They Live by Night

Kris R (gb) wrote: I feel bad for the little girl cast as Darla. What is her story? She was nowhere near as good an actor as the other kids. She looks like she's on sedatives, but if not for her, it's not too bad. The kids like it.

Jason Z (ca) wrote: The filming and music was astounding. The view was like flying with the birds in person.

Abdulmalik A (es) wrote: Imagine two movies plucked from opposite sides

Fieven R (nl) wrote: i steel want to see it agin

James G (ru) wrote: This is the rather unfocused conclusion to Anderson and McDowell's Travis trilogy. It seems to be making some kind of statement on the animal nature of humanity and the abuse of science in order to play God, as well as holding up a mirror to the nation by representing the Britain of the early 1980s as a dilapidated state-run hospital, which divides along class lines when a catering strike ensues. It tries to address all these topics but they don't really gel and none are allowed to be fully developed in order to make some kind of definite statement. If.. and O Lucky Man were very clear in their targets, although the latter goes quite a long way in order to make its point! Nevertheless, Britannia Hospital is of interest if you are an admirer of British acting aristocracy, as many class acts from film and television are in here - Leonard Rossiter (excellent as ever) Valentine Dyall, Graham Crowden (scarily clinical and totally egotistical), Dandy Nichols, not to mention Robin 'Confessions' Askwith, whom (let's not forget) was an Anderson protege before he made his name in sex comedies. It does have some powerful moments and as the tone shifts from sitcom farce to ultra-dark twisted comedy, it becomes strangely compelling.

Scott R (gb) wrote: Prolly one of the best renditions of the OK Corral.

Louise F (mx) wrote: Barry Lyndon in summary is a leisurely, painterly historical beauty with a generous dose of humour. Stanley Kubrick directs the film based on Thackeray's 19th century novel 'The Luck of Barry Lyndon'. Impeccably slow, stately timing, whether comedic in intention or not, leads the film and highlights the seeming silliness of 18th century historical rituals and naivety of Barry the protagonist. Scenes of violence or outbursts of passion are built up to gently and comfortably. Costumes and set are historically accurate to a fault, which married with patterned character arrangements and perfectly composed shots make the viewer feel as though they are deep in the artwork of Gainsborough or Reynolds each time the camera zooms out. Great humour and beauty, if a little long. 9/10