Doehl

Guillermo del Toro creates a contrast between two worlds and a dazzling look at both war and a girl's way of coping with the horrors of her surroundings.

Children of Men is a sci-fi thriller that not only brings about new ideas for the future, but also has much contemporary impact mostly because it intelligently and insightfully places contemporary issues into a futuristic context.

There are plenty of jolts to be found within the suspense techniques, but the way the film exploits **** cliches is as stale as bread left out for a year.

Mulholland Drive has no realistic sequences in it, the whole film takes place in a dream and like a dream, the film focuses on the emotions and makes sense in a very narrow way. That is what makes it such a power punch to experience.

Aronofsky's psychodelic drug addiction film proves him an effective hallucinatory filmmaker and a master at clever stylistic metaphors with pin-point hellish accuracy.

I cannot emphasize how silly the film is even in the silly genre of slasher films which fails to even exploit due to cheap performances and the usual obseesion equals good filmmaking formula.

del Toro manages to create moments of tension and horror, but when the movie finishes, you will be left wondering which parts you had not seen before.

The Straight Story is so relaxing, poetic, and beautiful in its approach that all people are decent and that the journey is all part of the final destination.

The illustrations Malick uses to emphasize the vulnerabilities of his characters against the backdrops of an infinite universe is part of the reason his film is surreal in beauty and haunting in its poetry.

It is as innocent as a horse because Spielberg does not promote a form of political thinking, but rather celebrates love in the most unexpected places.

Aronofsky creates a metaphoric and meditative experience for his audience, but when he tries to create poetry, his results are more corny than they are compelling

The film is flashy, but the filmmakers are not getting inside their character's brain at all and rather focus more on the dull procedures of editing in corporate magazines.

Spike Lee has brought one of the best biopics in american history with a performance from Washington that brings out the angry intensity his controversial character was known for.

This film does exactly what the finale should do which is after watching this, I feel not only enthralled by the movie before me but my appreciation for the other Potter movies built with it

Food, Inc. provides an atmosphere of horror because of simply a no-holds-barred reporting style that refuses to give out to corporate demands or audience fright, but it does manage to provide a happy ending.

This violent thriller does not reach the american nostalgic charm that Pulp Fiction created, but it certainly provides Tarantino the oppurtunity to create claustraphobic reactions for his audience and characters.

It is so good-intentioned, well-shot, and well-acted that it is hard to say anything bad about it even when matched up against a predacessor like American Beauty.

The film strikes a chord because it so effectively captures the beauty of parenthood rather than giving us a lot of corny fakeness that most sentimental films such as this are abundant with.

It is Scorsese's passion for movies and stroytelling in general that makes it so warm to feel, so appealing to look at, and so entertaining to watch.

The whole thing may just be one large cliche with some new characters and visual effects, but if that is so, then it is also one of the best cliches I have ever seen.

Hughes is as contrived and caught up within his own little silly fantasies as ever, but his message that all teenagers are all the same on the inside remains one of the strongest counter-cultural propositions of its time and one of the most sincere.

I cannot understand how a filmmaker so ruthlessly dedicated to finding the true heart of the tortured teenage soul could create the most deceptive, commercial teenager in the history of film without giving him a heart or a soul.