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“(OK) Has all, even great comedy with Chaplin and Martha Raye and small actors delivering great lines or moments. Serene or acting impromptus, Chaplin/Verdoux tastes life without moral complications, but estetic and sort of traditional values...” read more
“(OK) Surprise¡ Howard is so underrates as an actor director and this one is al good as an Olivier, event quoting Shakespeare as a german well translated to english, a greato dialogue between himself and magnificent Francis L. Sullivan.” read more
“(OK) Clement seems modern, pre new wave, feeling the London scene, and havng Philippeacting as a french James Dean (is excellent¡), but somehow the argument is not as good” read more
“(OK) A little gem ahead of its time, a bus movie, kind of early japanese Buñuel's "Subida al cielo" with a great handsome bonhomme driving. There are natural and lyric moments...” read more
“(OK) Character and actor are excellent. Simenon wrote plots as if he knew they would've be filmed. Raimu is a kind of Maigret clochard (or Agata Christie´s Hercule Poirot), amused in every secen, specially with Aimós, another clochard” read more
“(OK) Blier is the heart of this extreme sobre comedy, a bit satyrical, so realistic in its extreme anecdote (aristocracy believes, deceived by historian Ledoux, that Blier is descendant of his king) becuase of natural Blier´s perplexity with whats happening to him” read more
“(OK) Guitry knows life and how to live it. Sincere in his misogyny but sharing happiness with proactive women...indulging and amending, insulting and caring, great dialogues, limpid direction” read more
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“(OK) Great story in a national cinema not friendly to fanstastic plots: the machine that knows when people will die, and a lot of charcters acting according to that information, while the inventor Dauphin turns evil...” read more
“(OK) Simple and effective: mom was right stating that Roddy needed a horse to become a man, and pop Foster hast to agrre with her in the end. And there's a little epic in the proceedings in a modern rural environment...” read more
“(OK) Little gem, kind of 'borrowed' fron another directors. This is not Mizoguchi's realm, but he is so sober and delicate in the scenes of fight, and so moving composing (he's the best composer of frames in japanese films) dramatic scenes as the death of litle brother and the sorrow of fighting sis” read more
“(OK) The star is the zeppelin, wonderful moving set desing, in the public space, and in the strange body. Some characters are poorly conceived (ass Meredith and Auberjonois, or the comic), but direction is always powerfull in Wise's hands...” read more
“(OK) 2 1/2 stars just to say that Arau adds nothing to corny in essence material. The mother is the best character but the rebellion of the others takes too much and too long...the sex/food topic doesn't convince...” read more
“(OK) Yeah, the first half is so better to the second, that takes many inhappy deviations. Cervi has the size and the equilibrium between roughness and tenderness...” read more
“(OK) So long and you can feel the effort to be 'fidele' to the original. Fescourt gets the right distance ando mood to tell everything, becoming closer to Cosette (the depiction of the Thenard family is excellent and Eponine has her best expression) and Fantine struggling with a drunkard before the ” read more
“(OK) The best of Hugo's version I've seen (I say just after 1925 Fescourt silent version and it was as if everu detail gained voice and even menning) and an entire picture on french misery and justice and goodness state of mind, with the revolution in the middle. That is the best part. Harry Baur is” read more
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“(OK) It gets better and better when the plot (a man with 2 wives delivering the same day) shows its richess. Dialogues, specially between Moore and Richard Mulligan are excellent...” read more
“(OK) Fernandel is excellent in first 2 thirds, bu when takes his revenge is a bit comic. Moreeau is learnning fast; he two brothers, specially Varennes are impecable. Line Moro in the med dying of pain is as good as Harriet Andersson in "Cries and whispers"...” read more
“(OK) Aesthetically astonishing, anticipation modernism on expressionism basis. The story in grandilocuent in the 'mediator' side, better in the plot to make the girl a robot that perverts men, as you see in the dance scene, one of the best in all Lang's...” read more
“(OK) Delicate alien film stablishing the genre: the little city in the desert, the sage hero who nobody believes but his girl.... and the aliens taking human hostages...” read more
“(OK) Petit chef d'ouvre, pas pour la duration mais pour le esprit.... Pagnol excells in Marseille's lycée with his wonderful sory of an ugly shy profeessor that haunts children becuase he is ahunted himself till a chritsmas night...” read more
“(OK) Heisler replaced Sandrich, bur there´s pure Hollywood knowhow here. Astaire dances bacuase he is either happy or sad or just have too work and always is a genius. Caulfield is not as ravishing as we expected for the character, Crosby always work...” read more
“(OK) Waste of scope and colour, or a moving offering of productios resources to a hard social topic, modernity and poor laboral conditions in a poor environment...” read more
“(OK) Masterpiece in spite or thanks to its contradictions: Keaton is so indifferent to war and evemto to love, but excells in everything, just accidentally or becuase there´s the force of genius in him...” read more
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