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“Modern in its approach to a liberal professional woman, not in a vamp mood; but conservative if you consider she is a bitch with his men. The beginning and consolidation of Bette´s myth.” read more

“Good true story, simple and clear, but lacks of feeling, acting, good direction. At least, there´s a sense of difficult fight with ups and downs.” read more

“Not sure if everybody is really laughing on Elvis Nixon (and Elvis's friend Jerry Schilling being an accomplice) or its a kind of hommage. Don't like Shannon as Elvis, Spacey eats him doing nothing.” read more

“Colourful rare characters (conceptual artists having extreme experiences with their children) with a natural easy treatment.” read more

“Even it´s a little annoying the 2 dimensional narration with Jennings on and off the fiction; Maggie is so vivid, that steals everything.” read more

“Vallée is too elusive and syncopated and indulges in gratuitous selfdestruction (can't get why the gay son has to be so suicidal) causes by a death you doesn't know how meaningful was. Well, for better or for worse, that's the point.” read more

“Nice animation, confusing simbolic story. Abstraction, chaotic reiteration of the elusive father figure, makes the film get lost.” read more

“Pretty animation. Moore has a style ahead of the story. Landscape superior to human animation, sea superior to earth.” read more

“The cast of interviews is superb; but the fiction of two narrators inside the documentary, delivering Vinicius poetry instead of his music, is awful.” read more

“Queen is the archetypical bon sauvage. Photography and sense of landscape is way ahead the depicting of the people. But the text is audacious in dealing with eskimos sex life.” read more

“Demme is happy with this as corny as powerfull stuff. Springfield really acts and Meryl really performs in the band.” read more

“The worst Asquith. Loren is more than ok but Sellers is depressed (you can't believe Loren is after him), De Sica is stereotipical.” read more

“Great story, well understood, well narrated in a eliptical way. If it weren't so 'froid' and 'academic' in its direction (in spite of a good Lange performance, superior to Olsen and Isaac)....” read more

“The romantic touch has aged, but the exposition when Garfield runs (the best actor to be haunted by the police ant the bad luck) and finds Shelley in the pool is great.” read more

“More soul than body when Palmer loves Garfield. Body and soul in superb dosis when Garfield attacks and reacts. I love this.” read more

“Absolutely pioneer in its attitude ans theme, as harsh as lyric, Garfield so moirish that becomes white heat. Dialogues to write an essay on.” read more

“Good late noir. A lot less sophisticated than "To have and have not" but it has the Hemingway sea touch. Garfield is always convincing, as a good man in love with his Thaxter wife. It semms that infidelity is worse than homicide. The last image of the little afro boy is rare and devastating.” read more

“Wise at his most happily pretentious. Jazz is perfect for the atmosphere (Belafonte performs a nice calypso-blues). Good timing, tension, the escape to the newyork hinterland, good false plantings (Ryan playing with the little afro girl before we know his racism), Belafonte tender touches. Shellye a” read more

“Very good story, the reverse migration, but poor edition and long flawless exposition with litle Gus in an small world you won't see again. Let's see what Disney or Pixar could do with it.” read more

“Eurowestern with a nice script (!Phillip Yordan¡) and a lousy spanish director trying to be comercially obedient and wise. Lollo seems to dominate them all in the paper but her character is poor.” read more

“Nanni in the middle between his autobiographical and his portraits of big characters at the edge. Here is brother of the 'regista', dealing with a impossible Hollywood character and the agonizing mother in dreams and reality.” read more

“Uneasy but fluent thanks to good delivery by Leaud and Wiazemsky and Tognazzi. The nazi background and the pig theme, ends ok with tha narration, by Ninetto, of what happened to Leaud.” read more

“The song in the beginning expresses the tender, playfull, enjoyable, mystic, franciscan naif, spirit of the film. Toto and Ninetto moving/dancing as sparrows is a must.” read more