Aesthetically charged and maybe even <i> driven, <i> Drive is very much a popcorn flick with more than enough Euro-grit coolness to sustain a thick, smooth and refreshing vibe that mellows the senses as it works to build them up and down on one hell of a joy ride. Gosling is becoming more and more of a living legend.

A down to Earth, enthralling human drama that has no interest in lush aesthetic flourishes or political chit chat to unearth the immoral conditions of Iran. It's main interest is simple observation. Farhadi allows time & space for every character, every minority represented (woman, the poor, the elderly etc.) to share. Without a moral guide, the underlined message is revealed, leaving room for much compassion.

Von Trier's masterpiece. An intense, beautifully orchestrated meditation on two different post-modern anxieties: the fear to live and the fear to die. Represented wonderfully by the surprisingly grim Dunst and uniformly explosive Gainsbourg. The last sequence alone stands as one of the most awe-inspiring moments in cinema.

Soderbergh's masterpiece.

An epic, poetic, and lyrical expression of Taoism.

A masterpiece.

HIs worst film yet.

A mesmerizing, hyper realistic dissection of the post-modern demise of relationship ideals...is what I thought. The performances, the music, the editing was all done so organically and it just proves that Gosling and Williams are among the finest actors working today.

the trailer made me fucking cry.

An ape-shit, crazy genre exercise with a truly wonderful performance from Portman. I also loved Winona Ryder's small role, I'm glad to see her in a good film; it's been so long.

What a great, fucking hilarious play on politics.

Wow, this film is an incoherent mess. Boyle has some interesting ideas in here about medial conditioning with some pretty nice looking aesthetics. But twenty minutes into the film, those nice looking aesthetics seem contrived, forced, and ugly. Franco is as always terrific, but he alone can't save the grueling experience of watching a film go from promising to truly awful. The ending = pure cheesy-ness.

Severely underrated, this is one of the best films of the last decade.

Stewart and Fanning are pitch perfect. It's a shame to see their talents go to waste on the escapism that is The Twilight saga

The opening montage features some of cinema's most captivating cinematography.

Fucking master filmmaking. Exciting, vital, painstakingly detailed, focused, and brilliant cinema. Technically flawless; the cinematography is as organic as digital gets. The industrialized sound scape score by Trent Reznor depletes any sense of sentimentality. The direction is decisive and probing while the script is bold, fast, and perfectly constructed. Some of the best ensemble acting of the decade. For real.

Beautifully crafted doesn't cut it Marty. Where is the coherence?

Essentially a post-modern work. It contradicts it's meaning by being such an over the top, obnoxiously loud action film when it speaks such an eloquent, tranquil message; a message that could of been conveyed with a smaller budget and less glitz and glam. Let's not run and call Nolan a master auteur, because we all know he is not. He's merely a good filmmaker who understands just how conditioned his work is.

an interesting dive in to the societal, quicker-than-a-text-message conditioning of the playstation generation. not to mention it's fucking hilarious.

So far, the best film of the year in my opinion.

Visuals didn't save this piece of shit.

Contrived, generic, formulaic, boring...By far, Eastwood's weakest effort to date. What struck me was how Eastwood and the crew were ultimately trying to convey an inspiring story of the human condition and instead conveyed an insipid, in-the-office melodrama.

Sadly, the best thing about Nine is Fergie, who sheds her plastic pop star image here, and gives the film its ultimate tour-de-force moment.

the best film of 2009...

There is half a great film in this. Streep put a smile on my face the entire way out. The detail and aestethic mastery was delightful in the Julia segments.

Contrived...almost generic in it's craftsmanship. There is some real power here, unfortunately Sheridan didn't find it. And it's a major waste of talent.

An absolute masterpiece of horror.

Hallucinatory and near grotesque scenes still can't wallop the film into powerful cinema. It's sometimes quite funny, always dark. The craftmanship is very poor and generic, which seems Daniel might of done that intentionally to evoke the destructivness of Precious' 1987 world...however the true quailty in this film is the acting. Mo'Nique really does give one of the best performances of the decade, really she did and I don't even like the bitch!

The whole aestethic reminded me of films by the Brothers Quay, but the story was so dreadfully formulaic...

sheds a refreshingly vibrant new light on the holocaust genre and it's as beautiful and tragic as any I have seen. All hail the living master of American Cinema...