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I just ended to see Taxi Driver, I just say that is one of the greatest movies I have ever seen, is an excellent portraying of that filthy, unsocially, vicious and decreased part of New York, with characters that used to live there and that are creating mean business, that we don't want to see, not only there, but also in my city, in fact, some of the society is identical to the poor parts of Colombia, especially when the black threw thinks to Travis and the taxi. Very psychological and suspenseful, Taxi Driver is not only a film classic, is New York. The second movie I saw form Scorsese (The first only was Gangs of New York, also a classic for me), and the first when De Niro was starting his long-living career, and Jodie Foster as well: Their performances were accurate and also their situations and conflicts. For the other hand Chinatown, directed by Roman Polanski, starring Jack Nicholson and Faye Dunaway, is the representative of film noir, descendant of The Maltese Falcon and Rebecca. Jake Gittes was that detective that is unhappy with the world, anyway, somehow, I saw that the screenplay was perfect: No mistake, creative and hard-boiling. Perhaps Robert Towne could be a writer for a lot of prizes. When I saw Faye Dunaway, I expected no less: She act like that femme fatale, but she doesn't begin as that, but she evolves into becoming a femme fatale, thanks of that father, daughter, sister and husband. The society of 1930s, portraying in Chinatown, was very perfect: It contains tha social life, tha customs and everything. ¡¡I expected less from that part, I deserved my surprise!! Corrupt politicians, infidel wives, lovers, criminals and anti-semitic. Perhaps many people, that already saw the movie, would say "The romantic part was incomplete: It needed to be more influential inside", or something like that, however I think different: The Film Noir contains un-sentimental love and promiscuity, and the part of love was that: It contained everything I read about the genre. Indeed Chinatown is another classic masterpiece, directed by another living legend: Roman Polanski Taxi Driver is film noir too. And is that society the one that expresses each one of the elements of film noir, and historical if we think about Vietnam War, speaking about Travis Bickle. For the other hand, it doesn't need too much for understand his mind: He hates his world, he feels he's better than anyone of them, and he thinks he is some think of hero, trying to save society form itself: He's totally insane. I recognize I'm not very specific with some elements of these two movies, but I prefer to bring you a synopsis about what you are about to find out rather than explain you the details. And i'm not a professional film critic anyway.

But I can say one critic: Academy Award should, at least, nominate this movie for more than just four Academy Award. ¡Screw them, for that and for ignoring Scorsese, especially with Raging Bull and Goodfellas! Remember the words for Mark Caldwell: They involve the AFI, but I would replace them for "Oscars": Thank you Scorsese. De Niro don't worry yourself about the AFI, their just a bunch of pompous elitist f**k's

When you go to videostore, look for these two movies, watch them and ask yourself: ¿Which one can be the Absolute Film Noir of 1970s? ¿Taxi Driver or Chinatown?

There isn't too much to say about Agent Aika, just that is the worst anime that I have ever seen: Unjustified hentai, silly comedy, bad history (excpet the first four parts), the same music, and the characters are the least expressive of the entire Planet.

I recognize that I have been doing just bad critics to some movies, but this program deserves it. I just wish that a rebel-like character, handsome, seductive, young (Not like Shutaro), and imprudent, everything will be different, but No. Some of the faces expressions are idiot, and there are not other emotions

¡I HATE RION. NEINA... NEIVIA ¡¡¡WHATEVER!!! AND SHUTARO, AND GUST: The Worst anime character of all!

I have a lot of questions for the creators:

* 1. ¿Have the upskirt scenes a purpose? * 2. ¿Was The bad screenplay intentional, or a creepy mistake? (Just like Lisa). * 3. ¿Why the hell is a character like Shutaro? * 4. ¿Is there a complex and "attention-worthy" character, expecting for Rion's father? * 5. ¿Did you take arts classes? * 6. ¿Is the creator some kind of pervert? * 7. ¿Whay there isn't a respectable male character?

Well.. Actually there are: Bandra and Rion's father, but...

* 8. ¿Why they don't have a more influential role? * 9. ¿Wht did you make this anime? * 10. ¿Did Rion had to be a "playboy" too? (At least you could make her smart) 11. ¿What's the point of the second lesbian scene? (Sarcastic, don't listen to me)

Don't get offended, but you wasted a good chance for showing your talent with "Agent Aika". Next time, try to watch good anime like "Cowboy Bebop".

It's official. With this movie, Akira Kurosawa has proved he is one of the greatest film directors in the history. Ilked so much this adaptation, its very simple, but also very well-treated; the actors were great and also the screenplay. First I must say that Kurosawa took a short story from Ryunosuke Akutagawa and extracted all its elements: The Era, the clothes, the traditions, the houses and the bad face of the people, in order to make an excellent movie; all the atmosphere can take the watcher into the Edo time (a bit more ancient than Tokugawa, and introduce us into the realistic environment of that time: the scenery and the photography is another thing that we can include, the sunshines and the forest were some of the best parts, and Kurosawa knew how to balance them. For the other part, Toshiro Mifune should be called "The Japanese Marlon Brando"; I mean, he made an excellent Tajomaru, a dirty, but serious thief; many times I thought he was really like that, perhaps one can't see if he is acting or not, and that's something that gives credibility to the movie; the part in which he was tied in the court, just like a dog, is so impressive; I wonder if that was part of medieval Japanese customs, or if both Akutagawa and Kurosawa made that for show a symbolism. ¡The Actress! She was also brilliant, I don't know her name, but he creates an excellent, pathetic, weak and coward character; the way he escaped form Tajomaru showed her fear, her cowardliness, and also the infidelity: First she was with the husband, but then, passed to Tajomaru. ¡How Pathetic! The character is "double-faced" and I love it, and so the actress. Finally, the best part of the screenplay, is that Rashomon is not just a story, but a lot of stories, seeing by each character's eyes: Each tells what they remember about the murder. And all of these are full of reflections about humanity, oneself, the others. Love, loyalty, madness, and great style of samurai fight between two man. In spite of all my comments, however, I must accept that I had problems identifying all these elements, but now since I enter deeply on the movie; all I have to say is that the film industry could not survive without Rashomon. But there are a lot of movies that we still have to see, such as "The Last Tango in Paris", from Bernardo Bertolucci, and "The Last Emperor" as well, but have faith. Watch movies, and decide if they are one of the greatest or not: the cinema and literature are very identical anyway. Technically are different, I know, but deep inside, they show art, story, love, passion, and tradition, from the countries or from the director's vision.

Thank you Mr. Kurosawa, for sharing your talent with the world, and thank you Mr. Mifune, for let us know your unmoral name.