We open ten days of the movies of 2001 with a completely bonkers musical mash-up that transplants all of the pop songs to Paris circa 1900… and I love it.
Cary Grant is an angel who appears in the life of a tightly-wound workaholic bishop, but ends up attracted to his wife in a movie that is effortlessly charming, but also simultaneously so weightless that it seems on the verge of evaporation.
This small, earthy romance was elevated to the ranks of international classics decades after the death of its director, who made only this one feature film.
A story of the dynamics between the sexes in Belle Epoque France, highlighted by the spectacular visuals of director Max Ophuls.
A classic romance with Cary Grant and Deborah Kerr, who are both very agreeable as usual, but I have to say that something on a basic level did not work for me.
One of the screwiest of all screwball comedies not only has plenty of jokes , but skewered the vacuity of the upper classes in a way that still resonates today.
An epic of Russian history that’s more interested in its central love dodecahedron than it is in Russian history, a fact that leaves me wondering what the point of it all is.
HOW WAS THIS EVER OK, BABY BOOMERS? WHAT IS WRONG WITH YOU? But the cinematography is pretty and there are a lot of great one-liners.
Sort of the prototypical modern romantic comedy, beloved by many. I appreciated it more than enjoyed it, I think.
Lots of beautiful Irish locations can’t save a movie that is incredibly long for the amount of story it has and includes a series of truly awful performances.