Beyond the Valley of the Dolls (1970) - 2/5 - I just cannot figure this one out. A large part of me believes that Roger Ebert is too smart and has too much film knowledge to knowingly make something this bad. It's a completely stupid movie and offers almost nothing rewarding, but at the same time, I can't help but wonder if it's some big inside joke that 99.99% of viewers won't get. I sort of enjoyed the nonsensical dialogue in spots and the sheer feeling of wondering what the hell I'm watching. But, other than that, nobody needs me to tell them what makes this thing suck so much.

Shadow of Forgotten Ancestors (1964) - 5/5 - Well, talk about an unconventional film. This is one of those rare films that seems to just re-invent cinematic language as it sees fit and yet seems to be have been largely ignored. Everything in Paradjanov's film seems unorthodox; the camera seems to pan and careen at extreme angles, framing the action in strange and beautiful ways, the Hutsul music makes everything sound so foreign and abstract, the camera lingers on odd moments, cutting whenever you least expect it. It's amazing that it all works so well, or perhaps it's because everything is so strange that it makes such a compelling whole. Sometimes, the film reminds me of Tarkovsky because I find myself entranced by the most normal, seemingly benign moments (the simple camera movements in a minor scene where a young boy and girl jump into a river is breathtaking). But, Paradjanov's closest cinematic kin seems to be Werner Herzog, to me. Both men present their art in a unique cinematic language that's unmistakable, finding beauty and truth in their own-off kilter worlds.

Two-Lane Blacktop (1971) - 4/5 - For so long, I thought this was just another one of those counter-culture drag-racing/road movies, so I was a bit surprised that it's actually a languid existential character study...sort of. For the most part, it works very well. The atmosphere is there, you get into its rhythm as you begin to feel like you're a part of this odyssey across Route 66. You admire the scenery as you hear the engines roar. But, sometime in the second half, I really started to lose interest. The focus seems to shift more towards the threadbare plot and away from the atmosphere and characterization. Unfortunately, most of the American movies from this era seem to be poorly dated, never really achieving that timeless feel of the true classics.

Pulse (2001) - 4/5 - Pulse/Kairo is a great example of how expectations can shape a first viewing. I'd heard a lot of raves about this terrifying Japanese horror film, only to discover it's anything but. I remember watching it, being bored, being confused, not feeling anything and, ultimately, not caring. I'd read a few pieces after returning the disc, realizing it's more of a meditation on loneliness and alienation than a straight horror movie. That said, I still ultimately thought it was just a bore. But, time went by (a lot of time, actually) and I felt the strange urge to see it again. I read more about it, here and there, and the themes started to click with me, so I gave it another rent.

The atmosphere is amazing. Knowing what to expect, understanding it and getting on the same wavelength, I found myself completely lost in the film's rhythm. Oddly enough, watching the movie this time was unsettling and left me petrified at moments. Once again, this shows that film is primarily based on feeling and emotion. The feelings of dread were based on the mood and more what the film suggested rather than showed. It does feel a bit slow in parts and leaves you feeling a bit lost and confused (not to mention hopeless and desperate), but I think that's the film's intent, anyway.

Repulsion (1965) - 5/5 - This UK import disc has been on my shelf for over a year, because that's just how I roll (I guess). The right moment came and I was just blown away, of course. Never before have I seen such a subjective film. It's shocking, unsettling, surreal and brilliant. The abstract visuals and sound work in perfect harmony, like the important stretches of silence, for example. There's one amazing moment where Carol walks down a hallway and the camera follows her at a much slower pace, then rockets towards her as she opens the door and just stops in place as she does- it's incredibly effective. There's not much else to say that hasn't been said before, it's just great and I'm glad I finally got around to experiencing it.

The X-Files (1998) - 4/5 - Feels like a few episodes from the best runs of the show, which is a very good thing. Lots of intrigue and thrills with quite a bit of fan service. A lot of what makes the show great and very little of what brings it down.

Cruel Story of Youth (1960) - 4/5 - I really kept going back and forth while watching this. The whole film seems to lack a sort of cohesion, not uncommon for films of the era. A few times, the cinematography looked excellent and I loved the details that Takashi Kawamata's camera picks up, but most of the time, it struck me as very bland and flat, lacking color and not making much good use of the 2.35:1 frame. The story starts out a bit slow and lackluster, but I found myself more fascinated as time went on and as the story got more tragic. I actually found that I liked the character or Makoto's sister the most, full of longing and discontent but continuing to struggle silently in the background of the film and society. I suppose Kiyoshi is one of cinema's great conflicted figures, though it is a bit excessive; for the most part, I have no idea why he did or said what he did, in any case.

The Siege (1998) - 3/5 - I was reading about Melville's Army of Shadows recently and never truly realized how powerful the opening images of the German troops marching down Champs-Élysées were for French audiences at the time. I suppose The Siege has that same sort of effect, it's quite a sight to see the mass of Army troops stationed in New York City during the film. Actually, there's a lot to like about the film, it explores a lot of great ideas regarding the nature of terrorism itself and the methods use to counter it. I hadn't noticed his name before the film, but Roger Deakins did the cinematography and it really shines when given the chance. Unfortunately, the whole film is clearly a product of the Hollywood system, so the whole thing loses a lot of the creative promise shown in parts. The plot is very trite and predictable, with all of the trademark 'twists-and-turns' intact and none of the performances go beyond what's expected of a modern thriller, which is a shame, because it feels like it could have been so much more.