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A List Of Great Movies!

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Here we go:Carandiru (dir. Hector Babenco)City of God (dir. Fernando Meirelles)Searching Private Ryan (dir. Steven Spielberg)Black Hawk Down (dir. Ridley Scott)Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (dir. Larry Charles)Three Colours: Red (dir. Krzysztof Kieslowski)My girlfriend is kind of a movie maniac as well that enjoy pieces like:American Beauty (dir. Sam Mendes)Memoires of a Geisha (dir. Rob Marshall)peace :)

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I have so many. But, I tell you what, my sons new favorite movie is "Cars". He's going on 2 years old and does not stop watching that movie. Everywhere we go, he wants to watch it. And of course, we have a tv in th van.

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1. The Great Debaters 2. I AM LEGEND3. Rush Hour 3 (Even though, it was decent -- I do recommended people to watch it).These movies I recommended you all to watch them -- if you haven't already. I loved them all!!!

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there is just so many i can't pick as it wouldn't be fair!All star wars, Bruce lee and Jackie Chan *yep the old ones are cheesy but i love them so much!*Point breakAll Tarantino movies - Pulp fiction, res dogs top my Quentin 2!!Ace Venturahot fuzz ( i couldn't believe how funny this was!)Anyway i would go on, but there's a few and if anyone hasn't seen them, DO ITT NOW!!!! B :)

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Halloween - The beginning To expose to the rifaciment of "Halloween-La night of the witches", directed in the 1978 from the master of the fear John Carpenter taking inspiration from "Psycho" (1960) of Alfred Hitchcock, "the thing from an other world" (1951) of the coupled Christian Niby-Howard Hawks and the first films of Dario Silver, is sure an enterprise crowds that to the eclectic Rob Zombie (to the century Robert Bartleh Cummings) only could come in mind, after the resolutions "the house of the thousand bodies" (the 2003) and "house of devil" (2005).Is an enterprise crowds because the vicissitude of the indistructible serial killer masked Michael Myers, fugitive from the lunatic asylum fifteen years after the homicide of the sister, completed in tender age, in order to dedicate itself to the killing of the population of Haddonfield during the night that it to the film gives to the title, not only represents the highest caught up artistic summit from the director of "1997: Escape from New York "(1981), but, generatrix of seven sequel and infinity of imitations beginning from" Friday 13 "(1980), has been not little times classified like better film horror of the history of the cinema. In truth, but, this new "Halloween", than it of 1978 proposes itself at the same time like those and remake of the title, seems to reach also from fourth and from fifth understood it of the series, much to resume some by now grown interpreter Danielle Harris ("Daylight-Trappola in the tunnel"), here in the cloth of Annie Brackett, friend of the protagonist Scout Taylor-Compton ("Zombies-La vendetta of the innocents") that it replaces instead it originates them Jamie Lee Curtis. Only two of the names that go to enrich the greedyst one cast constituted from famous faces of the kind cinema, from Richard Lynch ("Invasion USA") to Brad Dourif ("murderous Doll"), passing for Udo Kier ("Suspiria"), Danny Trejo ("From the sunset to the dawn") and Ken Foree ("Zombi"), but without to forget not even Tom Towles ("Henry-Pioggia about blood") and Clint Howard ("the tastes about the terror"), brother of the famous Ron director. Not to mention Malcolm McDowell ("mechanical Orange"), engaged not to make to mourn vanish the Donald Pleasence in the garments of mythical dottor the Samuel Loomis, to the inside of beyond 100 minuteren of vision that, considering the remarkable presence of sharpens knives to you, can calmly associate to one true and own arm to double quantity cut ended between the hands of the director. In fact, from the point of view of the seriale product, the backstage that has contributed to the transformation of the small Michael, son of a stripper cohabiting with the violent companion, in a feracious assassin, turns out interesting sure, but just all these details end in order to eliminate that sense of mystery and restlessness who had characterized the prototype and, in a generalized manner, the figure of the "masked monster", much to render it more human to our eyes, depriving it in good supernatural part of its fascinating nature. Of the rest, like already pointed out, it is mainly of first part of celluloid that we are speaking, therefore to null would be served to realize one faithful copy of the film of Carpenter or nth, the banal one sequel. The general impression, but, is that one to assist to elaborating that it too much grants to space to the history of the Myers (the succeeded part more of with, between the other), binding the remake true and just to little minuteren of vision pulls to you via in a hurry and that they are remembered for more because of too much the fantistic moments of homicide, jeweled from optimal effects splatter and, above all, from incredibly a realistic yield of the violence. Elaborating that in all probability it will divide is fan that the ordinary spectators, but that, strongly also of the characterizations of Daeg Faerch ("Freakshow") and Tyler Mane ("X-Men") within and outside the white woman mask, it remains to of over of the average, much to continue it makes us to number Zombie between the best new levers of the cinema horror.

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This list could go on for a while so Ill have to cut it short :o○ Pirates of the Carribean - Curse of the Black Pearl○ Pirates of the Carribean - Dead Mans Chest○ Pirates of the Carribben - At worlds End○ Without a Paddle○ Titanic○ Kill Bill - Volume One○ Kill Bill - Volume Two○ Secret Window {Johnny Depp YUM YUM}○ Charlie and the Chocolate Fatory {The new on, with yet another YUM YUM Johnny Depp! Yipeeeh!}List goes on heaps but Im tierd and cant think right now, LOLOL. A list of my least favourite...○ Billly Elliot (Scream stupid dancing kid! Fall of the wall, break your neck and stop showing n my tv. A little mean, I dont hate the kid just the moive :D)♥Evo

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Actually, there are many movies that I like, but this movie is have a good story and you must see. The title is "There Will Be Blood"

No human presences are seen in the opening moments of this film; only shots of a sere, sun-baked, uninviting landscape. On the soundtrack, a string section keens, scurrying up a ladder of discord, reaching a crescendo of pure volume, and falling off. This activity heralds the coming of Daniel Plainview, who is in a hole in the lower ground of that uninviting landscape.
By the end of There Will Be Blood, Paul Thomas Anderson's entirely extraordinary fifth feature film, Plainview will inhabit another hole in the ground of sorts, a more lushly appointed one, one of his own design, but a hole nonetheless. In the first hole, he's a not particularly prosperous silver miner; in the last one, he's a hugely successful oilman.

Blood tells Plainview's peculiar, appalling story (which Anderson adapts from a portion of Upton Sinclair's novel Oil!) in a series of perfectly conceived and structured narratives, starting at the turn of the 19th century and winding up in the 1920s. Plainview's forays for silver become forays for oil. He acquires, through means we can only really piece together once the film is over, a son, a cute little fellow he uses as a prop when he wants to convince the people whose land he wants to drill into that he's both an oilman and a family man. And he lets the little fellow, named H.W. and played for the most part by Dillon Freasier, listen in on business meetings much of the time. Into one such meeting oozes a weedy young man named Paul Sunday (Dano), who has information for Plainview and Plainview's right hand man Fletcher (Hinds) about a stretch of California land that sits on top of a virtual sea of oil. Much of the rest of the film depicts Plainview's conquest of that land, and his frequent wrestlings with Paul's identical brother Eli, a preacher at the self-created Church of the Third Revelation.

Eli's constant demands for attention, respect, and money make him something of a querulous second son to Plainview. In the midst of their wranglings, H.W. suffers a mishap that alters his relationship to his father forever. A man claiming to be Plainview's brother arrives at the ever-expanding site, and the heretofore very definite but largely buttoned-up Plainview (who has no trouble revealing his ambitions to Fletcher in the first person singular, as if Fletcher has no stake in them — doesn't exist, even) opens himself to the man. "I have a competition in me; I want no one else to succeed. I hate most people. There are times when I look at people and I see nothing worth liking. I've built up my hatreds over the years little by little. I see the worst in people. I don't need to look past seeing them to get all I need. I want to earn enough money I can get away from everyone. I can't keep doing this on my own, with these... people." Soon Plainview will have reason to reconfirm his dislike of people. And he will also grow rich enough to get away from everyone, and stay there, until someone who once forced a humiliation upon him comes calling with hat in hand.

There Will Be Blood has all the trappings of a conventional, albeit inspired, period epic. The production design by Jack Fisk, who's worked on all of Terrence Malick's films, is meticulously and beautifully detailed. Robert Elswit's widescreen cinematography often has an epic sweep. Certain scenes, such as the out-of-control gushing of an oil well that Plainview sees (correctly) as his vindication have a vigor and a pull that recalls the big-scale classicism of Lean. But There Will Be Blood is, in fact, not a historical saga; rather, it's an absurdist, blackly comic horror film with a very idiosyncratic satanic figure at its core. Daniel Day-Lewis's Plainview may *BLEEP* his eye and speak rather like a movie monster from years past — John Huston's Noah Cross in Chinatown, specifically. (Anderson's spoken of Huston's own The Treasure of the Sierra Madre as an influence on this picture.) But Day-Lewis isn't enacting any kind of homage. Once his work as Plainview takes wing, the relentless focus of the performance makes the character unique. Which is key, because his interactions with other characters are nothing like anything you see in films today. Blood is, at its heart, a series of very personal confrontations between Plainview and the world around him, and the exchanges therein are tense indeed.

This movie isn't anything like Anderson's previous films (Boogie Nights, Magnolia), at least not superficially; there's nobody from his unofficial repertory company in it (even though an actor such as Philip Baker Hall, for instance, would fit right into the picture's milieu); nobody sings, unless they're in church. (There's also zero profanity, a bit of a rejoinder to Deadwood, which couldn't conjure a scintilla of this film's darkness.) But what there is from Anderson's other films is a lower-key version of the tense dread he evokes in, say, the Alfred Molina sequence of 1997's Boogie Nights. "What the hell is this," a viewer might ask him- or herself, with some discomfort, as a particular scene proceeds along deliberately before veering off into a Plainview-erected wall of insanity. Or is it, really, insanity? At the end of the film, as Plainview explains to his sad-sack visitor why he will not, indeed cannot, do anything for him, the ridiculousness of his would-be pedagogy approaches something out of Ionesco's The Lesson. And yet, Plainview is right. He's right throughout, in his awful way.

Anderson dedicates this film to his late friend and mentor, the director Robert Altman. Which is entirely apt but a little ironic, as it is likely the least Altmanesque film Anderson has ever made. Gone too is the humanistic touch of Jonathan Demme, a director Anderson has often professed to admire as much as Altman. Johnny Greenwood's remarkable score, its sonics often reminiscent of composers Penderecki, Ligeti, and Bartok, combined with the sometimes alien-looking landscapes Anderson puts on screen, have inspired some comparisons to Kubrick. The resemblances are there, true, but Anderson's not nearly as detached from this created world as Kubrick could be from his. That's what makes Blood such a frightening and mordantly funny experience — Anderson's refusal to look down on Plainview goes hand in hand with his refusal to rationalize him.

Vladimir Nabokov once observed, "Teachers of literature are apt to think up such problems as 'What is the author's purpose?' or still worse 'What is the guy trying to say?'" That doesn't just go for literature, and I fear that There Will Be Blood is likely to fall victim to quite a bit of "What is the guy trying to say?" business. Is Plainview a personification of the excesses of capitalism? Could be. I don't know and I don't care. All I know is that this film invaded my consciousness (literally — I had a dream about it the first night I saw it, a very rare occurrence) and still has a tight, daunting grip on it.

-Based on John Kenny's Review-

Notice from rvalkass:

Not so much "Based on" as "Directly copied" from http://forums.xisto.com/no_longer_exists/
Quote tags added.
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My favorite movie of all the times is "Dead Poets Society".Robin Williams is great actor, and hes role in this movie is fantastic. He plays John Keating, english professor.He inspires his students to a love of poetry and to seize the day. He was their inspiration. He made their lives extraordinary.I cryed every time I saw this movie.

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