"Antonioni’s best film. This movie puts me into such a pleasurable deep funk. Profound, chic, visual existentialism has always been up my alley. Every image is boldly striking—from the hustle and bustle of the stock market (as timely as today’s headlines) to the urban architectural landscapes to the lovers Monica Vitti and Alain Delon. The last are especially easy on the eyes. This movie caters to the intellectual fantasy in many of us. If you are a professional philosopher or lay thinker (like myself) who likes to contemplate the nature of “reality,” the last ten minutes will totally blow your circuits. This is one very cool movie. Richard Peña’s commentary has so much information, minute for minute, you wonder how the guy keeps it all in his head."

"When I was a kid, the ending of this movie, where Kevin’s parents touch pure evil and explode, scared the shit out of me. I know Brazil is technically the more mature of Terry Gilliam’s films, and yet this is the one I go back to again and again. I’ve watched it many, many times since then, and I still don’t understand how it works. Gilliam creates an entirely plausible alternate universe with its own unspoken internal rules. It’s nightmarish and yet taps into what every kid desires/fears . . . the need for life beyond the yoke of one’s family. That last moment—which I’m sure was just a goofy set joke—was my first taste of existentialism. It freaked me out. I still don’t cerebrally understand why that moment ends the film. And yet it somehow works. I have yet to introduce this film to my daughter. Not sure when/if I will."

"It’s going to be a draw between Godfather II and Manhattan. Obviously, there’s no point in seeing Godfather II without seeing The Godfather, but Godfather II is the only sequel I like. It’s just a spectacular character study and the scope of it, the humor of it, the sex appeal, the action, and the twist of the story and Fredo Corleone and Robert Deniro in the flashbacks — all of that is everything you ever want when you watch a movie. Manhattan I saw in the 1970s as a teenager. Woody Allen was pretty important in my house. My parents are both New York Jews and Manhattan is just an incredibly beautiful movie with a deep expression of humor and existentialism together. It now seems more morally complex to me than I realized, but I just loved things in it like the camera being locked off and people walking in and out of the frame. I noticed that even as a kid and tried to bend my head around the corners."