten times better gangster masterpiece - Carlito's Way. Long time ago I stopped counting how many times I had the pleasure. Top performances of Mr Pacino & Mr Penn (small but remarkable role of Mr Mortensen). Ace film, one hundred percent of cinematic juice.

Dazed and Confused is one big nostalgia, it's slightly bitter but for most of the movie very vital and funny. Great score, according to production notes, ate huge part of the movie's budget, but it was worth it. There is young McConaughey, young Jovovich, and young Affleck (playing himself. Sort of). Slater, you'd be in my high school entourage for sure.

Most ruthless movie made by Spielberg. Gripping story ignited by horrific events of summer 1972. Patriotism, vengeance, big politics - all of these lead to uncompromising solutions, but also to doubt, remorse and consciousness of a hopeless, lost cause.

Well done variation of the same old story (a cop sacrificing his family life in the name of the cause), betrayals and hurt ambitions; based on real people and real, six years undercover op. Great Al playing 'Lefty' Ruggerio is... great (it's a rarity anyway, to see 'Godfather' playing ordinary mob soldier, frustrated and not too bright). Curiosity concerning end credits (attention: sort-of spoiler) - Mafia, forced by FBI, has officially (sic!) canceled contract on special agent Joseph ' Donnie Brasco' Pistone.

My top shelf with 'silly' movies, with such mothers from legendary Frat Pack as Will Ferrel, Owen Wilson or Ben Stiller. Even DVD menu is quite inventive and enjoyable. Best bit: scene of Derek's brainwashing by Mugatu ("HAPPY! happy! HAPPY!"). Wilson kills ("oh, Hansel! he's so hot right now"), Ferrell as always, Stiller & Jovovich - mediocre. High standards as for typical 'silly' movie, I say.

If you don't like Michel Gondry's work, there is Dave Chapelle. If you don't like Chapelle, there are lots of big names in hip-hop/soul such as Big Daddy Kane, Kool G Rap, Mos Def, Erykah Badu, Dead Prez, The Roots or exclusively reunited The Fugees, showing some skills. If you don't like anything from the above (Gondry/Chapelle/hip-hop aces) - well, this movie is simply not for you.

Great laugh, as for me greater than with the previous full-lenght Muppets movie (Muppets Take Manhattan) plus plenty of guest apperances (Abraham F. Murray, Ray Liotta, Frank Oz, Andy MacDowell, David Arquette). Gizmo, I feel you.

Raimi's home-made cult position which has been defending itself for years. You don't have to consider yourself as a gore lover to watch it - The Evil Dead is simply another must-see movie on the list.

The Exorcist? Come one! It's THE Exorcist, what to write about, except 'a must-see classic'? Don't bother to watch its sequels, at least I didn't (and won't. But I may make an exception for the prequel). Oh, and director's cut is rubbish, too. God's good people, Jesus freaks and sensitive souls - skip it.

Life of Brian is for me most, well, serious Pythons' movie. Serious about its main subject: religion in general (not only Christiandom. As you know the archetype of messiah is common for most of religions). Life.. was never meant to hurt anybody's feelings or beliefs but to make people think, to feed minds. And - last but not least - to make them cry with laughter, too. I'm quite sure I'd adored and appreciated this film even without being Monty Pythons' worshipper ever since (thanks, Grandpa).

This is not the first Gondry's movie but the first when he has shown the spectrum of his possibilities. Full of stop motion sequences made with the use of household articles or garbage with uncommon, multilingual characters and such plot. One of my movies of the year.

Seemingly Amadeus had been nominated for fifty-three awards and eventually has won fifty-three of them (including four Golden Globes, four BAFTA's and eight Oscars). And I wonder how come it hasn't got those thirteen left. (By the way: generally award-winning is bollocks but you've got the idea of my appreciation.)

How to write a review to such film as Casablanca? I haven't got the slightest idea. All I know is that I honestly like the plot, without its historical and political issues.

Cool-to-the-bone cinematography, fast pace, blockbuster names - simply well made entertainment (sometimes it's wise to expect nothing more). Remember Said from La Haine? If anybody would have any doubts - Iraqui interrogator is played by Mr Taghmaoui himself. So, "what is the problem with Michael Jackson?"

Who with common sense would deny Full Metal Jacket is entirely dominated by the character of drill instructor Gy Sgt Hartman (played by memorable Lee Ermey, U.S.Marines ex-drill instructor who was meant to be FMJ technical adviser but eventually got the role)? First forty-three minutes of the movie are legendary, from the beginning with serial hair-cutting of recruits (which somehow reminds shearing), through the hell of training, to the tragedy in the barracks of Parris Island. Second part of the movie is just another picture of the difficult combat in Vietnam, with its all absurds and monstrosities (my favourite, black-humoured scene is one with self-satisfied doorgunner on the helicopter, the jolly killing machine simply enjoying its job). "Get some"!

Spielberg directing war movie with Tom Hanks? I was prepared for something far more worse. But it's very reliably made film with perfect battle sequences (first half an hour, landing on Omaha Beach, is absolutely hammering, the main reason for me to get SPR). Of course pompous tone in few places is unavoidable, but that's fair price for watching this one.

Ni!!

The Lost Boys is, next to Falling Down, best Schumacher's work (however, I would never forget him Batman Forever/Batman & Robin. NEVER). This one has the ripe flavour of the 80's, with the music and the looks (gargantuan amounts of hairspray); "marvelous cast": Jason Patric, Corey Haim, Corey Feldman, and, my favourite, Alex Winter (as Marko). Simply another pearl of vampiric movies.

The Blues Brothers is unique because of its historic all-star cast, and I don't mean just moviestars (Cab Calloway, Ray Charles, John Lee Hooker, Aretha Franklin, James Brown and the musicians, members of the real Blues Brothers band). There is number of cameo appearances (Frank Oz, Steven Spielberg, Carrie Fisher, young Paul Reubens) but of course you cannot forget about the immortal, unbreakable Blues Bros duo. Chicago, "the largest Polish city", is not only background for action or impressive car chases (including fantastically ridiculous amounts of cars to be crashed) but also hero itself. However the first and major thing in this movie is music, nevermind the genre, adequately flavoured with the right (Brothers'), black and white sense of humour.

My girlfriend, and I believe many orthodox fans of original TV series, didn't like much big screen version - but luckily (?) for me I haven't got the privilege of watching The Addams on telly. The cast is just superb (Raul Julia, Christopher Lloyd, Anjelica Houston, and Christina Ricci performing her best role at age of thirteen), and Barry Sonnenfeld is artisan efficient enough to handle, for the second time, such exceptional material as The Addams.

Nolan has proved for another time how good director he is. Same with cinematography (by Wally Pfister, regular collaborator) which created visually sophisticated, polysemantic world of illusion (while watching it for the first time the plot, quite good by the way, was for me secondary thing). Jackman's most credible achievement, as if his great colleagues (Bale, Caine or Bowie in fantastic cameo role) made him to put some more effort into acting. Happy I had watched it on big screen (like almost every Nolan's film).

Raging Bull is a tale in B & W about the rise and the fall of Jake La Motta, Italian-American middle weight box champion (La Motta wrote a book, he was also a production consultant ). I bet there is plenty of Jakes La Mottas out there, kings for a day, fools for a lifetime. But you won't have another Martin Scorsese or second Robert De Niro, both in the peak of their artistic possibilities (the greatness is past behind them, but that's obvious). Incredibly powerful picture. Rocky Balboa, you suck.

A masterpiece.

A masterpiece, part two.

It requires some talents (of Kaufman and Gondry in particular) to make one of the best love stories ever filmed. I believe this is the peak of dramatic possibilities from "funny man" Carrey, higher than in films of Weir or Forman (no need to praise Winslet or the rest, all did great job). Truthful, melancholic and, well, romantic (but romantic far away from pop-sweet banality), with lead song by one of my favourite musicians - Beck.

Great (if not iconic) thriller filled with good actors (James Caan, Kathy Bates, Richard Farnsworth) and a hint of delicious, black humour. Some films will never get old, and Misery is definitely one of them.

Urban fairy-tale of impossible love between illiterate, slightly retarded, cold-blooded but golden-hearted professional assassin (what a combination!) and orphaned twelve years old girl. The character of Leon was built on episodic but powerful Victor the Cleaner (also played by Jean Reno) from Besson's previous movie, La Femme Nikita. Young Portman proved to be talented enough to handle the weight of the role - her introducing performance is smashing (she couldn't have dreamed of better debut opportunity). And so much unhealthy fuss about director's cut version - but that particular scene is so innocent (people will always see what they want to see. In this case a perversion when there is none)! The last good movie from the French director.

Very smooth, pacy crime story with first-class male cast (except for Baldwin - too many of them twats anyway). But this movie's finale is to be remembered (without a doubt) as one of the most reminiscent climaxes in modern cinema.

Singleton's debut is actually his best film. Maybe because it's that personal, based on his own experience (Singleton was raised in this part of Los Angeles), or because nobody has ever taken voice about this huge social problem, unfortunately still present and escalating. Breakthrough role for Cuba Gooding Jr., with "straight outta Compton" gangsta rap star, Ice Cube.

A genuine jewel from 1965, one of the most famous and most appreciated Polish films to this day. Based on Potocki's novel the film takes not only plot but its frame narrative construction. Huge cast (Zbigniew Cybulski, Franciszek Pieczka, Bogumil Kobiela, Iga Cembrzynska, Gustaw Holoubek, Zdzislaw Maklakiewicz and a dozen of others), baroqe iconography, and dream-like story set in XVII/XVIII century Spain. Fantastic evergreen classic.

Quite recently I've watched HB for the twentieth time and it's still the best (stoner movie) there is. I declare it after having a legion of this particular, drugs-referred comedies. Brian, "obviously you missed the point of that story", dude.

Very quiet, almost intimate. The story of being lost not only in a strange city and culture, but in life itself, and dealing with it; also the story of impossible affection - all discharged with elusive comicality. One of the best films of 2003 and another proof that Sofia hasn't inherited just a surname after her ultra famous father.

An absolute must-see for every fan of Parker-Stone duo. Shpadoinkle flick, whether you'd like it or not. Great songs.

This is the first real cult movie of post-communist era (as for me and many of my peers one of the greatest to this day). Shot in newly democratic Poland, it was accused of forcing western-culture, that is strange, patterns onto native ground (Franz Maurer is more tough than ten Callahans, and more cool than five Bonds). Film refers to a very significant moment in the history of the nation - all segments of society are going through changes, but so called political police, hated and despised by everybody, is on completely default position. This, and few other factors (director's misogyny is his infamous trademark) leads to uncompromising solutions. Same as Rejs (The Cruise), Psy have delivered dozens of blast-off, hellluva catchy lines, being immediately incorporated to common language and (still) enjoyed by thousands.

For the second time Pray has proved (Hype! - good movie, great debut) how skillful documentary film-maker he is. With well cropped intelligibility Pray explains to ignorants such basics as (short) definition of key-words, differences between major terms, all possible background for new phenomena, lectured by most important and respected people of the movement (Afrika Bambaataa, Grand Mixer DXT, Mix Master Mike, DJ Q-Bert, and many more). And of course plenty of music (for involved: very good score).

Still brilliant: from acting to directing, from opening credits to the bitter end. Brilliant, credible and topical.

Rejs is not only a movie loved by generation after generation, but also a state of nation's mind report in 1970 A.D. Marek Piwowski seemed to be a bit more subtle than S. Bareja (other Polish director whose specialty were comedies of everyday life absurds in communistic system), still the censorship authorities had to be tricked so the movie wouldn't have shared sad fate of many more bold pictures of the era and landed on some shelf, forever. There are very few professional actors in the film, the ninety percent of the cast was selected from casting. The production became a legend before movie itself and waited the book (I haven't read but I'm about to own it). But the greatest thing about Rejs is that most of the scenes were improvised from the beginning to the end and that the protagonists were genuine people (the Poet, the Intelectualist and many more) delivering genuine lines, quoted by millions over last forty years. Absolutely unique piece of cinema.

This is not John Carpenter movie, it's Rob Bottin's (the guy responsible for makeup and special effects). FX team used it all: puppets, animatronics, mattes (and plentiful of red Jell-O) - you name it. Too bad post animated monster (in the final showdown) had been cut off. The plots seems to be irrelevant here, however the ending is just right.

Despite being animated film (and animated with great taste and mastery) at some point I forgot it's not a regular movie - I was that much concerned. I'm happy Persepolis got into mainstream. Autobiographic and absolutely unmissable piece of art.

I loved the TV series, and for years I thought I loved the full lenght movie as well (watched for the first time when I was about twelve). Too big time gap, I suppose. Two first stories by big names (Landis, Spielberg) are far less interesting and spooky (in the spirit of Twilight Zone) than third and fourth one.

It's hard to believe one of the most significant, most iconic road movies was directed by an amateur (Dennis Hopper) - well, it was. Easy Rider is not just about flower people, or the matter of subcultures. For me it deals with the idea of minority, of being against in general. Fantastic soundtrack and unforgettable supporting role from Nicholson.

The Doors as a movie doesn't revise the legend concerning 'god of rock' - it makes it even stronger (band mates, especially Manzarek, were angry at Stone for showing falsified image of Morrison). On the other hand, this movie has never claimed to be documentary. Fascinating picture revolving around one of the greatest music groups ever established.

It took me years to understand my teachers' ostracism towards this movie. I still like it though. Tarantino (the writer) may be right stating some time ago that Oliver Stone has the sensibility of a tank, the director is known for the lack of any subtleties in his films - let's call it licentia poetica... Still, comic book-like Mickey (Harrelson) and Mallory (fantastic Lewis) are one of the most memorable pairs in the history of cinema.

In my humble opinion Baraka is even better than its revolutionary predecessors (two from Godfrey Reggio's Qatsi trilogy), and the fact it was made by Ron Fricke (cinematography director of Koyaanisqatsi ) is not meaningless. Amazing thing.

Snatch seems to be almost sequel of Lock, Stock and Two Smoking Barrels - same place, similar comic-like characters and the form, even more 'cool' than Richie's debut. I've heard a rumour Pitt was almost begging for the role of Mickey (at the expense of superstar's fee), proving for another time how well he chooses roles for himself. Hilarious and highly entertaining, Snatch is as good as bad Revolver is (and Revolver is very bad).

I announce the return of the Coens to form in great style (by 'form' I mean Blood Simple, Fargo or Burton Fink). I've never heard of Javier Bardem but the guy is electrifying - after that role (a very pragmatic hitman with "no sense of humour") he shouldn't be complaining about lack of interesting offers (hopefully without being trapped in this peculiar type of role). My personal Oscar goes to Roger Deakins (director of photography, brothers' regular collaborator) for cinematography of a very high class. (Adapted) script is logic and neat with the ending unusual but in Coens manners (playing with auditorium expectations). Fans of Coens' work should be absolutely satisfied.

I wasn't disappointed, great movie. I would have never said it was directed by Dominik (Chopper), though. Casey, as an actor, has eaten his silly brother with his shoes (no need to write about performances of the others: Pitt or Rockwell). Very picturesque, and biblical.

Wang and Austen superb B-side to Smoke. Blue in the Face (alt. Brooklyn Boogie) might be taken as sort of appendix to the mentioned predecessor, an enhancement in brighter tones, separate comedy which consists of love letter to Brooklyn, New York and semi-documentary with talking heads of the borrough inhabitants (one famous and few completely unknown) - but never average sequel. Most of the scenes were improvised on the set, and there's plenty of memorable cameos. An easy peasy one which I just had for the fourth time.

Cronenberg at his best, and life performace of a bug-eyed Jeff (add my boyish love Geena). The remake isn't sharing the usual fate of other redundant make-overs (such as the latest superfailure, The Day The Earth Stood Still), hell no. Sci-fi variation of the beauty and the beast with delightful FX makes it proper body horror (the scene when Brundle opens cupboard in which he stores his johnson has been haunting me since forever. The title alone was translated as 'Flyman'. Scary monsters, super creeps). Along with Altered States one of my all time-favourites of this kind.

I just had a glimpse on TCM, had watched the film x times. Massive, massive cast (J. Lemmon, J. Moore, L. Taylor, R. Downey, jr, C. Penn, T. Waits, F. McDormand, A. MacDowell, M. Modine, T. Robbins, P. Gallagher, J.J. Leigh, M. Stowe, even bloody L. Lovett - everybody at their toes to make Mr Altman pleased), one of the movies of the decade and a favourite masterpiece from the director."Nie do zdarcia" five-star shit.

I'm quite sure I've never seen more original, inventive biopic than this one. Beautifully shot and well played. After watching it you realize it would've been almost impossible to make a movie about such character as Dylan, which would last less than over two hours, or without casting six actors to play one man. Remarkable film.

Cop Land provides good plot, even better cast and undisputedly the best Italian Stallion's role in his whole career.

Ah, yet another evergreen classic from Mr Lynch. A story of pain called desire, wonderfully exagerrated fairy-tale full of bizzarre characters (some introduced with little, if any, connection to the plot, just to confuse - but only those unfamiliar with peculiar logic of Lynch's movies). Also the second (after Raising Arisona) role of Cage I can truly enjoy. Always fun to rewatch it.

Refreshed in anticipation of Tron Legacy. Probably the coolest Disney (non-cartoon) production ever, which, at the same time doesn't entitely solve the problem it's still bloody Disney (D's people tend to forget movies for kids don't have to be that stupid). After over twenty years special effects and primordial CGI animations remain pleasing and impressive. What else: time has done good to Jeff Bridges, for his young self looked like a tosser (a bit).

Camp on cosmic scale. It's more enjoyable with every year (ah, good old days before CGI era...). Music by Queen is another value.

One of the greatest action films in entire history of cinematic entertainment. CGI wasn't such big novelty but for the first time it was used on satisfying level (not to mention it was used wisely, probably because of its enormous costs back then). Apart from digital tricks there is plenty of old school SFX involved: car chases, hydraulics, explosions (Connor's nuclear nightmare - a masterpiece of SFX - still gives me creeps). The governor for the second time was very convincing as a robot, the man was simply born for that role. And Guns N' Roses at their peak is another great thing. Indelible impression on twelve years old me.

Not so often three hours film doesn't feel like three hours film. And it takes some actor (Day-Lewis) to get viewer's attention for all that time. After Boogie Nights, best work of Anderson.