Reviews by fernando

As always in Loach, the good hearted leftish side of everything,but good dialogues with the stubborn intelligent priest (great actor Jim Norton).

Amalric exercises in tradition and that´s all. The 'amour fou' a la Truffaut meets Simenon, with a touch of Chabrol. The heart is in some details (the red towell, telling him that she is available) and some outbursts of character afeter the cold depiction of crime.

A must, the 124min, copy, expanding on explaanatiosn on bullfighting and wandering of Stack thorugh landscape. Honets in its candid approoach to some themes, and macho code of honour.

Better tha I remenber. Ingrid is exhilarating, going from histeric woman to schemig witch, without losing charm. Even Cooper smelts beside her. Great character, Cupidon, cliaming for his dignity and being so servant.

Agile, clever in spite of comic mishappens (Russell is funny posing as a matron and jelous of Binnie Barnes). It makes tolerable something as dry as war codes.

To watch just for the cast, a washed melodrama, with some edge in the nonchalance of Gloria Grahame, and De Havilland's discoviering she is a romatic idiot. Mitchum too stony to such a delicate character, but ¡what a star he is!

Forget it is based in a Salinger story. Robson is OK handling love encounters and disencounters between cool Dana Andrews and OK Susan Hayward. Robert Keith is a good support. Dialogues OK.

I loved it before watching it, and havent´t being deceived. Simetric in pain, love and gender (each one will die, each one hides the truth, each one takes the initiative), romantic and agonic but not sublime. McHigh and MacMahon takes care of its modernity. Garnett is not Borzage and thats ok.

Same as I, but less humour and more pervertion -and a noirish segment- going to a sensationalist and contradictory ending.

To take with humour, otherwise would be indigest. For moments, I prefer the austere present tense, with shy Skarsgard, than the dynamic past.