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2046 (Wong Kar Wai, 2005)
À bout de souffle (Godard, 1960)
A Home at the End of the World (Mayer, 2004)
Ascenseur pour l'echafaud (Malle, 1958)
A Streetcar Named Desire (Kazan, 1951)
An American Werewolf in London (Landis, 1981)
Army of Darknes (Raimi, 1992)
Badlands (Malick, 1973)
Bande à part (Godard, 1964)
Before Sunset (Linklater, 2004)
Blanc (Kieslowski, 1994)
Blade Runner (Scott,1982)
Brief Encounter (Lean, 1945)
Bonnie and Clyde (Penn, 1967)
Bringing Up Baby (Hawks, 1938)
Casablanca (Curtiz, 1942)
C'era Una Volta Il West (Leone, 1968)
Cléo de 5 à 7 (Varda 1962)
Days Of Heaven (Malick, 1978)
David (Fiesco,2005)
Doctor Zhivago (Lean, 1965)
Don't Look Now (Roeg, 1973)
East Of Eden (Kazan, 1955)
El Libro de Piedra (Taboada, 1969)
Evil Dead 2 (Raimi, 1984)
Five Obstructions The (2004,Leth)
Freaks (Browning, 1932)
Goldfinger (Hamilton, 1964)
Hasta el viento tiene miedo (Taboada, 1968)
Hot Fuzz (Wright, 2007)
House of Wax (De Toth, 1953)
Il Conformista (Bertolucci, 1970)
Il Deserto Rosso(Antonioni, 1964)
In Bruges (McDonagh, 2008)
Indiana Jones and the Last Crusade (Spielberg, 1989)
In The Mood For Love (Wong Kar Wai, 2000)
Jean de Florette (Berri, 1986)
Knife in the Water(Polanski, 1962)
L'Atalante (Vigo, 1934)
L'Avventura (Antonioni, 1960)
L'Eclisse (Antonioni, 1962)
L'Homme de Rio (deBroca 1964)
La Peau Douce (Truffaut, 1964)
La Nuit Americain (Truffaut, 1973)
La Sirene du Mississipi (Truffaut, 1969)
Le Ballon Rouge (Lamorisse, 1956)
Les Carabiniers (Godard, 1963)
Les Demoiselles de Rochefort (Demy, 1967)
Le Boucher (Chabrol, 1970)
Le Mépris (Godard, 1963)
Le Samourai (Melville, 1967)
Les Biches (Chabrol, 1968)
Les Parapluies De Cherbourg (Demy, 1964)
Lost in Translation (Coppola, 2003)
Macario (Gavaldón, 1960)
Manon des sources (Berri, 1986)
Masculin Feminin (Godard, 1966)
Memento (Nolan, 2000)
Moulin Rouge (Luhrman, 2001)
Northfork (Polish, 2003)
Offret (Tarkovsky,1986)
Persona (Bergman, 1966)
Pierrot le fou (Godard, 1965)
Punch Drunk Love (Thomas Anderson, 2002)
Raiders of the Lost Ark (Spielberg, 1981)
Rebecca(Hitchcock, 1940)
Rio Bravo (Hawks, 1959)
Say Anything (Crowe, 1989)
Seven Samurai (Kurosawa, 1954)
Shaun Of The Dead (Wright, 2004)
Singin' In The Rain (Donen,Kelly, 1952)
Solyaris (Tarkovsky, 1972)
Stalag 17 (Wilder, 1953)
Stalker (Tarkovsky, 1979)
Summer of '42 (Mulligan, 1971)
Sunset Boulevard (Wilder, 1950)
Sunrise:A Song Of Two Humans (Murnau, 1927)
Suspiria (Argento, 1977)
Sweet and Lowdonw (Allen, 1999)
The Godfather (Ford Coppola, 1972)
The Iron Giant (Bird, 1999)
The New World (Malick, 2005)
The Purple Rose Of Cairo (Allen, 1985)
The Texas Chainsaw Massacre (Hooper, 1974)
The Thief of Bagdad (Walsh, 1924)
The Thin Red Line (Malick, 1998)
The Third Man (Reed, 1949)
The Thomas Crown Affair(Jewinson, 1968)
The Transporter (Yuen, 2002)
There Will Be Blood (Thomas Anderson, 2007)
The Wolf Man (Johnston, 2009)
Three Times (Hou, 2005)
Thief (Mann, 1981)
Tout va bien (Godard, 1972)
Transporter 2 (Leterrier, 2005)
Une femme est une femme (Godard, 1961)
Un homme et une femme (Lelouch, 1966)
Vertigo (Hitchcock, 1958)
Vivre sa Vie (Godard, 1962)
You Can Count On Me (Lonnergan, 2000)
Reviews
Tout va bien (1972)
Interesting Godard
I've read commentaries of it being a lesser or unaccessible Godard, but for me it was just astonishing; seriously this film is brilliant on so many levels. Sure is kind of in your face consumerism and capitalism critic, but it has beautiful imagery with interesting symbolism, narratively speaking the way the story is presented with it's long lateral takes (the supermarket tracking shot is awesome)and also the film within a film concept in a very unorthodox way (the way he reminds us it's all a film by showing us the that the factory is a set for example)was fascinating, Godard being represented (mocking himself?) by Montad in that scene where he's interviewed(the part in which Montad speaks about the nouvelle vague) and the beautiful use of color made for a haunting experience for me.
Sultanes del Sur (2007)
It wanted to be original but came out generic
That's the way I would describe this film...It is true that not many(none?)action films are done in Mexico but it isn't just about trying, if that were the case then everybody could do film-making. From the producers of Matando Cabos comes this (well intended?)action film that pretends to be original but in it's effort it results more generic than everything, first of all Tony Dalton's screenplay is way to thin to even sustain a film of 90 minutes, you can tell he wanted to have lots of surprise moments in his film but instead of feeling like smart twists the plot feels full of inconsistencies and as if the screenwriter thought "well what then" and suddenly a twist for the plot came to his mind. The use of music while adequate at some moments becomes excessive and the film relies way too much on it to create an atmosphere and I say create not enhance. One thing you can't say, and it is that the director didn't put style in the film, he uses every angle & shot he knows in the film whether it is to compensate for the lack of substance or just to show his "film skills" I don't know but I think is the latter.Now about the acting the only rescuable performance is Jordi Mollá's in his brief role, Dalton and De LaReguera are adequate but then again the screenplay doesn't help that much and Silverio Palacios as in Matando Cabos plays the cool guy.The action sequences don't stand for something new or groundbreaking and some are excessively long and some could've been just avoided but then again the had to fill time since the screenplay couldn't. A movie to watch just if there's nothing better to do, and if you wan't to check out Tony Dalton's work you better watch Matando Cabos which even when it thinks of itself as original but owes lots of films, still is way more fun and entertaining than Sultanes del Sur.