This is one of those films where it takes a while to figure out what's going on, but it's so engrossing that you just keep watching. It's also one of those films with imagery so rich that you dream about it that night and it stays in your head forever. Admittedly, this film was the first time in a while that this had happened to me.

This film further cemented my love for Altman. A brilliantly shot depiction of life in the American South during a curious time in history, it did not delve as much in the lives of the characters as in Short Cuts. Nonetheless, in the end we can't help but think about the purely American phenomenon known as country music.

This started to drag in the middle, perhaps because of the content, I don't know. Nonetheless, this is one of Godard's most brilliantly shot films, proving that celluloid and video do not always have to be at odds.

Only Merchant-Ivory could make the fantastic novel of the same name into this movie. While I did not exactly approve of some of the changes that were made from the book, the film--especially Hopkins--portrayed well the dangers of living by a dying code.

While some may have problems with the length, this is still an excellent film. All the textbook trademarks of Italian neorealism are there, but Visconti films it in such a way that the desired effect is much more intense. Also, Alain Delon is especially nice to look at here, and a great actor as well, foreshadowing his later roles.

A bit better than "L'auberge espagnole" in terms of cinematography and music, but not much else. The character development wasn't as contrasted as in the first one, and the premise as a whole was ill-conceived. The characters as a whole, however, are still likeable.

This creative blend of dream and reality--including the past--both depicts and comments on the creative process like nothing else does. If I must make a film, let my process be like this one.

I love comic Mastroianni and the reference to La Dolce Vita. This film was so enjoyable to watch. In addition, I love Germi's cinematographic style. It's so complete and it only adds to the theme of the film. I'd totally see this again.

This gets funnier bit by bit each time I watch it. Not Monty Python, but the characters were so relatable to me at this point in time. Richard E. Grant and the soundtrack are all something else.

I'd read articles and such by people affiliated with the documentary before, so some of this I had already heard. However, this was very good in simply giving a voice to a side of the story that wasn't commonly heard in the media when the Abu Ghraib thing initially went down. In typical Morris style, the film contains no bias, just merely exposing the facts via testimonials.

For me, this was one of those films that has a brilliance that's there, but not upon a first viewing or even a first examination. In order to really appreciate it, I took full advantage of the special features on the Criterion edition. But anyway, this is a brilliantly shot (the deep focus!) satire with a denouement that's almost cathartic. And everything else is just so well done.

A beautiful, wonderfully orchestrated ode to a bygone era, when radio was king, jingles were even catchier, and all one could hope for was a Masked Avenger ring. The best Woody Allen film I've seen thus far.

This film provides an answer to the question of how people in suburbia (which, of course, is not as perfect as it seems and is a theme that never gets old) find happiness. Everything is brought to the surface, no holds barred. While I didn't find any shots to be screenshot worthy, the style is nice and clean, which I like.

In style: reminiscent of his New Wave works. In content: perhaps meditations of a director who has reached old age, or perhaps a subject that he had meant to touch for a while.

A classic (or not) love story that plays on the transience of both experience and memory. Everyone should watch this. The transfer (Criterion) is something else.

Not as good as Goblet of Fire, but still good. Just as dark as the previous installment, but the actors' technique and Yates' skill help illustrate just how complicated things get. And that's just the puberty!

A visually pleasing, beautifully laid out film that really depicts Mishima's life in a way that nothing else would. After I saw this (in a theater, but the Criterion version is tops with a really nice cover), I promptly ran out and bought Confessions of a Mask, his first book. I've never been inspired to do that. The score is also good.

I loved this too. My interpretation is more political, though.

This film subsumes you.