My Favorite Movies

My favourite film of all time since I was twelve! This is the film that got me into films in the first place and I am glad it was this one.

The film is an absoulute masterpiece and is the pinical of Nicholson's career and was the pinical of Kubrick's too.

Nicholson is Jack Torrence. He may not be what the book describes, but he is the character nonetheless. That is why I admire him as an ator because he transforms himself into the character he is playing in all his films like Chinatown, Easy Rider and One Flew Over The Cuckoo's Nest and this, his best film. How he didn't get an oscar nomination is beyond me. It is as big a travesty as by how much Psycho was snubbed at the cermony 20 years previously. Some say he "over-acted". I think he merely became his character which is what good actors do. Besides, his extravagent (not over acted) performance meant he gave a scary and realistic job as a psychopath.

Duvall is also good in the role of Wendy Torrence. Some say she over acts too but I really loved her in this film. How would you feel if your beloved husband had gone crazy and was going to kill you and your child? I think she shows the fear the chracter feels flawlessly and was perfectly cast.

Danny Lloyd is very good too. For a child actor, he really gave a performance without being too "Cutsey" and un realistic like several child actors are in films.

Scathman Crothers really blew me away too. He gives a fantastic performance, particularly in his scenes opposite Danny Lloyd, which made some perfectly placed emotional and touching scenes.

Kubrick directed this very well (Razzies are a bunch of shit for nominating him for Worst Director) and his unique work which contributed to the brilliant end result of this filmshould of never been doubted or shat upon by the reazzies and others who hated it when it opened.

He used some very good angles such as the looking up shot, which was also used in many of his previous films such as A Clockwork Orange Dr. Strangelove and Killers Kiss and added a good menacing effect to the film. Other angles which achieved this were his tracking shots which follows the characters as they move through the hotel. It really achived the effect of showing how isolated the hotel is among other effects achived by the use of this. I particularily like the direction of the "Give me the bat, Wendy" scene and how it moves from the point of view of Wendy and Jack as they move up the spiralling stairs.

The screenplay is good giving some of the best dialogue in cinema such as "I'll huff, and i'll puff, and i'll blow this door in" and "Give me the bat Wendy". The line "Here's Johnnnny!" which wasn't actually in the script is also a classic line. It is the most memorable, but it is not my favourite.

The whole plot is good too. Although haunted buildings had been done many times before, this put an original spin on it. It has some good character development, especially for Danny Torrence.

The pacing is good, also. For instance, the build up into Jack's anger is spread evenly throughout the film, from when the tension is just beggining to show to when Jack is a pure madman.

The use of eriee, ear piercing music really adds to the chills of the film and is used at all the right times. This has one of the best scores, if not the best, i've ever heard. Simple and without tune and very scary. It is very suited to the film.

This is a classic of the horror/thriller genre and should always be remembered as a classic which had so much effort put into it.

Psycho: the master of suspense at his best! Most people prefer Vertigo or Rear Window, but they aren't even in my top 100, although I do love them. This is his best with out a doubt.

I am appalled at the Oscars of 1960. Anthony Perkins, who gave the second best performance I have ever seen as Norman Bates (first being Nicholson in The Shining) was oscar worthy, but was never even nominated!! He was best when he acted nervous, and did little things like chew his gum faster and tap his fingers on the table. He managed the stutter, one of the hardest speech inpediments to act. He was the only actor who could have ever been Norman Bates.
Janet Leigh was nominated, which was a great move and Hitch was also nominated too. Both deserved to win but didn't.

The score is fantastic! The shower scene score is brillianht, yes, but so is the opening credits score, which I actually prefer; it suits it so well. Both pieces are memorable.

I love the ending so much. Both for the twist and the final few scenes. This is the definitive suspense thriller, with out a doubt a classic which has aged brilliantly.

With out a shadow of a doubt, this is a masterpiece. It has been 38 years since its release and its legacy has not been dimmed at all, and still stands as one of the most shocking and memorable films of all time.

Set in a bleak but in a strong contrast, strangely vibrant future, this film plays out as a very twisted, realistic yet abnormal blend of drama, thriller and sci-fi, famous now for its disturbing, unflinching and shocking scenes that will timelessly live on, all the while carrying the same impact it always has.

Kubrick made a masterpiece and few can deny that. This has been a favourite of mine since I first saw it on Television a couple of years ago, aged 13 or 14 I believe. I watched in awe and it stuck with me for days after I first watched it and since then it has not budged from my top 5, only moving from second to third position after I watched Psycho, now my second favourite. It says a lot about Kubrick films when there are two so close together in my favourites list and at one point being next to each other as favourite and second favourite of all time. The other film I am referring to of course, is The Shining, which I watched a year or bit prior to this.

Kubrick, based on the novel by Anthony Burgess (which I have not read) adapted the book into one hell of a great screenplay, full of iconic dialogue and scenes. it is in all honestly one of the best screenplays of all time, close to the likes of Pulp Fiction and Glengarry Glen Ross.

He directed with equal brilliance, making each scene memorable, whether it be because it includes his trademark Looking Up angle, or a strange, out of place, comic caption along the lines of "Pow", when Alex delivers a piece of "Ultra Violence" to one particular victim. This film shows perfectly why Kubrick my favourite director. Hell, this and The Shining are the films that got me into films!

Malcolm McDowell's performance as Alex DeLarge is frightening yet he allows us to feel sympathy for him too. A brilliant performance and one that will never be forgotten. The other great cast member is Patrick Magee who is flawless. Although there aren't many other main stars, seeing as the spotlight is nearly always on Alex, the other cast members are all great.

The use of music, mostly Beethoven, was perfect and has now become one of the most outstanding points of the film. It suits the mood as perfect as Herrmann's screeching violins suited Psycho. Then there is the haunting piece by Wendy Carlos that really heightens the mood and feeling of terror in this film, perhaps because it is calm yet menacing.

The now iconic costumes, like the famous ones worn by the "Droogs", make this film appear even more Surreal and makes the Dystopian look even more strange. The costumes show that every thing, even something like costumes, can make the film even better.

This film is, in simple words, a classic.

New review soon.

Undoubtedly one of the best films ever made. A flawless film. It will keep you enthralled for the whole 2 hours and 30 minutes running time. When I first saw the length on the back of the DVD, I wasn't sure whether in parts it would drag. Oh no; no it doesn't. Never. It never feels long. It is never boring. You are glued from start to finish. Even the credits are great to watch with the fantastic Miserlou playing over it. I have no idea what magic Quentin used in this film, but every film maker should take some of it. You can never go wrong.
For starters, Quentin Tarantino has got to be the best script writer there has ever been in Hollywood. True Romance. He wrote it but didn't direct it. However, it is Tarantino's film all the way. Reservoir Dogs. It has one of the best screenplays I have ever heard, which he so successfully managed to transfer in this wonder two years later. Jackie Brown. Easily one of the smartest and enjoyable films of the 1990's. It was his decade, and with just 3 films, that is quite a feat. However, this is the peak of his career. His best screenplay and best film as a whole which I very much doubt he will be to beat.

He directs with such amazing and inspirational skill. Along side Stanley Kubrick, he is one of the main reasons why I want to work in films. Each and every angle is perfectly chosen to suit the scene and to keep your interest. The camera movements all work so well together as they give you an insight into the lives of the characters. It is too hard to even explain how good a job he did of this classic.

Now for the cast. Wow! Each cast member was chosen so well. He chose the right person for the right scene. Travolta and Jackson as the assassins, Tim Roth as a Cafe robber, Uma Thurman as a gangster's girlfriend and Bruce Willis as a boxer. I can't imagine any other actors or actresses in these roles. Each of them are just perfect. Samuel L. Jackson not winning best supporting actor? What. The. Fuck. Not winning best picture nor director? Again, what happened? Although I loved Forrest Gump, it pales in comparison to this. Hopefully Tarantino won't go down in film history with Stanley Kubrick and Alfred Hitchcock as directors who never won the Academy Award for directing but really were due one.

I have mentioned how great the cast are and together they form the greatest ensemble ever rounded up. Each character is different from the others, each with vastly different stories about them and they all pull it off with such talent. 3 acting nominations, Thurman, Jackson and Travolta, and no wins. One should have won at least!

The individual stories are wonderful, each with brilliant scenes amongst them. You never lose interest because each story is so damn good. This film is Comedy at its darkest. A Thriller at its most gripping. The Violence is tasteful and needed for a good impact. It is pulled off whilst you watch disgusted yet excited. The violence looks so good on the screen thanks to the marvellous cinematography. The blood is a vivid red and the bruises are complimented by it; showing up and looking so realistic thanks to the lighting. It wasn't nominated in this category at the Oscars; yet another major snub for this film. Whatever were they thinking not to nominate a film which looks as amazing as this?

On top of everything else which helps to make this a masterpiece, the music is a key factor to. Miserlou, perhaps all the more famous due to this film (often being known as "The Pulp Fiction tune") has got the be on of the best songs chosen for a film. It is very memorable and suits the film unbelievably well. It is partly what makes Pulp Fiction what it is. Tarantino has an ear for this kind of thing. He never uses a composed piece, but instead a previously recorded piece. For example Little Green Bag by George Baker in Reservoir Dogs. Perfectly suited to the mood of the film. Much like Miserlou to this. It works, and Tarantino knows it. It works just like any score could.

The editing creates a good effect too. A simple cut between two characters during a kill has a wonderful impact and is very memorable. One of the most memorable tiny details amongst the many others. These tiny details are as important as the big ones, creating atmosphere and helping the film in a big way. The editing was nominated at the Oscars but, again didn't win. Just appalling.

Everything about this film and I mean everything is flawless. It is one film which I will never stop loving. The greatest Gangster film, the greatest black comedy, the greatest thriller and an overall great film. Just fantastic in every single way.

Magnificent Magnolia, as I call it. This is a true modern classic.

All of the performaces are good and no one out does another cast memeber, which makes a perfect ensemble cast.

John C. Reilly is excellent as a lonley policeman;
Tom Cruise is fantastic as a sleazy televison personality who repesses his childhood;
Jason Robards is brilliant as a terminally ill old man;
Julianne Moore is outstanding as his trophey wife who actually begins to love him in her best performance;
Willian H. Macy is great as a man who used to be a famous child genious as is
Jeremey Blackman as a new child genious in one of the best performances from a child actor
and all the other primary cast are good too along with the people in smaller, though just as memorable roles.

The direction and screenplay is also great from Paul Thomas Anderson who carved a realistic drama from his wonderful imagination. Although over 3 hours long without interuptions (don't get put off, it flies by), I was never bored. Ever. That is because the cast nor Anderson let it get boring and each story has a some differences which offers change.

The loactions are also very interesting and different from each other.

The end is mindblowingly good and is done without to much pomp and exaggeration which could have ruined the film.

An epic drama you should make time for because you will not regret it and it will affect you in some way. An unforgettable, original and highly entertaining classic.

Saving Private Ryan is an astonishing war film and is so far the best of the genre, which is a massive achievement, considering it is one of the oldest genres of film.

With an all star cast as good as this and with the extraordinary talent of Steven Spielberg behind the camera, this was never going to fail. After viewing this, what I once though was impossible has happened. Jaws, my favourite Spielberg for several years has been over taken by this wonder. Hell, I wasn't even expecting it to take over The Deer Hunter, let alone The Great Escape and Spielberg's classic shark fable.

Everything I had heard about this film was correct. It is a gripping, stylish, solemn account of World War 2, and although it has been told in film countless times, once before by Spielberg himself with Schindler's List, this has risen above them all to be the best. I always knew this was going to be good. But not THIS good.

First of all, I'd like to write about the brilliant ensemble cast. With Tom Hanks and Tom Sizemore included, I was really excited about seeing this film. Sizemore is fast becoming one of my favourite actors and he really is an under-rated talent, with him at the top of his game here. He gives his character depth like he does with all his films, but none of them as good as this. Hanks is a brilliant actor, and was rightly cast in the lead role. I can't see any other actor play the role as good as he does here. He highlights the courage of his character really well, especially in the first combat scene. Among the other stand outs are three people I was really happy to see in this film. Giovanni Ribsi, Adam Goldberg and Jeremy Davis. I enjoy seeing all of them in television shows, with both Ribsi and Goldberg appearing in both F.R.I.E.N.D.S and My Name Is Earl and Davis sharing his talent amongst the stellar cast of Lost. As soon as I realised it was these three in the film, I knew I was really going to enjoy it. Davis, playing the jumpy, fish-out-of-water translator, was so good in his role. His acting talent really comes to light in the final combat scene, and Spielberg put his acting skills to perfect use. Ribsi was also good as Irwin Wade, who really impresses in one particular scene and going against his normal, funny, roles. In this film, he has revealed acting depths I never knew he had. Then there is Goldberg, who was also remarkable as Private Stanley Mellish. He is involved in one really intense scene which is also one of the most memorable parts of all 2 hours and 43 minutes of this picture. Among the cast is Vin Diesel who really went against my expectations and did a great job. Another stand out actor is Barry Pepper, as religious marksman Private Daniel Jackson. He gets everything about his role right and was again, perfectly cast, like all the others. Matt Damon is also great as the man of the title and delivers a performance that is probably one of the best of his career.

Steven Spielberg is a remarkable and versatile director, creating Horror classics like Jaws, Science Fiction classics like E.T-The Extra Terrestrial and Close Encounters Of The Third Kind, and emotional drama's such as Schindler?s List, Amistad and of course this, his best. Truly deserving his academy award for directing, he uses masterful techniques to create atmosphere and tension and these come across perfectly on screen.

Amongst other great details are the dazzling cinematography, which also won the Academy award and John Williams' always reliable score. These combined with everything else really did help make one of the best films of all time.

I also like the strong use of contrasts within the film, such as Beauty and violence and life and death. For example, we see raindrops on a leaf, and beautiful fields of flowers inbetween violent and disturbing battles, and sheep running across a landscape, after some dark and moody scene.

As far as war films go, this is by far my favourite, ranking as 18th of all time. I can't see anything wrong with this mind-blowing film and now I really see what all the hype is about.

Outstanding. Best sound foreign film out there.

Perfect ensemble cast, perfect directing and beautiful, mood setting cinematography are amongst the many flawless aspects of this mindblowing film. World Cinema doesn't get much better than this.

The cast of basically 6 all come together to act out a mesmerising, gripping story told unflichingly by Kurosawa. It has you gripped from the start, when two men are heard to be talking about a horrible story, of which you cannot wait to be told. And told you are, over and over by wildly changing accounts of the crime, each as gripping as the first time.

A film with an amazing story and a thought provoking ending that has so many inspiring, emotional meanings. Perfectly told and perfectly made with effective editing techniques such as the never more apt "swipe", glourious cinematography, perhaps the best black and white ever, a tenstion building score and great camera angles.

I don't know what else to say other than WOW this film is phenominal and that every film fan should see it.

*This review is for both volumes*

Kill Bill is a stylish, mesmerising and epic revenge thriller. 4 hours of style, emotion and gallons of blood! The two parts, when viewed close together, form an amazing, gripping and enticing thriller that will have you captivated.

This film is like no other, not even the martial arts films it pays homage to. This is on a whole different level. It is written and directed brilliantly by Quentin Tarantino who has crafted his most stylish film to date. It is full of Tarantino-isms including his use of camera angles, his astonishing script and a giant, powerful ensemble cast.
Uma Thurman, in her iconic role of The Bride has never been better. Not in Pulp Fiction, not in anything. She brings everything to the performance with lines delivered so perfectly and none said better than "Your name is Buck, right? And you're here to fuck, right?". If anyone was born to play a role, it would be Thurman for The Bride, the most badass female character ever to grace the screen. Chopping her way through The Crazy 88 in Volume 1, we witness a character being the centre of on of the greatest scenes of all time. In Volume 2, Thurman shows a much more sympathetic side of her character with wonderful, flawless talent.
Thurman as The Bride is the best character from a Tarantino film since Jules Winfield, played by Samuel L. Jackson, in Pulp Fiction. Jackson also pops up in the short role of a piano player in Volume 2, which I was very happy to see.

The Deadly Viper Assassination Squad:

Lucy Liu is outstanding as O-Ren Ishii playing an interesting character with an emotionally strong back story, presented in Volume 1 in glorious anime, another fantastic point that I will get to later. Her performance really brings her character to vivid life. A scene where she chops of a man's head and stands there, seething with subtle anger as the neck and head of her victim gushes with exaggerated, realistic blood is the highlight of her performance.

Vivcia A. Fox, as Vernita Green is an awesome, kickass character used to brilliant effect in the scene that really sets the epic into motion.

Daryl Hannah as Elle Driver is an interesting and probably most hateable part of the assassins. Her character is one you love to hate.

Michael Madsen as Budd is no Michael Madsen as Mr. Blonde from Reservoir Dogs but that doesn't mean he doesn't do a top notch job here as Bill's brother. Budd is a character that really helps form the film and he is involved in some of the best and most memorable scenes of Volume 2 and is a vital part to the film and its events.

David Carridine as Bill, the title character, is the best of the entire male cast. Due to a genius move by Tarantino, we first see him as a mysterious character whose face we don't at first see. In a scene where we see his faceless persona play menacingly with a sword as he talks on the phone is both memorable and full of meaning. It signifies his danger, his importance and the mysterious man he is. Carridine plays Bill in both volumes in two ways. In one way we see him as a cold, heartless villain and in another we see a man with depth. Carridine carries his character with his involved performance throughout the epic story and he made one of the best characters of all time become his own, and one he will always be remembered for, especially after his death.

Other performances include those of Chiaki Kuriyama, as Gogo Yubari a young but heartless assassin who works closely with O-Ren, with Kuriyama being nothing short of amazing, Samuel L. Jackson as Rufus, the previously mentioned piano player, Gordon Liu in two differing roles, one, his best, as the tough kung fu instructor Pai Mei in Volume 2 and the other as the leader of the Crazy 88 in Volume 1, Michael Parks, who, like Gordon Liu, plays two roles with his most distinctive being Esteban Vihaio, an aging pimp in volume 1. There are other amazing performances throughout both volumes.

The film appears so fluid on screen. Each shot links well to the next due to the superb editing by Sally Meneke. The editing, paired with the camera angles chosen by Tarantino, allows the film to dance on screen with captivating power. I can see why Meneke is always employed to edit Tarantino films.

The screenplay by Tarantino is exceptional. A script that only Tarantino could write. It is truly mind-blowing and is one of the greatest features of the film. Tarantino has created one of the best plots in the history of cinema. A revenge story told from the view point of a female is both different and refreshing. The story he conjured up is phenomenal whilst the actual screenplay is fantastic. It involves depth, emotion, violence (how could there be a Tarantino film without it?), both realistic and giddily unrealistic moments and, of course, many homages to many genres.

The competent directing by Tarantino is yet another magnificent factor of the film. He translates the screenplay to the screen with the same talent he used for all of his other 1990's works such as Reservoir Dogs, Jackie Brown and, obviously, Pulp Fiction. Aside from the latter, this is probably his second best screenplay to screen translation. The plot points and the significance of scenes and the actions of the characters all appear clearly on screen. His use of angles is, as I have said before, astonishing and his Tarantino traits all shine here.

And shine they do, literally, as the cinematography is breath-taking.

The cinematography is crisp and pristine in both the colour and black and white sections. The black and white is beautiful and in a marvellous contrast, does wonders in various gory sequences. The colour photography is also beautiful and is used to create many different moods in the film. The bright colours show off perfectly the extreme violence and watching the blood fountains spewing in such glory is enough to inspire awe in anyone. A dark, colour drained hospital scene is very atmospheric. The scenes with The Bride being taught by Pai Mei involve spellbinding cinematography that shows off the surrounding China locations masterfully. Robert Richardson, who also did the fantastic photography for Natural Born Killers, did a perfect job here. Kill Bill has the best colour cinematography I have ever seen, just topping American Beauty and the black and white cinematography ranks very high on my black and white cinematography list, but it doesn?t beat the brilliant photography on Sin City.

The scoring is an absolute pleasure to listen to. Robert Rodriguez did a top notch job on the scoring work. What is good here is that there isn't just one score, but many and all of them being perfect for a scene or sequence. It is a worthy part of the film for sure.

Another good part is the use of songs. The very fitting "Bang Bang (My Baby Shot Me Down)" by Nancy Sinatra was a perfect choice for the opening credits. It hints straight away at the themes that will occur in the film. Getting the real life band The 5.6.7.8's to perform songs in the "Showdown at the House of Blue Leaves" scene was also a brilliant decision. In fact, all song choices were great.

Another genius part of Kill Bill is the use of Anime in Volume 1. It is artistically impressive and helps tell the story of O-Ren in a great, unique style all the while being a just as relevant towards the Japanese style that features so prominently throughout the Volumes. I am not really an Anime fan but all the time it was displayed on screen I could not take my eyes off it. It is spectacular and one of the things that strikes you the most about Kill Bill. It manages to be completely out of the blue and an unusual addition to the film as well as being perfect for the film and its narrative. I also like how typical Tarantino camera angles were featured in the animation, successfully showing Tarantino's presence and reminding you that it is his film all over.

The costumes used in Kill Bill are great. The iconic, instantly recognisable yellow suit for The Bride was a great costume for her to wear as it shows the danger she possesses but also allows us to know that she isn't a horrible person, just a woman seeking revenge.
The Crazy 88 wear the suits with black ties, a notable Tarantino trademark featured in Reservoir Dogs and Pulp Fiction for example. All the costumes mirroring old Kung Fu films were also well researched and chosen.

The settings in the film were also good. A scenic China is shown off to great effect in the "Cruel Tutelage Of Pai Mei" chapter in volume two and a desert landscape for scenes involving Budd glisten in the photography. Indoor sets, like the The House Of Blue Leaves and the home of Vernita Green were also very well chosen.

The structure of this film is imaginative, like that of all Tarantino films. The mixed up chronology of the film works extremely well to the advantage of Kill Bill and makes it different and even more enjoyable to watch.

In conclusion, Kill Bill is a spectacular, fast paced, bloody, sentimental masterpiece. Scenes of outrageous violence and moments of real character development and sorrow, along with the perfect splicing of both in the Anime sequences all contribute towards the brilliance of the film.
You are gripped by the all action beginning, and are left feeling a large range of emotions at the bitter sweet ending; this film is a rollercoaster of emotion. Real edge of your seat moments mean that there is a nice balance between emotions and thrills too.

Kill Bill is an epic, flawless masterpiece that is a definite favourite of mine, topping other Tarantino masterworks Reservoir Dogs and Jackie Brown but not quite topping the ultimate of his films, Pulp Fiction.

Wonderful. Amazing. Fantastic. Brilliant. Great. Unforgettable. Awesome. Wow. Film Defined. American Beauty is too hard to sum up in review so this will be short.

To say it is good is an understatment. To say it is one of the best films ever made, is an understatment. To say this is the best film of all time, is a bit of an over statement, but it damn near is the greatest.

I am shocked and appalled that some peope can find this crap. Are they watching the same film as we are? Is the question nagging at me.

Everything about this, directing, acting, score. plot, layout is fantastic. A true modern great. The way we look upon 40's films as classics now, this will be looked upon as a classic in 60 years too, and it truly deserves to be.

Easily the greatist Gangster film of the 30's and that's saying something seeing as The Public Enemy and Little Caesar were also released that decade. Not only is it the best Gangster film of the 30's, it is the 3rd best Gangster film of all time.

1. Pulp Fiction
2. White Heat
3. Scarface.

When I put this in the DVD player, I wasn't expecting it to beat the 1983 loose remake. I was expecting it to reach a low postion in my top 100 at least. What happened, however, is that it Did beat the recent one. I just felt It was so well made.

It was directed brilliantly by Howard Hawkes, my first film I've seen of his, and now I can't wait to see other classics of his. He made some murders and shoot outs so realistic and directed everything else with just the same amount of talent. Scenes with Gangsters negotiating, scenes of Tony's jealousy over his sister and everything else shot with style and skill.

The editing for this film was amazing, especially in the tense shoot-outs, which are made even more tense with the snappy editing.

All of the performances are perfect. Osgood Perkins, father of Anthony Perkins from Psycho was easilly one of the best in the film. But it was Paul Muni who was amazing. He delivered each line with wonderfully and each word was made spoken perfectly in character.

Although I had high enough expectations for this, it really did smash them to become one of my favourite gangster films and one of my favourite films of all time too.

Clever, dark, suspensful and over flowing with twists and turns, Double Indemnity is the archtypal Noir film. A Femme Fatal, (possibly the most famous in history, played with menace and sophistication that so easily defeats the conscience of an average Joe who roped into a devious crime by the wonderful Babara Stanwyck), a story told in regretable flashback with a novel like monologue, a complicated crime, fantastic gothic interior settings (the mansion hallway) and gloomy cinematography are all the generic Noir conventions found in this classic, all of which are so intricatly woven together to create this masterpiece.

The peformances are all memorable and the final scene with Fred MacMurray and Edward G. Robinson is so well performaned, supplying both emotional connection between the characters and a devestating, unanswered open ending that is both tragic and darkly, touchingly comical.

Your eyes are glued to the screen and this is heard a lot but you won't be able to look away; It is all so gripping and involving. We watch the story unfold with an unsurpassable unpredictablility and mounting tension. Each scene is well constructed with every angle, every piece of music and every use of lighting relevent to the film, creating certain moods and manipulating our feelings towards the characters.

The settings are all subtle yet iconic contributions to the film. The empty, dominating feel of the mansion hallway is where we are first introduced the Phyllis Dietrich, with the large, gothic look and the towering, meandering staircase representing Phyllis's villainous qualities and empty soul which we are all yet to see but all know is coming. This scene is brimming with dramtic irony; we observe the innocuous insurance representative Walter Neff become almost immeadiately overwhelmed with the beautiful Phyllis yet we know what thay is hiding. This moment is when the seeds of the plot are lain and all the viewers can do is watch, biting our nails just waiting to see the inevitable crime unfold. How it will and what will happen is unknown whilst we sit in awe and hang on every single word of the superb screenplay.

The breakthrough for director Billy WIlder, Double Indemnity was a marvellous way to kick start his diverse Hollywood career. Filmed with style and undeniable talent, Double Indemnity is crafted amazingly. It never lets go and stays with us for a long time after viewing. This is due to Wilder's well observed structure, his inclusion of emotive scenes, his subtle touches of dramtic irony and his eye for aesthetic brilliance.

Double Indemnity is a phenomenal Noir film. A staple of the genre and a film of utmost importance that should not be missed. Absouloutly incredible.

An unforgettable classic with iconic performances from both the major and the minor cast and a whole array of famous quotes.

This is a film I can see myself never tiring of. I am writing this after my second viewing, in which I loved it much more than the first time (which was still a 5 stars; this has just climbed much higher in my favourites list) and this time around I noticed even more depths of the film, which really must be the most romantic film of all time.

Firstly, the performances are incredible. Peter Lorre, although only in it for about 10 minutes, delivers the performance that really sticks in my mind. Afterall, he is in my favourite scene too. Of course, Bogart is incredible as Rick Blaine, saying his lines with such scathing cynicalness, too. He was perfect. Claude Rains, one of my favourite actors, was outstanding and after rewatching this, it has taken over The Invisible Man in my top 100. I am still torn between his best performance of the two, but what I can say, each are equally fantastic, even if he only does use his voice as The Invisible Man. Ingid Bergman is great too and she has a really chemistry with Bogart and all the other characters too. Speaking the lines with perfection. The cast also includes the brilliant John Qualen, one of my favourite actors from severel episodes of Alfred Hithcock Presents, in a tiny but memorable role, just like Lorre. Here he plays a the man selling the jewlry.

The direction by Michael Curtiz is amazing. He makes the film gripping (especially near the end) but mostly touching and romantic and from this he creates a perfect mixture.

The screenplay is one of the best i've ever heard. It often feels like a classic line is being spoken every minute. It has got to be the film with the most famous film quotes of all time. My favourite is "I stick my neck out for nobody", spoken bt Bogart. An under-rated line in comparison to others, but memorable nonetheless.

Casablanca is one of the best films of all time. Everything is perfect, from the acting to the cinmatography and from the directing to the editing and everyone should see this remarkable film.

Finally, I have witnessed this masterpiece! I can't believe I waited this long! I cannot wait for the next two of the trilogy.

I had put this off for a long time as it's not normally the kind of thing that i'm interested in, but I figured I would give it a go. And i'm glad I did. It is a captivating watch from start to finish. All round good performance, stunning visuals and cinematography and a nice score to accompany the story. The special effects are so good that even though it is a fantasty, it still seems so real.

There are gripping scenes, touching scenes and funny scene all mixed into a flawless 3 hours and 20 minutes, in which you never get bored.

The sceenplay is magic and the directon by Jackson was brilliant. Who suceeded in making the film very real.

I am happy I have finally seen this masterpiece and can see what I have been missing all this time.

One of the greatest Ensemble casts ever to be rounded up. One of the best screenplay ever written. One of the greatest directorial jobs ever done. One of the greatest films of all time. A truly unique, interesting and impressive film. A feast for the eyes and ears; a never disappointing film.

Jack Lemmon is Shelley "The Machine" Levene-A loveable old timer who has been in the business for years and is now becoming desperate for a good lead.

Jack Lemmon's performance is an outstanding one which has had a notable impact on pop culture; for instance, where would loser Gil from The Simpsons be without the film? His presence completes the circle of interesting and different characters and he was perfectly cast, like everyone else in the film. His back tracking and stuttering way of speaking was delivered flawlessly and he handled the script without imperfections.

Al Pacino is Richard Roma-The leader on the sales board with a short temper.

The character was perfect for Al Pacino; it allows him to show off his perfect acting, with the angry speeches filled with expletives only Pacino could deliver to such realistic effect. Not only does Pacino get some of the best lines from the brilliant script, his way with the words is impressive. His character is memorable and the Oscar nomination was a well deserved one. I need to see Gene Hackman's winning performance from Unforgiven yet, but I?m sure the Academy had a difficult decision on their hands in the 1993 ceremony.

Kevin Spacey is John Williamson-The uptight office boss with little care for the others.

As always, Kevin Spacey shines. His character is one you love to hate and Spacey manages to draw that feeling from you with the remarkable talent which won him Oscars for The Usual Suspects and American Beauty, two other modern greats.

Ed Harris is Dave Moss-The most confident of all the employee's.

His character is one you vary between liking and hating him. He is one of the most confident of the workers and you like him when he doesn't take the shit some of the others take, but you hate him when he loses his temper at the wrong people, such as Shelley Levene, the one who doesn't deserve it. The portrayal Harris gives is outstanding. He delivers the verbal duals with the other characters with a great talent and his back and forth dialogue with George makes for some of the best parts of the film.

Alan Arkin is George Aaronow-A worrier and subtly angry co-worker.

He may be the next most likeable character after Shelley Levene. Alan Arkin shows off his impressive talent with great facial expression. These expressions portraying the worrier his character is realistically. He shines in his scenes with Ed Harris the most, his talent being the most exposed in those parts of the film.

Alec Baldwin is Blake-An arrogant motivator. The motivations, however, are far from that, but are instead vile bullying of the others.

Alec Baldwin, although his role is brief, is included in one of the most memorable scenes of the film, and movie history. And he makes that scene his. With what sounds like one of the most difficult parts to learn, he shows flawless acting skills and develops his character marvellously in the short time he is given to do so which is a fantastic achievement. In his just over 5 minutes role, you already know he is an arrogant person who isn't really there to help, but there to bully and show off. He is the best character of the film and one of the best of all time.

Jonathan Pryce is James Lingk-A naive customer, the only buyer we get a real insight to.

Jonathan Pryce is great in this role. His body language really does convey the nervousness and naivety of the character. He is probably the most innocent of the characters, getting caught up in the sales war and the best thing about Pryce's performance is how much he allows you to be sympathetic with him. Although he is brief, you can understand how he feels perfectly.

This is a film with a perfect screenplay from David Mamet, impeccable directing from James Foley, who uses both style and substance. The moves of the camera are mesmerising, but he doesn't just pay attention to the look, he pays attention to the substance too. With the factors of the exceptional acting, directing, and writing, the result is an un-missable modern classic.

Stanley Kubrick's cold war satire kept me laughing all the way throigh with its smart jokes. This is a real comedy. It doesn't rely on to lots of sex jokes or the use of bad language in every sentence, just on the brilliant mind of Kubrick. The place you can never go wrong.

Another fantastic, unexpected ending, as is the case of a lot of other Kubrick films. Another set of talented actors who do their outstanding best, another great directing job from Kubrick, another classic film.

One of Kubrick's best. Even surpasses the likes of 2001: A Space Odyssey and Lolita.

Stanley Kubrick, aged just 29 and with the 1956 masterpiece The Killing already under his belt, made this World War 1 classic. Touching and at most times hard to watch because of the raw emotion, it is his most emotional film to date with an ending that may not be his best but is certainly the deepest, as a German girl sings uncomfortably in a pub. It brought a tear to my eye for so many reasons and this is proof of Kubrick's budding genius. In fact it was already in full bloom.

The scenes in the trenches showcase Kubrick's eye for angles perfectly, as the camera pulls backwards and gives us a sort of tour of the squalid conditions and the people who brave them whilst the way the doomed attack is filmed obviously inspired Spielberg's direction of the first scene in Saving Private Ryan.

The cast were well incredibly well chosen. Douglas gives his all whilst the three accused also give masterclass performances and their powerful emotion gave me the chills.

The screenplay is brilliant. Two soldiers discuss if they would rather die "by bayonet or bullet" whilst one concludes that "we are not afraid of death but pain instead". Is this a realistic portrayal of soldiers and their possible denial of fear? I can only imagine so. Great dialogue, great moments, great realism; Kubrick has always written above par sceenplays and this is no exception,

Paths Of Glory is one of Kubrick's best but unfortunately is one of his most under rated. As I have already said, I prefer this to more widely acknowledged Kubrick classics such as 2001: A Space Odyssey and Lolita. Everyone should see this so they can see a master director tell one of his best films.

Natural Born Killers is a one of a kind film. It is a film about a couple who go on a killing spree, previously seen in Bonnie And Clyde and Badlands. What makes this one of a kind, however, is how it is filmed. It is one of the weirdest, wackiest but downright brilliant films i've ever seen with some fantastic directing and editing.

What first strikes you is that the film is quite messy. The editing is fast, the camera angles change a lot and quite inovative. I normally don't like watching films like this is it is sometimes annoying, but here it works amazingly! The changing between black and white and colour in different parts of the film is effective. It may seem untidy but hell, that was the point! Possibly meant to reflect the carnage caused by the Mickey and Mallory.

Harrelson looks the part and plays it with such insanity. He becomes the character, liek Nicholson did in The Shining. Lewis, a favourite actress of mine, is probably at her best here. What a contrast from her innocent, fresh characters in films like the Cape Fear Remake and From Dusk Till Dawn.

The story could only be Tarantino. It would be obvious even if it wern't in the credits, and the screenplay by Stone is fantastic.

Some say Tarantino would have made a better film, and although this may sound right for True Romance (Not saying Tony Scott didn't do a fine job), this would not have been as good if it had been more Tarantino. It would have been different and would lose a lot of its originality.

Finally, I'm going to say that this film is probably the best serial killer couple film, even better than Badlands and Bonnie And Clyde, even though that is more of a bio-pic of the famous bank robbers more than serial killers and that the cast is outstanding!

An astonishing Gangster Thriller. All the performances are great and they all clearly did their very best.

I loved Faye Dunaway as Bonnie Parker and she used a wide range of emotions in a fantastic way. Gene hackamn was the best I have ever seen him so far and Warren Beatty, in the first film I have seen of his, was great too. Estelle Parsons deserved her oscar win for best supporting actress as the Panickky wife of Clyde brother Buck. But my favourite performance was Gene Wilder as a man who's car is stolen. His part is only 10 minutes long, but it is easily the most memorable part of the film.

The direction is good, as was is the editing (no nomination?) as were the acurate costume choice and sets, depicting the era very believably. The music suited the film too.

This is one of the best films ever made. It really is a pillar in film and one of the best of the 60's and one of the best of all time too.

Miller's Crossing another Coen Brother's masterpiece. This is without a doubt one of the greatist gangster films of all time yet is one of the most under-rated of them, just like Corman's legendary The St. Valentine's Day Massacre.

Periodically acurate and shot with beautiful orange like photography a Coen masterpiece is created. Barry Sonnenfield's effective cinematography is just the tip of this iceberg here.

The screenplay must be one of the best screenplay's ever written. Seriously, it is up there with Pulp Fiction and other Coen masterpieces such as The Big Lebowski and Fargo. Verbal enjambement, memorable lines and back tracking dialogue, all present and perfect.
Here, the Coen's dare to step out of the conventional gangster field and a unique film was made in the process; there isn't a fight for about 20 minutes, or a gun fight for about 40 minutes, but this just makes the film all the more special. Yet it is conventional also. The setting, the props etc are all very well established gangster film traits as is the plot.

Directing wise, the brothers are amazing again and never falter. The cmaerawork I have grown to love from them is again fantastic, undeniably.

The score is memorable and accompanies the film well. It is as suiting as everything else in the film.

The tight editing makes the film even more exciting and tense just like in Blood Simple for example.

Miller's Crossing is an unforgettable 90's classic and one of the best gangster films that has ever been made. Heavy dialogue, bursts of excitment, this is my kind of film. I'm not sure about others, some may not find it so great but I really did appreciate it and I hope anyone else who watches this does too.