Roger Ebert has it on his list of Great Movies. 95% of Rotten Tomatoes critics give it a positive review.
Today is the last day of summer -meteorological summer- and the flowers are just barely hanging on.
The Ice Storm contains a deeply human authenticity and willingness to portray, but not resolve, its characters’ collective alienation. That the viewer must interpret and feel the silences between these characters establishes the ambiguous and investigatory mode of watching the film, thus challenging the viewer with prolonged consideration.
The film dramatizes the events of the Srebrenica massacre, during which Serbian troops sent Bosniak men and boys to death in July 1995 led by Serbian convicted war criminal Ratko Mladić. Named for its protagonist, Quo Vadis, Aida? exposes the events through the eyes of a mother named Aida, a schoolteacher who works with the United Nations as a translator. After three and a half years under siege, the town of Srebrenica, close to the northeastern Serbian border, was declared a UN safety zone in 1993 and put under the protection of a Dutch battalion working for the UN.
Jasmila Zbanic’s “Quo Vadis, Aida?” is a razor-sharp incrimination of failed foreign policies from around the world embedded in a deeply humanist and moving character study of the kind of person that these policies leave behind. It’s a very specific story of war crimes in 1995, but it feels also like a modern commentary on how often foreign policy and U.N. intervention fails to see the human lives caught up in their decision making, and so often in their inability to make those tough decisions quickly and empathetically. Taut and intense, this is the kind of film that a critic hopes finds a broad enough audience to provoke conversation and insight about how we fix these broken systems. It truly feels like Zbanic’s work here could effect change if seen by the right people.
Rome, Open City is probably the most celebrated and representative example of neo-realism – perhaps because of its timing, but also because the power of its mythos and melodrama is given sanction by visual and geographical claims to “authenticity” (20). Its undimmed excitement is ironically achieved by techniques – strong plotting, dramatic episodes, fast cutting (21) – which aim for a visceral response from the viewer that would be displaced in Rossellini’s later work. But the film’s real importance was never in its “objective”, unmediated, “overwhelming truth”, its “moral outrage” or its “desire to testify” (22), but in its clashing modes of realism, genre and archetype, a liberating model that would influence filmmakers worldwide.Slant Magazine opens a positive review by calling it a "legendary cinematic achievement". The Guardian describes it as a classic and a "Thrillingly real wartime drama" Criterion calls it a "revelation, a harrowing drama about the Nazi occupation of Rome and the brave few who struggled against it" and "a shockingly authentic experience". 100% of Rotten Tomatoes critics give it a positive review.
Not many movies like this get made, because not many filmmakers are so bold, angry and defiant. Like many truly spiritual films, it will offend the Pharisees. Here we have a story that forces us to take sides, to ask what really is right and wrong in a universe that seems harsh and indifferent. Is religious belief only a consolation for our inescapable destination in the grave? Or can faith give the power to triumph over death and evil? Bess knows.Spirituality and Practice says,
Breaking the Waves comes across as a glorious paean to the mighty power of love. It provides a profound meditation on a line from "Les Miserables: "To love another person is to see the face of God."85% of Rotten Tomatoes critics gave it a positive review, and the audience rating was even higher.