It's still comforting to know that the independent film industry doesn't have the fear to show that poverty in America isn't that different from the rest of the world. Reality comprehends stories which don't always have happy endings and that's what makes the lives of ordinary people, their own essence, something interesting to be captured by cinema.

Antonio Martínez, a chilean journalist from Wikén, said that Lucy's irruption in the protagonist's world represents the pacification, the end of all tension, and buries the shoots of class conflict or something like that because that's how suspicions are finished and fears are over. I completely agree with Martínez: the end of the film would have been thousand times more interesting if the conflict would have escalated in its levels, but the pacification of the conflict was prefered before showing the awkward reality of the relationship between the (chilean) maid and its family.

Cinema is full of exciting and inspiring stories, but few films are able to transmit them with such brilliant performances and superb technique.

I'm sorry, guys, but I can't be impartial about this one. As a basketball fan, I've been following Kobe Bryant's performances since the first time I saw him playing, so don't expect less than four stars for Spike Lee's film.

Daniel Day-Lewis, playing Daniel Plainview, is the one who makes this film one to remember: this is one of the most polished performances I've seen in a long time.

The desire of being a romantic story, a fable and an anti-war manifest is not achieved by the abuse of its visual imagery and confusing narration.

The first hour film is simply outstanding. Then impressively changes its setting, look, history, precision and pulse without affecting it in the slightest way.

The particular thing about this film, and its consequent genius, is the capacity that it has to make us believe that we can read it without much trouble and then make us doubt of the same assumptions we had about it. Viggo Mortensen is in complete control of both his character and the audience.

Usually the fact that some films are based on true stories isn't something that draws my attention, but I cannot believe that this black comedy with good slices of drama and suspense has really happened. The interpretations are superb.

Of the genre very little, but is offset by a detailed psychological portrait and a particulary tempo of the story that I enjoy a lot whenever I see it.

What should pleasure the viewer in this film is the fact that so many good actors are loose in the same plot without being, in their vast mayority, part of it.

Okay, it's not Pulp Fiction nor Reservoir Dogs, but who said that it had to be one of those? Jackie Brown is a good police film and a successful adaptation of the Elmore Leonard's book. Without the direction and script of Tarantino, this film would not have been more than one of the lot.

Absolutely lovely, almost perfect. The "green" message is not subtle at all, but if it can make the children think a little more about their planet is not something bad. I still cannot believe how much I enjoyed this film.

Woody Allen could not have finished worse the trio of London. Not only lacks of surprise and intrigue, but the destabilization of the characters was not enough to make it interesting, at least at its end.

Kurosawa alternated his samurai stories and thrillers with these dramas about morality and life choices that do not disappoint. It is also the last of his films with Toshiro Mifune, solid as always.

It's full of great moments, interpretations and dialogues. But it is necessary to recognize it is a movie that it is about nothing: it doesn't say a single truth about the real world. The good thing is that it never tries to do it.

It's racist, sexist, and incredibly inmoral, but that's where it's greatness and beauty are.

It is not something new for Allen to use different gags in his films, especially in the comedy ones, but when one of those gags is the centerpiece of which is built the conflict between reality and fiction it is just brilliant.

Al Pacino has been better in other films, but I have never seen him with the level of dementia that shows in this one.

It's a Kubrick's must, not only for it's formal beauty but for each of the colorful adventures of Barry Redmond and the characters he encounters on them. His story, criticized at times for being meaningless paused and without a point, is just part of the very nature of the film.

More humorous in concept than in execution, Zelig was able to garner only a few chuckles from me. However, I was amazed at how successfully it was pulled off on a technical level and at how ambitious the story was considering the narrative gimmick it used.

I would say that it is even better than the first part.

The Japanese social ostracism, pointed out by Mark Schilling in his article, has always been difficult for me to understand as a western, but what makes this film one to remember is the capacity that it has to let you share the feeling of isolation and exclusion of Yuko. Two thumbs up for Fusako Urabe's interpretation.