Danny Boyle's vision of how to tell this crazy story is the real winner here and it's what powered the incredible performance by Franco and cinematography and editing. Storywise it feels similar to Enter The Void, in that the central character -- faced with death -- reexamines his life and his relationship with those closest to him.

I had the luck of seeing this film on a newly restored 35mm print back in 2003. It is one of those films where all of its technical aspects from script to production design were all ahead of their time. Laughton's early career as an actor no doubt enabled him to get stoic performances from his cast, specifically the child actors in this film, which I would compare to those in "Slumdog Millionaire." Destiny.

Surprisingly I felt Seyfried acted the pants off (no pun intended) of Moore and Nieson. Moore's performance felt distanced and vague while Nieson's was too calm. Overall it doesn't really compare to the complexities and nuances of "Sweet Hereafter" yet it's not a total fail.

An interesting exploration of guilt and loss, arguably Von Trier's most interesting -- and ironically tolerable and well paced -- work since "Dancer in the Dark" and "the Idiots." The now notoriously explicit scenes have been blown way out of proportion by the press and some critics. Personally the violence felt justified as Gainsbourg's performance clearly shows the moment at which her character loses it...

I whole-heartedly agree with RUI -- it is criminal how underrated this film remains. Luckily I stumbled into a theater this was playing at and was able to see it projected on celluloid (the Blu-Ray version is pretty good too). Tarsem's eye for complexly beautiful mise-en-cine and stark production design shine while illuminating the subjective power storytelling has on the child in us. I still have trouble believing this was DP Colin Watkinson's 2nd feature? This along with "The Assassination of Jesse James..." were way overrated in terms of cinematography, eventhough the latter was shot by veteran Roger Deakins. Lee Pace and Catinca Untaru are perfectly cast and masterfully directed by Singh, notably Pace who's tragic portrayal of the lovebeaten stuntman really gets you.

Through complex editing, constantly going between different worlds and temporal landscapes, Jackson succeeds in immersing us in this bizarrely beautiful world. Like his earlier work "Heavenly Creatures" and films with similar subject matter like "What Dreams May Come," this film's pacing is meticulous and slowly deliberate. Actually, most of Jackson's films -- especially the 'Lord of the Rings' trilogy and 'King Kong' -- are paced quite slow. The exceptions being his more gorey stuff like 'Bad Taste' and 'Dead Alive,' and less gorey 'The Frighteners.' Jackson's use of VFX -- while not as seemless as Tarsem's in 'The Fall' -- nonetheless takes us to a place emotionally different from where we were before we watched this film.

Warren Oates' performance in "The Cockfighter" is -- in my opinion -- the finest performance in a leading role, ever.

I saw "Japon" in the theaters. I went with some friends and they couldn't handle and had to leave. We didn't know what we were getting ourselves into. This film is haunting and beautiful and fucked up all at the same time. The sparse dialogue helps to foreground the poetic use of anamorphic 16mm. The high angle shot looking on the main character as he lays on the horse carcass has forever stayed with me.

"Revolver" is one of the most overlooked films ever. It's a perfect example of "existential gangster" genre that Ritchie helped create.

I was a projectionist at a dual projector art-house cinema when this movie dropped back in 2001. I must have projected this film over 100 times. I own the DVD and still watch it all the time. It is my favorite film. Medem's elliptical penchant comes full circle -- especially this being his follow up film to "Lovers of the Arctic Circle" -- and Paz Vega and Tristan Uolla have a chemistry seldom seen on screen anymore.