Dizzying, sexy, atmospheric, labyrinthine, dark, funny, and exciting-what a noir should be. Maintains a constant forward momentum despite convoluted plot, not allowing the viewer to dwell on the improbabilities of its plot twists. Faulkner's script and Hawks' direction is superb, and the cast is perfect. Even supporting players with lone scenes make an impression. This is what the image I get when I think of Bogart.

The more I watch the less I'm convinced that I'm not watching the work of the greatest filmmaker of all-time.

This is what cinema is about! A small scale, deeply felt, keenly observed, poignant film from one of the true masters of the medium. As told through the eyes of children, Ozu presents the everyday as melodramatic, tragic, and exhilarating. Every passage has brilliant little flourishes that make them stick in your head.

Whichever way one looks at it: Either... A) It was the first mainstream narrative film to take hip hop seriously or... B) It was the first film that presented hip hop culture that broke into the mainstream... In any measure, this significance outweighs its quality as a film. Today it's a little more than an interesting curiosity. However, it IS a lot of fun pointing out so many early hip hop icons at such a young age

A nice antithesis to the Nolan Batman films, and every bit as good (if not better). The dialogue doesn't pop the way it does with Whedon, but the visuals and setpieces are outstanding - especially the scenes with Hulk (the best incarnation of the character yet put on screen, both visually and in characterization). Whedon does a fantastic job of making the TEAM the star, balancing out screen time among characters.

Possibly the most bizarre of the frat pack movies. The entire thing is one big, long, nonsensical buildup to a Chuck Norris punchline.

Not only superior to its predecessor, but one of the finer presentations of comic property put on screen. The movie benefits greatly from colorful performances from Eckhart and (especially) Ledger. When they aren't on screen, the movie hurts, as we recognize how dull the rest of the characters are. I'm not convinced Bale was the right choice for this role.

Completely lacking in life. No comic sensibility or heightened reality. Nolan managed to suck the fun out of comic book genre. Impressive technically, and the characterization of Ra's al Ghul is fantastic, but the performances are too sober, and tone is too somber. I understand where he was going, but it wouldn't have hurt to throw in some color or have a lively performance (a la Heath Ledger in the superior sequel)

A brilliant start to what has so far been a stellar career, there are those out there who claim this is P.T. Anderson's best film. While I don't agree, it's easy to see why they feel this way. Underappreciated Philip Baker Hall gets real meat to chew into, and John C. Reilly is spot on. As always, incredible attention to detail and the dual quirky humor and unsettling violence which are PTA signatures are present.

Edward G. Robinson's performance stands as one of a handful that can honestly be called the greatest of all-time; one of the richest, most complex characterizations ever - ranging from pathetic to sinister, comic to tragic (sometimes even within a single scene). The fact that he was never nominated for an Oscar (especially seeing this, Key Largo, and Double Indemnity) shines a dubious light on the Academy's history.

The greatest martial arts/comedy hybrid of all-time... period.

At only 45 minutes, it stands as one of the most lyrical films ever made. The scenes that didn't get shot don't deter from the overall power of the central story, nor can they diminish the gorgeous imagery. Renoir was the ultimate humanist, and this is his most touching film. Not only will individual moments (a woman on a swing, the closing) stay with you long after viewing, but the entire piece will as well...

A powerhouse of a film! Leone's movie is inhabited by lively, memorable characters, driven by one of Ennio Morricone's more adventurous scores, and fueled with a political story that's still relevant today. You find yourself really caring about these characters and what happens to them (Of course, it can't end well for all). The jailbreak/bank robbery scene is tremendous (A courageous act performed unwittingly)

Unorthodox in how it handles the representation of an era. There is no nostalgia to drown out the story. The soundtrack isn't flooded with sixties artifacts. Instead, you have a chilling story anchored by interesting characters and an effective, atmospheric score. Tony Bill eases off where others might have gone all out. John Turturro is manic in one of his finer performances. You won't forget the penguin scene.

The great American crime epic. Mann creates myth as he plumbs the depths of cop and criminal archetypes. Utilizing every tool in his arsenal, he somehow turns a grand city into something even more grandiose. Rich characterizations balance and compliment themselves. Pacino is nails, and DeNiro gives what is (to date) his last truly great performance. How did this not receive more acclaim upon its original release?

Deeply unsettling and one of the most chilling presentations of a man's mental collapse I've seen put on film. MUCH more effective than even most horror films in its ability to creep out and disturb its audience. Shannon is possibly the most compelling actor in the world today, always giving compulsively watchable (not to mention distinctly different) turns.

Tommy Lee Jones' stellar performance is almost completely wasted by an overly generic storyline (reporter recalling Cobb's career and life through flashback). This should have been baseball's 'Raging Bull', but it fell somewhat short. As loathsome as Cobb is presented in the film, it barely scratches the surface as to how horrible an excuse for a human being he actually was.

Ford was a true poet of the cinema, and this is his ode to the mythical Ireland (that exists in songs and poems/not the actual place). Wayne, who was the embodiment of everything Ford ever wanted to convey about masculinity in his pictures is near perfect here. The relationship that buds between Wayne and O'Hara is a mature one of equals. Great supporting cast all around, but Barry Fitzgearald steals the movie...

John Garfield was an underrated actor, and this is his greatest performance. Where most boxing movies use the sport to represent redemption, Rossen's film presents it as a corruptive force (the redemption comes from a personal choice at the end, not through the act of boxing itself). A searing indictment of unchecked greed and what can happen when people abandon integrity for personal gains.

For its four hour running time, it moves briskly and doesn't ever hit a lull... An individual experience, it will leave its viewer possibly overwhelmed with its idea. I can't recall another recent movie with as many memorable single sequences and images...

One of the best soundtracks of all time. I love this film's energy and movement. Even with heavy editing, it's subversive nature (namely, the sapphic bond between the two leads and its strong anti-radio/anti-television stance) still seeps through. The 'Life During Wartime' sequence is one of the great musical moments in all of film.

Definitely something to show one's children if they show signs of creativity and talent. It's amazing that Clash had the perfect combination of creativity, drive, technical skill, support, and opportunity (very rarely does one experience all these factors). The found footage is amazing, and is fit into the story quite well. Glosses over Clash's personal life, but it isn't necessary for what the doc is exploring

Under the surface is a harsh critique of materialism. Among Scorsese's technical highpoints is also one of his two or three finest films.

Considering the off-kilter characters, sense of community, and surprising drama (not to mention the potential for commentary on American consumerism and materialism), it's no surprise that Robert Altman wanted to adapt this into a scripted film.

The Aaron Copland of the movies, Burns is the most distinctly American of all documentary filmmakers. He extracts rich narratives within his stories, giving a highly personal perspective to his massive scope. At his best, this approach is incredibly engaging (especially considering the epic length of a lot of his work). When he isn't at his best, it can be a bit overblown, though.

I've unfortunately seen this movie more times than I would like to admit (everyone has THAT one film that fits this description). However, there is a bizarre, almost anarchic quality to it. It certainly should be better due to the partnership of Louis C.K. and Chris Rock, but there are some moments of inspired nonsense.

This is the first major television "event" (these don't really exist anymore) of which I remember actually being fully aware. Not simply giving us a "history lesson", Burns creates a narrative of the war. Some say that this is him at the height of his skills (I believe that 'Brooklyn Bridge' or 'Unforgivable Blackness' are better), and it IS incredibly focused (if not slightly boring) for such an epic undertaking

Dieterle was an underrated studio director. This and 'A Midsummer Night's Dream' are evidence of his strengths, but his films have aged more than those of his contemporaries. Huston gives a deliciously impish performance (no matter how much his characterization threatens to become unhinged, he keeps control), but the rest of the cast hasn't stood the test of time in the same way. Still, a brilliantly crafted movie.

Some of the mechanizations within the story are a bit forced. Considering the cast involved (Laurence Olivier and Vivien Leigh), the acting is rather stagey and subpar. The conflict within Olivier should have been stronger (almost immediately, he wants to do the right thing... the film would have been stronger had he actually contemplated letting the wrongly accused man hang). Overall a disappointing film.

Disturbing for more than just the grisly subject matter. The domesticity from which these events spring is quite possibly even more unsettling than the events themselves. An extremely tough watch because it is less senationalist than the movies that feed into the cult of the serial killer.