The Bicycle Thief De Sica, 1948
With its down-to-earth authenticity and simplicity, its gorgeous almost poetic capturing of a city, and its heartbreaking ending in the face of which all snap judgments and snobberies are dispelled, The Bicycle Thief really is one of the most well-made, innovative films ever. As a champion of honest compassion for real despairing people, it's a huge fuck you to the escapism, self-importance and superficiality of your everyday Hollywood flick. Still, neo-realism isn’t really my thing... 8/10
Amores Perros Iñárritu, 2000
Intense and full of adrenaline, it reminds of City Of God except a little less stylised and ultimately more human. Same story at first; very visceral without being that satisfying, as the rash, feral characters destroy themselves and those around them. The 3rd part gives more than adequate emotional pay-off though; the guerilla puts everyone to shame with the brutal clarity and honesty of his perspective, and his willingness to take responsibility and grab his life by the scruff of the neck. 8/10
It's A Wonderful Life Capra, 1946
One of Hollywood's most cringeworthy, manipulative morality tales, complete with contrived '40s humour and everyprat James Stewart playing a suitably obnoxious, rubber-spined pansy. Its use of various childish conventions in both film and thought, some to which it probably contributed, is also irritating. But in all honesty, dreamy, ridiculous feel-good films always do little for me, and that's probably because I'm a complete asshole. It does have heart, and it stays with you, I'll give it that. 6/10
The Luzhin Defense Gorris, 2000
Doesn't quite capture the dank strangeness of Nabakov's novel (which read almost like an autistic poem), nor does it have as much subtlety, but it's an enthralling tragedy competently filmed and well acted by Watson and Turturro. 8/10