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This is my first Federico Fellini film, and it is very impressive. I couldn't quite get into the early scenes, but the film got better and better as it progressed and finished quite extraordinarily. It plays like a greek tragedy, with Anthony Quinn playing the violent, grumpy Zampano and Giulietta Masina playing Gelsomina as a naive, childlike woman...both as broad archetypes with seemingly unavoidable fates. Apparently Fellini has a lot of circus stuff in his films, and this is no exception. LA STRADA impressed me, especially because of the superb performances by the leads. I can't wait to knock off some other Fellini films on this list like LA DOLCE VITA, 8 1/2, and SATYRICON.
I was first introduced to SOLARIS with the 2002 George Clooney version, and I hated it. Now I have seen the original Tarkovsky version, and I'm still not crazy about it. I realize that there are some deep, humanistic themes going on here about the nature of love and what you love...a person or your own idea of that person...but the whole endeavor still comes across as pretentious to me. At 165 minutes, this film is a bit stenuous to get through...but it is oddly beautiful in some respects, and you have to give it credit to the film for its audacious aspirations, even if the film's reach is much farther than its grasp. I am told Tarkovsy's films are legendary. I hope they improve on SOLARIS, which was a chore. 
What a unique, wonderful film. The subject matter is as depressing and sorrowful as anyone can come up with, but Pedro Almodovar films it in a vibrant, almost creepy way. The film follows two men. One is in love with a champion bullfighting woman who is gored and put into a vegetative state. The other is infatuated, but hardly knows, a bellerina who dances across from his window...and she is put it a vegetative state from a car accident. The one who loves his woman can't touch, look, or speak to her lifeless body. The one who only yearns for his woman talks to her like they are a seasoned married couple. The emotions run high, confused, and a little bit unnaturally. I love when my emotions are pulled in so many ways at one time. 
I am a huge fan of the Brett Ratner film, RED DRAGON...but this original version of the Thomas Harris novel is excellent in its own right. This film was made before Hannibal Lecter was a cinematic icon, and Brian Cox does quite a superb job as the imprisoned doctor. I also enjoyed the rest of the cast, William Peterson, Thomas Noonan, Denis Farina, Joan Allen....great stuff. Also, directed by Michael Mann in 1986, the story is all about Will Graham and the psychological weight he carries while trying to solve these horrendus murders. 2002's Red Dragon was all about giving us Anthony Hopkins again and shocking us. 1986's Manhunter is all about disturbing us. And it certainly does. 
Some critics call Falconetti's performance in this film one of the greatest in history. I can buy that...because she seems so overwhelmed by piety and love that she is about to burst. Director Carl Th. Dreyer is also very impressive with his harsh angles and creative editing. However...a 2 hour silent movie that is TRULY silent...no music or anything...is tough to get through, especially when it is simply an account of the trial and execution of Joan of Arc. What is more interesting than the movie is the history behind that actual print. The original was destroyed in a fire. A backup was created from outakes of the original...also destroyed in a fire. In 1981, a full copy, original copy was found in a Norweigen Mental Hospital closet. Now THATS a movie to make. 
Directed by the incomparable Robert Wise, THE HAUNTING is quite spooky...all without any actual manifestations of ghosts. Its all about sounds, bumps, discussions, inner monologues, and reactions...and I kind of dug it. Jan de Bont's 1999 remake with Liam Neeson was a wonder to look at but it is pretty different from this original adaptation of Shirley Jackson's novel. Eleanor is still awhining pain in the ass....but I guess that is necessary to the plot. Hill House is still a scary place in my mind. 
I was especially disappointed in this film since I already know how enjoyable the pairing of Newman and Redford can be in a period piece directed by George Roy Hill (THE STING). This film wasn't about anything. A pair of outlawas rob, are pursued, flee, rob, pursued, the end. No character building. No "one last score" scenario. Nothing really interesting. Just running and robbing...andmeither are particularly interesting or innovative. The banter between Newman and Redford is well written, and the cinemtography is as good as any number of westerns, but there is nothing to make this movie stand out. I was surprised.
Jeff "The Dude" Lebowski has always been my favorite Coens Bros. character, but Marge Gunderson certainly gives him a run for his money. She is so innocently clever and spritely, that the crimes being commited on her watch are all the more horrible. The acting is top notch (Especially Frances McDormand and William H. Macy) and the humor/drama relationship is finely tuned. In a film handled less delicately, the goofy personnas of the midwest may feel contrived. In FARGO, they are perfect. What a fun, funny, disturbing, original film. 
Very intense, very exciting, and almost sickeningly suspenseful. This movie has been made fun of and spoofed for a while now, but the original still never fails to entertain. Glenn Close as Alex Forrest is one deranged bitch, and the cycle of liking her, sympathizing with her, cowering away from her, and ultimately wanting to strangle her is a journey taken by both the audience and by Michael Douglas's character. I enjoyed it, even if it got a bit too dramatic and overblown toward the end. That roller coaster thing was pretty stupid. 
This might very well be the finest, most exciting, most intricate screenplay I have ever seen on film. Sure it is an ADAPTED screenplay, but the verbal fencing match that Richard Burton and Elizabeth Taylor engage in is simply mesmerizing. Watching them go at each other and sucking in the young couple into their despair is nothing short of masterful entertainment. Mike Nichols directs, and the entire film is so expertly executed that you could swear it was real, and done in one take. What a perfect film. I loved it!!! 
LE MILLION reminded me of the more recent, French film, DELICATESSAN. It is a simple, yet odd little story...with random music and rhythm thrown into the mix. It is a bit silly and nonsensical, but the enthusiasm by which the film is made and performed is a bit infectious. The last third of the film takes place at an opera, and there is FAR too much opera going on instead of advancing the plot, but overall, this film was enjoyable. Michel owes all of his debtors, has won the lottery, but the ticket is in the jacket his girlfriend gave to a mob boss hiding in her apartment, who in turn pawned it to a famous opera singer who is performing as a Bohemian. I like these films where things have gone SO wrong SO quickly. Fun. 
As I began watching THE SEARCHERS, I was immediately focused on how AWFUL the acting is. It is so stagey and lines are so poorly delivered, it felt like an elementary school play. I thought to myself, this is going to be a BIG disappointment...and this movie is in the top 20 of AFI's 100 greatest films of all time. However, I was won over, by the infectious, saturated technicolor, the wonderful direction by the legendary John Ford, the complex, racially charged story, and even John Wayne. I think John Wayne is one of the worst actors ever...and this movie did not change my mind, but he has an oddly attractive quality that makes him enjoyable. Not only that, but the man can do stuntwork, ride horses, and gunsling in ways that make him see ultimately authentic. In the end...I got why people herald this film as a masterpiece. 
THE BICYCLE THIEF is cheered as a Masterpiece by many, many critics. They talk about the socialist undertones, the exhibition of a stratafied Italian society, and one of the best Father/Son relationships EVER in films. Well...watching Antonio search Rome for his ticket to gainful employment is interesting, the relationship between Antonio and Bruno is sweet and compelling, and the desperation is palpable. However, I didn't see the film as much more than a man looking for his stolen bike. It is like a serious, Italian version of PEE WEE'S BIG ADVENTURE. Man loses bike. Man wants bike. Willing to go to great lengths to get bike. End scene. 
After I watched PINOCCHIO, I went to my Mom and started badgering her. How could she let my childhood pass by without ever introducing me to this classically wonderful Disney film. It has bright colors, wonderful animation, great music, scares, adventure, and just all-around magic. This is by far, one of the greatest animated films ever, and it shows that Disney has been so successful over the years not ONLY because of their always being on the cusp of animation technology, but because they can tell a heartfelt story like no other studio can. 
I hope if they make a Buster Keaton biopic in the coming years, they hire John Hannah of the MUMMY series. Their resemblance is uncanny. This silent film is actually pretty impressive as it shows a riverfront town being ripped apart by a storm. Forget the fact that the library has no books in it when the walls fall down, it is a 1928 SILENT FILM. The constant physical comedy of Keaton is also a hoot. Of course silent films are hard to keep interest as seen by the modern cinephile, but this film is pretty fun. 
My bar is set pretty high when it comes to the zombie movie. I have a good scare movie (28 DAYS LATER), a good action movie (DAWN OF THE DEAD -2004), and a good comedy (SHAUN OF THE DEAD). 1978's DAWN OF THE DEAD has no idea what genre to fit in. Is it a comedy? I mean...people are hitting zombies in the face with pies. Is it action? If it is, the action gets incredibly repetitive. Is it social satire? That is where it is most successful with the zombies wandering through a mall image. Overall, it is just a mish-mash of every genre possible stuffed into a zombie movie. It is fun to watch, but modern zombies are so much more entertaining. 
I can't believe I had never seen this film before. As a rule, I usually hate slasher movies because they only exist to find newer and more graphic ways to kill stupid people. The original HALLOWEEN is positively Hitchcockian, full of suspense and foreshadowing and with deaths that can hardly be called graphic. I felt like I was watching JAWS while stitting through this film. You know there is a powerful, deadly force out there...you get glimpses of it...and you are scared out of your mind in anticipation. GREAT stuff. There is a scare in this film where something breaks a window...it took me almost 15 minutes to calm down after that one. I love being scared!!! 
Darren Aronofsky is quite an original filmmaker. The only misfire I have seen of his is THE FOUNTAIN, which was still oddly fascinating. THE WRESTLER and REQUIEM FOR A DREAM are fantastic films. His first film, PI, is madness...but a good madness. Watching this man either work out the mysteries of the universe or slip into insanity is very exciting. He is trying to find out an equation that can predict the stock market, which leads him to Jewish Mysticism, the Golden Ratio, and the madness that comes with unhinged obsession and genius. The High contrast Black & White are a nice touch since it just adds to the insane atmosphere. Quite original, and quite interesting. 
This film is so "Noir" that is is almost a hilarious parody. The main character never says anything that isn't full of despair and his voice-over is full of corny puns and metaphors that make you chuckle instead of adding weight to the story. The woman the main character runs into never says anything that isn't curt, powerful, and acid. She is so full of anger you wonder how she functiuons in society. That all being said, the whole thing is actually pretty entertaining. It never elevates to exciting or tense...but it is silly enough, and short enough, that you can find ways to enjoy yourself. 
This is a truly riveting movie. Peter Lorre looks like a psychotic cartoon character, and portrays a pedophile/murderer hiding out in a German City. The police force is becoming more and more desperate, taking more and more rights from their citizens in order to catch the murderer. With that huge police presence, the underworld becomes more agitated and tries to track him down as well so their will be some relief. Just a great procedural with that whole Nazithing hanging over the head of filmmaker Fritz Lang. Totally resonates today with the whole concept of what rights we are willing to give up to feel safe. Not bad for a movie that is 78 years old.