Reviews by fernando

la mies es mucha y los brazos son pocos,esa fue la poética universal introducción,en boca de Rabal,a la que Bardem pareció obligado para que no se piennse que en la España rutal reinaba la pobreza extrema. El frío academicismo se deshiela con Carmen,con las bulerías y con alunas miradas directas.

Liz and Burton dominates everything, in spite of Jourdan´s nonchalance and recuperated dignity, of Rod Talylor and Maggie Smith kinf od love story, and of scene stealer Rutherford (that´s why she has her own scenes). Welles as Max Buda and Elsa, are pure caricature of a cinema Asquith is quite far from.I like when Burton repears his name as 'Paul Andros' meaning 'poor andros'.

A minor Williams, 'boom' in Burtons mouth is just the superficial blow of life.Just a justification to have Liz and Burton and Coward in italian landscape. It lacks humour, in spite of a insulting Liz...

How couldn´t it be a classic? It's so decidingly funny, so careless about explanations, so relaxed and caring, too, with its comics and monsters, such wit in some dialogues. The blend of humour, fear and sex (lenore Aubert is fantastic)is perfect

Zhang Yimou has become a great artisan, going round and round the ancient epics of his country (even its 1937) with his anxiety of a western escape. Note that in the middle of this gothic world war horror, USA with all his disipations, is a saint refuge.

A rediscovey. I rate 4 stras, because I'm amazed of the ambitios of having the two national sides of the story, with obvious concesion to the USA producers, of course. Great production, taking advantage of the numoerous little historical facts, ann of the nosn star but good character actors cast.

Tight, character as strong as action (Bigleow is pure equilibrium in the violence), a bet for woman historic protagonism, with her certainties and her fragility and her mixed sentiments (when she identifies Osama´s body), and a kind of open ending....bur if you want to trust in Bigelow's aparent convictions and certanties,that´s another story

Stevens hails the story against everybody, even at Hollywood that financed this relatively boring film as a kind of penitence. You see some temptations (in the night, with Pleasence, nice photo, nice tempo)and the wrath against the merchants (before Pasolini made his version). Claude Rains is thrilling, he obscures even his son José Ferrer.

Poses a moral question without enphasis but with climatic resolution, after teh strong first part of the accident. Denzel goes fot his redemption, thats clear

Great plot the upside down ship ant the escape beginning with a christmas tree as a bridge to the engine room; some contrived routines and dialogues in between. I save Winters most of all.