XoWizIama Excellent adaptation.

Console best movie i've ever seen.

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

TrueHello Fun premise, good actors, bad writing. This film seemed to have potential at the beginning but it quickly devolves into a trite action film. Ultimately it's very boring.

lasttimeisaw Transmogrifying a nocturnal Paris into the dystopian titular state ruled under the technocratic totalitarianism of a sentient, omnipresent mega-computer called Alpha 60, Godard's Golden Berlin Bear winner, cunningly configures the time-honored one-man-against-the-machine trope with a novel spin, devises a Sci-Fi mise-en-scène without the usual tailor-made props, and in lieu seizing on futuristic Parisian architecture-scape to create the galaxy-away alienness while philosophizing his ideology of what differentiates men from logic-abiding super-machine.American crooner-turned-actor, the tough-looking Eddie Constantine plays Lemmy Caution, a role he had played numerous times before in French B movies, being appropriated by Godard here as a secret agent from "the Outlands", infiltrates Alphaville as a journalist with a hard-as-nail aggression, also a shutterbug pertinaciously snaps the menagerie of its societal pathology, after seeking out a missing agent Henri Dickson (a jaded Tamiroof adds a layer of gnomic improbability upon the carnal decadence), whose total capitulation prompts him to exact his ultimate mission: to emancipate the city from the thralls of Alpha 60 and its alleged maker Prof. von Braun (Vernon).Whisking Lemmy in and out sundry locations and peppering up the story-line with Godard-esque action fragments, jerky, spontaneous, whimsical and inconsequential, the hotel room scuffle in the opening is such a nonsensically "un-real" incident that one might question its occurrence when a broken window on the door appear intact in the next scene, ALPHAVILLE is Godard's knowing deconstruction-and-reconstruction of the venerated genre of its prescient-then, blasé-now central message, drawing on a faintly Borgesian inspiration to sound off in the traditional duality between the hero and the damsel-in-distress, here portrayed by Anna Karina's Natacha von Braun, supposedly, the daughter of Prof. von Braun, whose suppressed emotions are slowly awoken by Lemmy's ongoing interference, and "conscience" is the operative word here.Dubbed with a gruff, mechanical, halting male voice, Alpha 60 exchanges many a colloquy with Lemmy covering a wide scope of topics, a verbal spar between rationalism and denialism, larded with Godard's protean experimentation of his cinematic languages (jump-cuts, negative prints, repeated motifs have long become Godard's norms) and Paul Misraki's fittingly atmospheric incidental music, ALPHAVILLE alternatively, intrigues, bemuses and entrances an armchair spectator with its anti-utopia cognition and blithe distinction that is snugly in Godard's elements, and this agglomeration of nouvelle vague and futuristic noir may also archly suggest that audience should not ask "why", but only say "because" in the context of a Godard-ville.

elvircorhodzic ALPHAVILLE is a mysterious science fiction drama film about the mechanization and dehumanization of a society through the story in which, a detective with some features of the agent 007, looking for a satirical evil in the guise of a scientist in the city called Alphaville. The film is shot in Paris with no apparent special effects and presents a dystopian battle between man and computer.A detective comes in Alphaville, the capital of a totalitarian state, in order to destroy its leader. He poses as a journalist named Ivan Johnson and wears a tan overcoat that stores various items such as a semi-automatic pistol. A dictatorial computer has outlawed free thought and individualist concepts like love, poetry, and emotion in the state. Logic is the only way of life in that alienated society. The detective meets and falls in love with Natacha, the daughter of a scientist who designed a computer, which is in complete control of all of Alphaville. Their love becomes the most profound challenge to the computer's control...Alphaville is a modern city which is dying slowly in repression and dictatorship. Mr. Godard has put a virus in a form of the word "love" in that alienated environment. This is seemingly very simple, but still a shocking reversal, which involves an invocation of consciousness and poetry.Furthermore, there are effective examples of the isolation of a society. Some people have been executed because they have felt emotions. That is the dark side of Godard's style, which almost always has a vague, uncertain and disappointing end.Eddie Constantine (Lemmy Caution) is a resourceful and effective detective, who even understand his love as a sort of part of his task. Anna Karina (Natacha von Braun) is a calm girl who walks on the edges of logic and passion.They romance is robotics like everything else in the film.

Mahmood-Buttrumps Now we have a movie that has the look of the old Twilight Zone movies created by Rod Serling. This might have been good for a late 1950's movies but today the look is much different especially for "Star Trek and "Star Wars". Remember Jean-Luc Godard can be very cerebral.He doesn't specialize in Science Fiction. That's why there isn't the action one expects to find. Cerebral films usually appeal to the critics but not to the average person.I could not give the film more than a 9.5 star rating. See the film and form your own opinions.

antcol8 I am really afraid to say anything negative about this film, given the incredibly low level of critique demonstrated by the people here who didn't like it, but...I have never thought that this was anywhere near the best of his '60s films. But I jumped at the chance to see it on the big screen again yesterday. I hoped to revise my opinion. Which I did not.People who do not understand why the Paris of the moment when the film was made is used to represent a future dystopia should be condemned to never watching a film outside of the Mainstream ever again. The point is blindingly obvious: dystopia is all around us. Using music and lighting and camera movement to represent that, rather than relying on triumphantly gaudy and expensive production design, shows that Godard is a filmmaker down to the tips of his toes. He learned so much from the American directors who had no recourse to expensive sets and had to use shadows and fog...I'm thinking of Lang on Man Hunt, Mann on G - Men. Of course, Ulmer on Detour, etc.All this is amazing. And there are great set pieces (the swimming pool, for example). And the use of the same couple of bars of music, over and over, is great, too.Look, I don't need to believe in the relationships and the ideas in Godard films in order to enjoy them. Karina and Constantine was perhaps a very inspired mismatch. And I've read and studied lots of Brecht. But Alphaville just doesn't SWING for me the way most of the others from this time do. But, you know what? I'm going to watch it again.