Merolliv I really wanted to like this movie. I feel terribly cynical trashing it, and that's why I'm giving it a middling 5. Actually, I'm giving it a 5 because there were some superb performances.

Kaydan Christian A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Loui Blair It's a feast for the eyes. But what really makes this dramedy work is the acting.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

dougdoepke After all the glowing reviews, I guess I'm a contrarian, but I found the 8-minutes maddening. But what's to be expected from 10 decades of movies crammed into the space of a TV commercial. I'm not sure what I was expecting, but it wasn't anything that literal. Each entry gets the space of an eye-blink, and while that's still enough to label some icons (Maltese Falcon; Public Enemy, et al.), the overall effect can be frustrating. I'm not sure what the producers at TCM had in mind, but maybe the best way to take it is as a flash card test on steroids.

27 The first time I watched "100 Years at the Movies" was a few years ago when it was shown during the Academy Awards. It is fast paced using not only great film clips but famous lines and music. In a film such as this it is easy to say what one could have done differently; but try a make a list of what you would include and try and not forget somebody or something. Contrary to what someone commented before "Citizen Kane" and "Some Like It Hot" are both represented in this film. The only major omissions I noticed (and maybe I missed them) were "The African Queen" and "My Fair Lady" (although both Humphrey Bogart and Audrey Hepburn are shown in other films). I will agree some titles in their timeline are questionable ("San Francisco" and "Red River") these points do not and should not take away from the masterpiece this short film is. My only real complaints are the massive gap they started with (starting with "The Birth of a Nation") when if they used the real father of the movies Georges Melies films ("A Trip to the Moon") they could have easily filled the gap. "100 Years at the Movies" is a moving film that one could watch time and again and still love it. Thank you Chuck Workman for this awesome gift you have given every film lover.

Aeschylus3 Its shorts like these that make me proud to be a movie fan. This is a well presented account of the first 100 years of American film, shown with small clips. It pops up often on TCM.I find it interesting that it sites certain movies with their title and date, to sort of show that they are landmarks. Some of their picks probably didn't deserve this citing, while others did. The Birth of a Nation, Gone With the Wind, Lawrence of Arabia, Easy Rider, The Godfather, and Raging Bull were perfectly deserving of being highlighted as landmarks, Casablanca, It's a Wonderful Life, and Schindler's List perhaps deserved citations, but The Jazz Singer, 42nd Street, San Fransisco, and Red River certainly didn't deserve it. I can't say anything about Greed, because I haven't seen it, though I'd like to. But films like The Gold Rush, King Kong, Citizen Kane, and The Third Man did deserve to be highlighted, as they all signaled an increase in cinematic merit.The creators of the short made a great choice by repeatedly using Bernard Hermann's score from Citizen Kane through certain moments to create a dreamlike and heavenly nostalgia among the viewers.It doesn't matter that several of the movies are chronologically out of place. They often seem to be separated into genres. One moment has classic gangster flicks like Little Caesar, The Public Enemy and Scarface, the next will have musicals, like Meet Me in St. Louis, The Wizard of Oz, and the Gene Kelly vehicles.It is remarkable how the short can bring out nearly every emotion from the film experienced viewers. We are reminded of thrilling moments, like the car chase in The French Connection, a battle scene from The Adventures of Robin Hood, and the crop duster from North By Northwest. We are reminded of the dramatic moments, like Brando's taxi speech in On the Waterfront, the conclusion of Casablanca, and the battle scenes from The Birth of a Nation. And we are shown clips from the comedic (the oceanliner sequence in A Night at the Opera), to the tense (Gary Cooper waiting for the outlaws in the abandoned town in High Noon), to the unsettling (the horrifying shot of possessed Regan's spinning head in The Exorcist). It all combines to create a dizzying sense of nostalgia and it serves as a reminder of how great it is to be a true movie addict. Of course it has obvious omissions, but they can be forgiven.By the way, Some Like it Hot and Citizen Kane DO make appearances in this presentation. Just very small ones.Rating:O O O O O O O O O O(cinematic bliss)

Brian Henke This Turner Classic Movies production of a century of (mostly) American film (up to Schindler's List) is fast-paced. It begins in chronological order, but then skips during the middle, but returns to chronological order at the end. There are notable omissions (No Citizen Kane, the movie named by the American Film Institute as the Best Movie of the last 100 year; The African Queen, the only film with the Best Actor and Actress of the last century according to the AFI voters - Bogart and Hepburn; or Some Like It Hot, the AFI's pick for funniest movie.) Also no mention of live action or animated shorts (the only animation is of Jerry the mouse dancing with Gene Kelly in Anchors Aweigh; in fact, no Disney film is not even seen.) But it keeps you riveted to see what movie clip will be shown next and you can play along at home.