All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Thin Blue Line
A softcore movie, Dr. Death, a chocolate milkshake, a nosey blonde and "The Carol Burnett Show." Solving this mystery is going to be murder.
Errol Morris's unique documentary dramatically re-enacts the crime scene and investigation of a police officer's murder in Dallas.
Not a documentary about pregnancy tests
I knew what Thin Blue Line was about and I had some idea of its real-world implications, as that seems to be the central discussion surrounding the film the majority of the time but holy shit - what an absolutely transcendent piece of documentary filmmaking.
Morris’ haunting, repetitious use of re-enactments. The way the aesthetic at one moment bleeds into sensationalism and then highlights truth in the next. The way it's constructed to slowly reveal details, letting the audience participate, constantly evaluating then re-evaluating the information we’re receiving and our perceptions of those feeding it to us. The way it masterfully builds to a joke the same way it does to its most shocking revelations. And of course, the way it exposed a corrupt system and literally saved a life. Thin Blue Line is a film truly like no other.
If there was ever a hell on earth, it's Dallas County.
Proof that films can actually change lives with verifiable results. Originally Errol Morris was doing research for a planned documentary on psychiatrist Dr. James Grigson (aka Dr. Death), but in doing so met Randall Adams, a man convicted of murder and sentenced to death. The chance meeting not only changed the subject matter of Morris' documentary, but changed lives and created the template for practically every investigative crime documentary film and television show made in the last 25 years.
The film is deeply disturbing by simply asking questions to people in power and letting them run their mouths in front of a camera. It becomes painfully evident…
Review In A Nutshell:
A fascinating crime/legal story, intelligently told through excellent editing and engaging re-enactments. It is films like this that makes me want to dip my toes into the world documentary filmmaking.
"If there was ever a hell on earth, it's Dallas County."
As of recently I have become very interested in murder cases and court proceedings, involving the question of innocence at the tragic loss of a life. I just finished the engrossing podcast Serial, that questions the guilt of Adnan Syed over the murder of Hae lee. I didn't really come out with any definite opinions on his innocence, but it was a very interesting listen, going into remarkable detail on the most minute aspects of testimonies and alibi's. And it felt all the more intense because it actually happened, and real people are suffering, it is not the same as actors being paid millions of dollars an episode to…
This is a take it or leave it documentary. It is a perfect entry point for the career of Errol Morris. His style is in full effect, and I know it turns some people off. But for me, he is a fascinating director of documentary films with a real knowledge of the cinematic language.
The story is about a man arrested and convicted of killing a cop, but it sure seems like he didn't actually commit the crime. The film is a great exploration of the USA's criminal justice system. Complete with all its advantages and opportunities for manipulation.
Morris uses reenactments to draw the viewer into the story. It takes the film beyond a bunch of talking heads and…
"I had with him, what I like to call, a friendly chat..."
I'm stunned it took me so long to see this simple masterpiece. Never trust a snitch.
On the shortlist of greatest documentaries ever made. Morris is a master.
Before there was Dateline there was The Thin Blue Line.
A hauntingly honest documentary of legal and moral injustice. And yet the film is constructed in such a masterful way it really transcends the documentary format to become something else entirely...something unique. Morris allows the characters to paint the picture so slowly and creatively, leaving out bits and pieces until just the right time, that we are allowed just enough freedom as viewers as to not be strong-armed into an opinion. Add to that a haunting score by Phillip Glass as well as some truly beautiful re-enactments and you have one of the most unique and endlessly re-watchable documentaries ever made.
A timely, crowd-pleasing, near perfect piece of true crime that has monumental real-life implications...
This is the documentarian's dream.
Morris slowly spools out bits of information to chew on while providing revelations about prior questions, making for a compelling, yet never exploitatively entertaining, procedural. Though I hesitate labeling it as so, because, like many of Morris' pictures, regardless of the limited amount of subjects or narrowness of a piece's "plot," THE THIN BLUE LINE is ultimately edited together to be a witty character piece: the whole ordeal plays out like a dour Christopher Guest comedy.
It lets you play detective along with it: there's surely a ton to be written about how that pertains to the genius of the film's structure and how we consume media as a whole, but to be honest, I love it because it's just so fucking fun.
Errol Morris creates a compelling narrative which fills in the pieces of this unjust puzzle. Each and every minute new details are revealed which impact the story that is reflected through beautifully shot recreations. They are the kind of recreations that any true crime television series could only dream of pulling off. I was glued to the screen through every twist and turn of this film with the aid of the absolutely incredible score by Philip Glass. This is my first Errol Morris documentary and I can't wait to check out Gates of Heaven now. I adore the impact that a documentary is able to have on our society and this one is no exception.
A chilling account of the various perversions, misdirects and barefaced alterations to the truth that can be - and are - made by just about everyone in the pursuit of a satisfying narrative.
Innocence? Guilt? These words are irrelevant. We want the ending we want, dammit, and that's what we're gonna get.
Re-watching this as the 'documentary for people who don't like documentaries'. It is difficult to imagine now quite how rare a bird a documentary with a theatrical release was back in the late 80's.
What stands out is just how dramatic this is, and how highly wrought. Philip Glass' score is amazing and surely there must have been 100's of hours footage taken to produce those moments when the Dallas police reveal themselves to be quite that stupid. And we used to think of documentaries almost like 'found items'.
I liked this a lot but far from his his finest work. The score is great and the case is important but it felt a little flat at times.