From Peter Hames' Czech and Slovak Cinema : "The film's main strength, however, lies in its poetic approach. The title Sunshine in a Net suggests the impossible ... a bird's nest with eggs floats beside a stone causeway; a youth is outlined on a roof in a forest of television aerials; and children stand on dustbins reaching out towards the sun. The film's story seems to emerge from it's poetic context, and, in particular, the streets and rooftops of Bratislava. The sun and the eclipse suggest a range of associations - life, death, light, dark, love and blindness."

Maybe the editing could be tighter, but it's really hard not to like this. What seems like a wonderfully simple set-up, the burden of a caring for a dog given as a gift, goes in a direction that touches on politics and class division. This is a great idea that is solidly executed.

I hate to admit it, but this actually could have been worse.

Awesomely over the top. War, death, heartbreak, more war . . . and just when somebody says, "The crisis is over," Holger-Madsen and Dreyer bring the freakin' cholera. AND IT'S INSIDE THE HOUSE! Oh, and did I mention that they blow up a barn? An actual barn gets DESTROYED. Hooray, Danish silent films!

The primary story and the telling of it was superb, but I was just as taken with the inventive visual touches. This is a very impressive film, and it is a film that everyone should get a chance to see.

I can just see the casting call for this - "CLOTHING: optional. EJACULATING PENIS ROCKETS: mandatory"

Really, Dim? I'm strongly considering giving this five stars for being one of the most blatantly racist propaganda action films of all time! But then, Seagal does die twenty minutes into it. Hmm . . . five stars or one star. Hmm . . . ;)

EPIC awfulness.

On the copy I watched, Wyeth's audio was too loud. Furthermore, I found him a little annoying. And his wife was unintentionally creepy. But I could listen to King Vidor talk for days on end :).

Hilarious throughout. I especially love the "party" scene.

Unbelievable, beautiful, heartbreaking, perfect.

This was . . . not good.

Great dialogue. I could have watched this for a while longer.

Well . . . it had a chicken porn helmet, and I'm pretty sure I've never seen that before.

Although I have now watched it, I refuse to rate this film on the grounds that I found absolutely no redeeming value in it whatsoever.

Honestly, this is so bad, I considered giving it five stars.

I don't think I can express how much I like this movie.

Too exciting not to love. I was so involved, I was shouting at my TV screen.

Thank goodness I was able to get English subs for this film, and did not have to watch what sounds like a horribly dubbed version. Bergman's performance is great, and the little things - such as the interactions between Irene and the little girl Daniella, and Irene's experience in the factory - made this a great experience for me.

Magnificent. This movie drew me in and did not let me go.

Not as funny as the title would suggest . . . too bad, although the scene with the LiteBrite was funny.

Susanne Bier provides some solid direction and her cast is phenomenal. Thomsen (is this guy ever bad in anything?) and Nielsen really turn in some powerhouse performances, and even though the story doesn't always go quite the way you'd like it to, it's a very emotionally honest feeling film.

For me, this is an absolute five star classic. At almost three hours, I actually found it to be a little short. Every aspect of the three soldiers lives and emotions are carefully examined as they try to readjust to "normal" lives. A splendid and brilliant film.

Magnificent. If this is not Hitchcock's best, it's certainly right up there. How can someone compete with the dead? Fascinating question, with murder and intrigue to boot. The cast is as good as it gets. I really liked Fontaine a lot as the "new" Mrs. de Winter, and I'm the biggest fan ever of George Sanders. Judith Anderson was as creepy as creepy gets as Mrs. Danvers. One of my all time favorites.

A bit heavy handed to start, but the last sequence of the elderly Coopers having fun in New York is extremely touching. I find Victor Moore as an actor to be excruciating, but his presence is mercifully restricted, while Bondi's performance shines.

The conclusion makes absolutely no sense (actually, none of the plot makes much sense), but it really doesn't matter. This is a showcase picture for the easy chemistry of Powell and Loy, and it's great for what it is. In spots, it's laugh out loud funny.

A running meditation on several heady themes as they relate to rural Russian farmlife. Some great photography helps give this somewhat of an ethereal feel that you don't find in other Soviet films from this era. Incidentally, the ending manages to wrap a storm, stampeding horses, fruit, a nude woman, an angry priest, and a funeral procession into one heck of a montage. Exciting!

One of the more unique experiences in film, Vertov (with a huge assist from his brother as the rather acrobatic cameraman) gives us a day in the life of Russia. For good measure, there's also a dancing crawfish. This is the rare film that seeks to turn convention upside down, and I'd say it manages that feat rather gleefully.