The best movie I've ever seen.

He's the one man I've ever looked up to I've never met.

bring on the 'haterade' y'all.

stop saying you want to abandon the site. this place has always been open to our input so instead of trying to deride it how about we give back to it.

The NY Times is composed of what seems like a bunch of jaded idiots now. Their reviews were once really great but now it seems like they dont have a pulse on films whatsoever. SHUTTER ISLAND is a great movie. It's brilliantly conceptual as a tapestry of 50s mores, paranoia, nuclear fear, post-traumatic stress, and the loss of a loved one. Teddy is as potent a character as Travis Bickle. Seeking a false justice.

Mizoguchi's ghost story is an unsettling fable with a purpose. The fear isn't of the supernatural or pending death but rather losing sight of those you love and that which matters. Above all love. The camera and direction is perfect in every single way: not a frame is wasted. The traditional yet modern score chills the soul. The women will leave a permanent impression... FOR ALL TIME!

his truly great film has already arrived. it's called "14th arrondissement".

even after the fourth time watching it I still laugh at every sardonic pun.

Never have bookend titles been so simple and so fucking powerful: New York 1907. A woman's life in pursuit of high society. The direction is so velvety you don't realize you're watching a tragedy because you're so rapt with the way the characters apply their wit and language. Dishonor with honor. Money ruins all in the end.

I'm (glad) that more movies are being shot in Downtown LA. I'm not (glad) this movie was made. This flick is a break-up diary construct vying for modern Annie Hallism with nothing but cliches. It's a good one for the teenage crowd I guess.

A trinket of childhood magic and melancholy that you want to wear around your neck as you go and pop up book you want to live inside. The realized fantasy of one last big caper with your cousins, your uncles, your dad, your loved ones. The most genuine of Anderson's films had to have been one crafted from within. MR. FOX is beautiful dream.

A triumph of pure visceral filmmaking. The energy levels are uncharted as Herzog makes a really bleak and devastated New Orleans a drug laced adventure for Cage. This is as monumental a performance as Keitel's and probably the best narrative Herzog movie since the 80s. It's something to be seen: the bliss of evil.

For whatever reason this film works far more beautifully in retrospect as opposed to the actual viewing itself. As I take in the rich photography and the nuanced performances I'm completely disengaged and nearly bored when suddenly it ends and it overwhelms my memory. Few movies do that. Yet I need to be truly seduced to fall in love.

One of the strangest and most original American films ever made. It's a fever dream - a true Coppola masterpiece. I love how his characters are usually introduced by their fascination with hypnotic objects. Tetro has the light, Willard the ceiling fan, Rourke in 'Rumble Fish" has, well, the fish, and Hackman in 'The Conversation' has a fascination with what's there but 'not quite there'. I like FFC.

Post-New Wave Surrealism. Saura created a very touching and haunting personal story with the graces of his mentor Bunuel. It reminded me of THE 400 BLOWS paired with LOS OLVIDADOS.

I AM the motherfucking shore patrol!

A classic American film that subverts and transcends tired traditions by simply being great, and violently so. It put a lot on the line: it risked being self-important, show-offy, childish, idealistic, shallow, pretentious. I felt like it poured a lot of personal feelings from everyone involved into Yates' already harrowing depiction of love and conformity.

This movie has poetry in its bones. If you put Godard and Antonioni in bed together, put a gun to their heads, and told them to fuck, you have "McCabe and Mrs. Miller". It's "Breathless" in the old west. It's Altman's best film.

That's okay by me.

what a stupid fucking movie.

A masterpiece. The scene where Rex's mad conducting channels his paranoia and passion is one of the greatest things I've ever seen. I can see that the Coens and Kubrick ate this up too. See it for the screenplay and the direction and the acting, or in other words see it because it's a great film, see it because you have to.

Being my first Lubitsch film, I was overtaken by the overwhelming charm of the script, the acting, the set design and the direction. The man certainly has his touch. I'm also a notorious devout follower of the tales of refined casanovas. The story book fashion of the story is sugary sweet and that's enough for me. Great movie.

A well told story with great characterization. I love how the fate of each character is very sudden and never contrived. Perhaps it was too simplistic for me as I wasn't smitten with Fatih Akin's movie as much as the writing yet I appreciate how earnest it was. I look forward to seeing HEAD ON.

Alexander Payne and Walter Salles' shorts had more cinema in thirty seconds than this entire film combined. If you can't see the poetry in that then suit yourself!

I only know about this film because it was made by an alumni of my film school. Has anyone seen it or know where to get it?

Death and the Maiden shows how brilliant his visual knack for suspense pairs with a powerful play that carries his reoccurring themes of survival, violence, rape, injustice, and most surprisingly: the possibility of hope.

The movie Bret Easton Ellis' Gamorama will never be. That is, unless Olivier Assayas gets his hands on it. This is as sleazy, sinister, sexy, handsome, thrilling, frigid, vain, bizarre, and post-modern a work as we need this decade. I loved it.

I can never use "Andmoreagain" by Love in a movie ever now.

I die when Zissou kisses Esteban's forehead in the opening.

Dull if you are in fact dull, fantastic if you are in fact fantastic.