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“(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

“(OK) Here Maigret/Gabin has a past, a motif, nostalgic excesses. The castle with empty walls, the corpse of the countess (tender Valentine Tessier when alife), Auclair underacting, great photo and music...” read more

“(OK) Attenborough is so effective here playing in the edge of psycological crime thriller and fantasy horror maniac film with a proto Chucky model. Hopkins ans wonderful magret and even frank Lauter, improves everything. Burgess Meredith is excellent..” read more

“(OK) The appearance of Mr Hartmann from the false lecturing letters is charming, an indea for an adult romantic comedy with a fantasy touch. De Sica is so skillfull...” read more

“(OK) A light frivolous comedy on marriage, suffering the early talkies heaviness; but the extravagance of the long zeppelin party is worthwhile...” read more

“(OK) Couls be a Hollywood noir with 'von sternbergerian' location. The casino with the little baskets carrying the bets from the second floor isn irresistible. A french fatalist ending but in between Von Stroheim amuses being a lovable rat using Mireille Ballin.” read more

“(OK) 4 1/2 hours of intrigue and a picture of deep amorality. Elocuent dialogues in a silent film: the countess explains Mabuse her unbeareble ennui and he says that his only amusement is gambling with other fate. The prosecutor, his enemy, is a sort of gambler, too. The little casino disguised as a” read more

“(OK) Extreme Gish victimization, but shw knows momentarily a sort of love. Griffith, at least this time, shows affection for diversity (well it is Barthelmess, but you can't ask more from DWG)...The Gish half smile is a label...” read more

“(OK) Charlie perfect comedy drama mixture. The tramp never more moving than in the end, playing a sort of chaplinesque abnegated Stella Dallas. The boxing routine, could be itself one of the best Chapliln´s shorts...” read more

“(OK) Contrived argument, lot of disconnectes characters, but great mise a scene de Gremillon, in the choral sequences, the two shot details, the perverse, the funny, the poetic (all aobut The Angel location). Robinson and handsome Marchal love story, is less interesting than Renaud and Bernard's...” read more

“(OK) Marianne Hoppe, the tragic heroine, an ephimere and impossible Madame Bovary, a victim of a third man, is the spirit of this film: a serene and intriguing beauty. Kautner uses public spaces in great fashion” read more

“(OK) Well directed, toned, musicalized, wrtitten, acted, equilibrated. Only lacks dance, but there's a sort of choreography all over, including the 3 old laidies. Applause for Mamoulian.” read more

“(OK) Wonderfull, because there's one whole idea that sustains and gran every gag. Two civilized codes, feuds and hospitality, in comic tension. Keaton staying in his ennemies house to avoid be killed, is a must. And the trip in the ancient locomotive, a gem.” read more

“(OK) There´s already style (even there's a sort of effectism that¿ll be better justified in next films), themes, suspense, and a Hitchcockian victimized blonde. A mature Hitch as early as 1926.” read more

“(OK) How to rate this? Impossible, Mélies takes an idea a concept, and there´s a rush of gags circular, perfect...” read more

“(OK) Not just a vehicle for Temple; an hommage to both sides virtues, specially south, with tap and black face and Bill Bojangles. Butler, honest artisan.” read more