While not as anarchically brilliant as Airplane!, this film from ZAZ is still amazingly funny. Leslie Nielsen's deadpan delivery works well with comedy that relies on so many examples of wordplay and mis-communication. Every time Nielsen is on screen you just want to laugh at his ineptitude and misplaced confidence in himself and his methods. As a result, the movie suffers a bit when Nielsen is off screen.

Another minor Hitchcock. There's really not much worth writing about this one. Betty Balfour is goofy, but engaging. The story is a stale morality tale. Hitchcock doesn't get much opportunity to show off. The scene when Betty and her lover are rescued from the sinking plane is embarrassingly cheap looking; the plane looks to be made of cardboard.

I have to agree with Stephen King that this is the best American horror film of the last 20 years. While the irony that such a great film is in fact a remake of a Swedish film is obvious, it is undeniable that Reeves took the source material to a level of high art. The cinematography is breathtakingly gorgeous and the acting--in particular the acting of the child leads--is phenomenal. This film is intensely scary.

This is one of those films in which the filmmakers layer on one depressing scene after another, most of which are also quite violent. The result is a film that obviously condemns violence of any kind, but whether the violence is also glamorized is arguable. After setting scene after scene of blood-letting to pulse-pounding music, the film seems to want to make the audience eagerly anticipate the next bit of violence.

The material here is extremely dated. Isabel Jeans becomes "notorious" because she supposedly has an affair with an artist and her husband divorces her. The way everyone is scandalized is almost funny. The most interesting part of the film technically is the courtroom sequence at the beginning. Hitchcock employs many interesting match cuts .that make the whole sequence feel almost dreamlike.

There are not many films from which any frame could be grabbed and hung on the wall as a painting, but this is one of those films (Kubrick's Barry Lyndon also comes to mind). The cinematography is unlike anything I have seen before. Many shots are drastically distorted, while others employ actual painted elements.

This film has now been added to the short list of films I never, ever want to see again. But this is not to say it isn't a great film, because it is. The Stedicam work is brilliant, and the score is incredibly intense. But this is one cinematic experience that is too painful to repeat.

Silly, ridiculous, and a helluva lot of fun. Anderson's haunted house in space film is scary and intense. Fishburne and Neill deliver the goods, even with the the thin plot.

Eastwood has really shown himself to be a talented director, but his old-fashioned Hollywood studio style doesn't quite work for me in this film. It needs something grittier, maybe someone younger. The performances are good, though frequently over-the-top (particularly Penn). Bacon is the most enjoyable to watch.

Excellent neo-noir, sci-fi, thriller. Sewell is great as a regular guy caught up in the strangeness and the concept is very well-constructed. The smash-bang ending is a little disappointing, but up to it, Dark City is one of the most original and exciting films of the last twenty years.

The film of PTA's that I find easiest to come back to again and again. Anderson managed to coax a wonderful performance out of Sandler, and Watson is great, as usual. The use of the color blue is striking, and Jon Brion's music is bizarre and awesome. I love the screenplay and all it's quirkiness. The scene with Sandler and Hoffman on the phone is hilarious!

There's something sort of maddeningly pretentious about Anderson's work, but I just enjoy it so much. Hackman and Huston are excellent, and the rest of the acting is all very good. Anderson's rigidly formalistic camera work is very pleasing to the eye, along with his bright palette.

A lot of people didn't like this one, saying all the talk was boring and the only good part was the action. While I enjoyed the action sequences, I must admit I am in love with Tarantino's dialogue and love the scenes of the groups of girls just talking about nothing. It doesn't sound natural, but hey, it isn't supposed to. Tarantino's weakest film but still a hit in my book.

I love the dynamics between the characters. Payne expertly balances the the drama and the comedy and result is perfectly sublime. Wonderful filmmaking.