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“(YT) Grande Alcoriza, mucho alabar Buñuel ha restado luces sobre este español que le agarró regusto a México, más allá o más acá del costumbrismo (que lo hay en la suerte de momificación de Sara García), en las conductas y modos de ser, contradictoris y pasionales. Un jardín de las delici” read more

“(OK) Before the contrived plot of the lover that can't abandoned crippled wike to be happy with new woman; an excellent portrayal of a woman alone, too indpedent to attach men, as tthe suicidal and wonderful Ann Dvorak...” read more

“(OK) Strong, as tight as the submarine, direction and storytelling. The way in wich the central character (Henri Vidal) enters the group is excellent as the bunch of characters not escaping war but the end of war” read more

“(YT) As moving an argument as the camera, aporoaching characters and specially Renaud. More good people than evil ones, soft naturalism avoiding extremes of melodrama...” read more

“(OK) Forsyth has his own scottish mood and his world in wich that mood is understood. Gregory is as emotional as delicate as manipulable and as happy when girls decide that he must be in love with other girl than the one he wants...That's how it works she says...” read more

“(OK) Early attack on discrimination of indians in camps. Barthelmess is a nice character but his extreme violence (laces with his rope from car to car a man that dies from the injuries) is strangely understimates in the plot...” read more

“(OK) Negulesco amuses himself as an old director and this is just his second film. Greenstreet and Lorre are in way to become a comic duet. Dimitrios is too seocndary character. Better is Faye Emerson” read more

“(OK) So good in tis lightness and frivolity that touches inner cordes. People has the burden of conventions and of avoiding conventions as duel and fidelities and engagement of infidels...” read more

“(OK) Some acadmeic disenchantment here. Marie-Martine is pale and tired, Blier is the middle french unglamorous guy. Beyy is the only monster, but th eplot works when the narrator becomes Marguerite Deval...” read more

“(OK) Dwan, as Walsh and Ford and Hawks, also make films on male friendship. This is awkward and extreme; simpleotn Reagan and gambler Payne. Women are accesory, ore Colleen Gray thna Fleming, who understands is second choice after Reagan's death.” read more

“(OK) Thanks criterion fot the technicolor wonderful copy. Tha fantastic set designs are as touching and (i)realistic than the terrenal ones. The gaze come from heaven being so human. The romance begins in a radio call, but what a call; a man in flames coming to earth and a sensitive operator....” read more

“(OK) The best Fuller's war film. Has everything: the momentos of just wondering what day it is, the tragedy and human anecdotes of strength push to limits (the man and his mule), the dilemmas, he observatuos (the soldier walking and jumping through the moles of cement over the bodies)...” read more

“(OK) 2 or 3 elongated gags, but one that is a plot and works: the excuse of the death mother in law. Fields as a submissive man is as funny as the subversive character of other films” read more

“(OK) The Moart concerto viralized here is more a them of fatality tahn romanticism. Widerberg bets of close ups and gazes, instead of more action and words. The brother is a needed element in a minimalist plot...” read more

“(OK) Clouzo goes through war, Paris pos war crime fonds and jewish exodus in Palestine, with a heavy flashback structure...but has a glossy production with two sexy young fellows, Aubry and Auclair and the nocreophile ending that is worth the film” read more

“(OK) The efficacity of Gaisnborough melodrama with a bit of adventure and, here, paranoral mystery on Lockwood character. She´s not evil as in similar films, but has a bit of amorality and thirst of revenge mistaken by love that justifies a happy end...” read more

“(OK) Algo modesta variación en el filón de Jack el destripador (en versión The lodger), pero ágil en cambio de humores y en juego sexy con Palance. Los números de Constance Smith en el teatro son de veras calentones...” read more

“(OK) Swanson is scuh a good comedian in this film that changes of mood many times and always smoothly. The beginning in 'the crowd' in the subway is delicious; then the imtimate, romantic scene in her room, open to the women in other windows...” read more

“(OK) A pioneer in the feeling of ETs, economy of language and resources, but there´s nobility in all characters but the prototype of evil scientist...” read more

“(OK) More than 'caligrafismo' here: the posesssion, abstract obsession of revenge a past life, exploding in the middle of stiff ceremonies of death. Isa Miranda is excellent, convincing in every scene” read more

“(OK) Guitry, one scale up in his maturity. Less joyfull than in the 30s, playfull but serene. Her character goes to death but happily, enjoying even a beautiful agony. The namedropping of historic celebrities heightens with La Fayette” read more

“(OK) Fine, elegant, precise, horror film without blood. Characters are complex, specially Julie Harris and her sexual, guilty, anguish.” read more

“(OK) De lo mejor de Torre Nilsson. La represión sexual erotiza y da significado y hasta suspense a todo, El baile de Elsa y Lautaro resulta más erótico que la 'violación consentida' del final. La idea de los duelos en la casa es fabulosa...” read more

“(OK) A sort of latinamerican or italian popular comedy in Canton, prerevolutionary china. Everything is rotten but funny and tha bad couple nevers succeeds in doing evil, and thatá a kind of running gag...Extrange combination of moods, the 60s of the film and the prerevolutionary one...” read more

“(NX) Cierta frialdad, academicismo en la ambientación, mucha confianza en que la mirada de los personajes dirá lo que la puesta en escena no puede; pero todo se enciende cuando entramos en la intimidad de las reuniones de los 42, y en la casi indolencia con la que el protagonista recibe los golpe” read more

“(OK) Daddy Tourneur had, as his son Jacques, a flair for fantastic tales, for demonology in a fine narrative way, ith anguished Fresnay and a funny little old man...” read more