A sweet and sour pie of the morality and values of it's time. Tasty, colorful in the outside, with so much hipocrisy, prejudices lurking inside. Its deep sensitive core could only be reached by Sirk's nobility. His lyrical and non judgemental treatment , helped by one of the best cinematographers that ever was, Mr. Russell Metty, and amazing performers.

Some people never realize how society, traditions and values imprisons and forces them to conform with banality. A candid and romantic look of a taboo relationship, done with such picturesque beauty that is hard not to be moved and enchanted by it.

In the John Huston tradition of losers who take the road to find themsemelves, getting in contact with people with more and deeper needs to their pathetic and meaningless existence. Coppola's first mature plunge in filmmaking hits the right chords. He's both sensitive and crude, when needed for the sake of such a heartbreaking story.

A beautiful journey through places, times, and mainly the souls of a group of fascinating people, struggling to find themselves in the midst of all the changes that come with life.

Hal Ashby's debut film is very honest, witty and funny. The dramatic twist is poignant, though for me it disembalances the perfect farcical tone it had at first.

Chayefsky is almost infallible at giving the toughest and loudest social and existencial commentaries under the veil of comedy. He did that flawlessly in "Marty" and "Network", but not here. Still, George C. Scott is magnificent, as always. His rage and tortuous pain seem on the surface all the time, like he really was the character he plays.

Incredibly and despicably cynic, and also quite true, because that's exactly how we talk about the opposite sex, one of us is either Nicholson or Garfunkel. The tone is fascinating, directing and acting-wise, Nichols' mise en scene borrows heavily from Italian psychosexual dramas and french nouvelle vague. A great approach, attack, pulverization and then rebuilding of a man's ego.

A man who doesn't define himself is trapped, attached by the forceful and heavy chains of what society decides is best for him. If he conceals or denies his true self, the rest of the world will be oblivious, knowing he is nothing more than just another puppet among the million they own. Incredibly brave and provoking character study.

A carefully reproduced 1920s setting, a candid and nostalgic score and a moving performance by Jean Dujardin. Besides that, it has nothing original in its plot, not even in its silent gimmick.

William Petersen carries the film with a brave and ambivalent portrayal of a disturbed detective obsessed with the psychopath he must catch . Mann's atmospheric storytelling helps to feel the heat, anguish and horror in the minds of the duellists. The sinister Tom Noonan is the counterpart of the deadly game,

Siegel's minimalistic style perfectly suits every crime tale he touches. This version rivals Robert Siodmak's previous by being something completely different, having more of a pulp-ish, b-movie sensitivity, au courant with a more nihilistic, violent, and mysogynistic time it was made. Memorable parts played by everyone, especially the badass Lee Marvin, and Angie Dickinson is to die for.

Deep in my mind I envy Jimmy. He had his winning share, at a back alley, a climax, a perfect moment to live for. Hence destruction was unavoidable, there was no turning back, he had to kiss life goodbye with dignity, the kind of dignity winners never get to feel.

Life is doomed for someone who puts passion above reason. Edward G. Robinson once more plays with perfection the sap in love with Joan Bennet. Fate and circumstances are so cruel to him that, even when he does things wrong, one can only feel a deep compassion towards him.

Good manners, tidiness, or healthy abstinence are perfect, at first, to conceal a growing psychopathy. From Kafka's land comes this atmospheric and engaging study of a funeral director obsessed with the tibetan book of the dead. With all that strange things rambling in his mind, the rise of nazism presents itself as the perfect oportunity for him to unleash his fantasies. Quite unsettling.

A beautiful and touching tribute to a mother. I feel very close to the main character, because I was also raised by a loving and ever caring woman who has never given up on her children, even when sometimes I have felt ungrateful and undeserving of having such perfect human being as my anchor.

Almodovar's trademark pastel colours decorate an intricate but perfectly woven tale of unimaginable sexual and moral perversion. Antonio Banderas is great as the mad doctor, and the flawless beauty Elena Anaya is perfectly cast as a sort of human doll. While watching it, Le yeux sans visage come to mind, but I even recalled the great tagline for Orson Welles' Touch of Evil: The Strangest Vengeance Ever Planned!

At the eyes of Andrzej Zulawski, love may be the most evil, hurting, sickest, cruelest act of posession, everybody acts insane in his films, because no one lies, they all show their true self without hesitating. But in this demented and violent world, love can only be born out of pity, and the only way to attain grief is suffering, both psychologically and phisically, crawling in our own blood.

Hector Alterio's face in the very first shot already warns us that his life is condemned to be cyclic, to repeat itself, he has a life sentence of fate and social conventions. His performance is quiet, taciturn at first, but by the end his grief is so strong that engulfs the screen in agony.

A bit ponderous, considering the subject matter. Nevertheless, there is some poetic and philosophical richness laying inside its monotonous and discursive preachiness.

It takes a very intimate story and allows us to see through a small crack all the horror and tragedy suffered by a whole nation. Overwhelming.

Some funny moments and a few great insights of the central character's writing, but all the efforts by Johnny Depp and Bruce Robinson to make a round film fall flat, the story is not fluid, the tone rambles, the romance has zero chemistry, all the potential situations for hilarity fade away too soon.

Wise and Gidding (director and screenwriter) succesfully repeat the formula applied when adapting the psychological horror classic "The Haunting". A concise emphasis in human drama and scientific verosimilitud over a seemingly far-fetched subject. Tense and paranoid atmosphere that grows in its final stages, despite the overload of dialogue. An adrenaline-pounding thriller.

Decidely more tragicomic and surrealist than ever before. Another show about the love that John Huston always professed to losers.

Intriguing drama with splashes of disturbing psychological horror. Kawalerowicz took a similar approach to Dreyer and his Joan of Arc, doing many close ups and trying to dive into existential issues as faith, corruption of the soul, and free will.

An intelligent, discreet and very entertaining thriller by the master of pulp and badass-ness Don Siegel. Great performances by Joe Don Baker as the hitman Molly, and Walter Matthau as the crop-duster/bank robber Charley Varrick.

A crime film with the flavour of the classics, brutality and lyricism in well measured dosis. I like to witness a product of the new millenium channeling genre filmmakers I like: Brian De Palma, William Friedkin, Walter Hill or Michael Mann. Moody, stylized compositions with no need of shaky cameras to raise tension. A great throwback to the neon-cocaine-synthetized noirs of the 80s.

Possibly Roger Moore's most atypical and best performance. The film has too little to offer besides Moore, it feels horribly dated (especially by the musical score) and stretched by its uninteresting subplots.

The intrigue finalizes too earlier. The tense and grim atmosphere becomes lighter and accommodative. Besides that, it's a fun thriller with good performances and racy themes.

Action cinema must depend on how things happen rather than what happens, because we know the outcome already but the right dose of comedy and suspense along with imaginative set pieces and vertiginous stunts, especially the one at the burj khalifa hotel, make this a hell of an escapist spy fantasy.

Starts off with a funny, caustic humour, but the tone changes and wears off, drags, stretches in an unfunny, unsurprising second half. The idea was better than the outcome. Great leading performance.