Along with a precious few others (Gertrud, The Birds, a handful more), this is without a doubt The Greatest Movie Ever.

Some incredible photography in this film during the final swimming race, wonderful, glossy stuff in slow motion. Reminds me of some of the the more ostentatious angles and effects during the 2008 Olympics.

For a deeply insightful analysis on why the second and third acts of Full Metal Jacket are so strange, and on the experimental narrative Kubrick is employing, check out this article: http://www.visual-memory.co.uk/amk/doc/0104.html.

Seconded!

Feels like 4 movies in one, but maybe that's not such a bad thing. It's got energy and style to spare.

This film came out of Sundance with a lot of buzz, but its mysterious distinctiveness runs out of steam about thirty minutes in. Promising but not nearly the knock-me-down debut I was expecting.

Sally Hawkins is amazing in this, no wonder she won the acting award at Berlin.

This was one of my top 3 favorite films at the Berlin Film Festival. Very jazzy and musical, a lot of fun.

Jia Zhangke is on fire now, but it is great to see his work back when he was making films in the Chinese underground, unsanctioned by the government. The actor who plays the lead in this has showed up in most of the director's films afterwards, I just saw him in STILL LIFE.

It certainly is a stunning debut film. I'm very curious about what this director will do next.

This was one of my favorite films of 2006, and a very unusual true story. It's great to see it finally available to see at home.

An unusual, but beguiling look for a film about a way station before heaven: the dim desk lamps and golden pools of light...

While comedy seems to easily date, physical gags never age, especially when they are as risk-taking as Keaton's. I love it when he grabs the handle of the passing car and gets yanked away. I just saw THE SIMPSONS MOVIE and there was a reference to that joke in it.

I love this, half of it has that kind of screwing around, improvised feel a lot of the young French New Wave films had, but is mixed with that Hitchcock influence, where a creeping threat steals in and starts to turn the film into a thriller.

I also liked the look of the film, it reminded me of Nuri Bilge Ceylan's DISTANT and CLIMATES...

How strange that Garrel, who is known for shooting in such luminous, textured black and white, has shot this film in a very down-played color palette. Then again, since the film is in some ways an ode to a fire-red Porsche, perhaps this was the only option the film dictated? The color of the Porsche tears through the images of the film...