Review:

Many movies in the modern era have experimented with fractured chronology, but most of the time this technique is used for entertainment purposes only. "21 Grams" is an intense and thoughtful film enriched by this technique, taken to an extreme I've never seen before. We're not talking "Pulp Fiction" here, where a small series of vignettes are arranged out of sequence. Every individual scene in "21 Grams" seems to be distributed almost at random anywhere in the film. You have to concentrate when seeing this film for the first time, because you'll have trouble figuring out what's going on, and even as a plot starts to emerge, some of the details won't be understandable until the very end. But it pays off: this isn't like "Memento" or "Mulholland Drive," where you may need multiple viewings to understand it all. By the end of this film, the story turns out to be quite straightforward. It's like seeing a gigantic jigsaw puzzle gradually pieced together.

Unlike many other films that use this sort of device, "21 Grams" is a character drama, not a psychological thriller. The story would still work if it were told in chronological order. Why the scenes are arranged as they are is not altogether clear, on the surface. I felt like I was watching a mystery, but after everything came together it became evident that none of the mystery was contained in the plot itself. This fact has led some critics to suggest that the scrambled scene arrangement is nothing more than a cute gimmick designed to make the film more engaging. But I believe that the device does serve a legitimate purpose, by drawing out the complexity of the characters and their situations.

Life is not good for the three principal characters, and it isn't getting better. Sean Penn plays a 40-something man with a failing heart, Naomi Watts plays a young woman facing great tragedy, and Benicio Del Toro plays an ex-con consumed by guilt. Penn and Watts come off as ordinary individuals reacting as anyone might under the circumstances, but Del Toro's character is particularly fascinating. He's been rehabilitated through religion, but he's still far from perfect. As a father, he has a scary presence that makes him seem borderline abusive at times. But he has developed a powerful conscience. Is he right to hate himself for what he did? The movie never answers that question. I just appreciated that the film resisted the temptation to make him into a caricature. He is neither hero nor villain. He is simply understandable on a very basic human level, as are the other two characters.

We have the feeling that Watts and Penn are wrong to condemn him as strongly as they do. They do not understand his situation, or that he's suffering just about as much as they are. On the other hand, we as viewers can perfectly understand where Watts is coming from. That's what makes the scrambled scene arrangement so effective: it never allows any one character to gain our total sympathy. By the time we've sorted out the plot threads, we've identified with all three characters on an emotional level while at the same time understanding their faults. These people are trapped in their own limited worlds, and with our omniscient viewpoint we can scarcely blame any one of them for their feelings or actions. We can see clearly what these characters cannot, which is that they are more victims of cruel fate than people who are truly guilty of anything.

What is the movie's message? That people shouldn't be so quick to judge others? That could be one interpretation, but what's nice about the film is that it doesn't hammer this lesson into us. It just tells a moving and stirring tale about complex characters, and viewers can take from it what they please. The title refers to a parapsychological belief about the weight of the human soul, and it's used in this film as a metaphor for the fragility of life. If life is fragile, then it's also precious, and people need not waste their time on vengeance.

Actors:

Paul Rivers, Cristina Peck, Michael, Cathy, , Jack Jordan, , Mary Rivers, , Reverend John, , , Marianne Jordan, , Gina

Review:

After Reading Ben Mezrich's "Bringing Down the House", upon which this movie is based, I was excited to the movie. I am usually let down by movies that are based on books, but that was not the case this time.

Although there were a handful of cliché parts of the movie, all in all it was excellently done. The visual effects were well done, and the acting on the part of Jim Sturgess, Kevin Spacey, and Kate Bosworth, was exemplary. Some people may criticize Spacey for his 'gusto', but I believe his portrayal of Mickey was stellar.

The movie had suspense, a solid plot line, scattered funny scenes, and a good ending. The people I went with, none of whom had read the book, found it an even better movie than I did. If you like the movie enough, I recommend reading the book for a more complete story.

Actors:

Jim Sturgess, Kevin Spacey, Kate Bosworth, Aaron Yoo, Liza Lapira, Jacob Pitts, Laurence Fishburne, Jack McGee, Josh Gad, Sam Golzari, Helen Carey, Jack Gilpin, Donna Lows, Butch Williams, Jeffrey Ma

Review:

Actors:

Alex Agnew

Review:

At first, I didn't feel much of a need to comment on the film, since so many others have written and have said so many things. But I think there are some really important points to made, and I haven't seen anyone make them. So here I am writing.In my opinion, almost everyone misunderstood the relationship between Hephaistion and Alexander. In the modern world, especially in the West, two men are either very close to each other, sleep together, and have sex, or they keep a good comfortable distance from each other and, if they're friendly, might punch each other on the arm. In this film, we see a relationship that is hard for most people today to understand, namely a passionate love relationship between two men in which sex is not very important and possibly even absent.Aristotle essentially explained the whole film near the beginning when he told the young couple something like the following, as best I can remember it, "When two men lie together in lust, it is over indulgence. But when two men lie together in purity, they can perform wonders." Or something like that. Given what I know of that culture, I am sure that "in purity" means no sex, or at least very little. That's why we never see them kiss. In the film, as in many older films, kissing is a metaphor for sex. Even when Alexander kisses his mother, it refers to the idea of sex. That's why Alexander kisses Bagoas, but not Hephaistion.Now I'm not sure if the real historical Aristotle would have made that remark. That's not exactly what he says about homosexuality in the Nicomachean Ethics. But the remark is plausible enough since Alexander could easily have heard such an idea during his youth. Plato (before Aristotle) expressed that idea, and Zeno of Citium (after Aristotle) did too. So even if Aristotle never said this to Alexander, it is plausible enough that the idea was in the air and that Alexander heard it from someone or other.Some have complained that the "homosexuality" (assuming that A's relationship with Heph. should even be called that) was thrown in their faces too much. But it's crucial to the plot. Stone is hypothesizing that Hephaistion was essential for what Alexander did. Further, it's a standard Hollywood convention to juxtapose a love story with some great political, military, or otherwise grand event. There are tons of examples. Titanic, Enemy at the Gates, Gone with the Wind, ... the list could go on forever. It really is homophobic to complain about Stone continually going back to this theme, because he has a perfectly good artistic reason to do it.A few more details: Alexander's hair. I think that Stone was trying to make Alexander look like Martin Potter in Satyricon -- a nod to Fellini.Alexander's accent and soft appearance. Another nod to a great director passed on, this time Stanley Kubrick. Farrel really looks a lot like Ryan O'Neil in Barry Lyndon. In fact, he really looks like a Ryan O'Neill / Martin Potter coalescence. I think it's deliberate.The softness of Alexander's personality. In a lot of scenes it made sense. He was gentle enough to know how to approach Bucephalus and tame him without scaring him. He was open minded enough to adopt a lot of Persian culture and encourage intermarriage, while the other more "he-man" folks around him were less comfortable with the idea.Yes, if you haven't figured it out by now, I do like the film. People's hatred of the film is hard for me to understand.

Actors:

Colin Farrell, Angelina Jolie, Val Kilmer, Anthony Hopkins, Jared Leto, Rosario Dawson, Jonathan Rhys Meyers, Rory McCann, Gary Stretch, Ian Beattie, Neil Jackson, Raz Degan, Christopher Plummer, John Kavanagh, Annelise Hesme

Review:

She did a great job in her second Lifetime movie. Can't wait to see what's next for her. To the person who wrote the first comment, she has blue eyes, big L and O fan:~)I watch Law and Order just about every night b/c it's such an awesome show, I can't wait for the new episodes. It's a shame she's not on the show anymore b/c she was really good,I'd go onto bigger and better things too though. Lifetime is a good step they make really good movies that reach everyone on many levels. They definitely did it with this movie, the Abmber Alert is a huge part of history now so I'm glad they told this little girls story! The determination of her mother was amazing and parents should take that with them.

Actors:

Elisabeth Röhm, Teryl Rothery, Myron Natwick, Sophie Hough, Jodelle Ferland, Zak Ludwig, Tim Henry, Karen Austin, Anthony Holland, Michael Adamthwaite, Greg Michaels, Malcolm Scott, Mitchell Kosterman, Claude Knowlton, James Purcell

Review:

First of all, once again I think the critics have got it wrong. Like Blade Runner and 2001, this is a film that will be properly judged in 10/20 years or maybe more. Its way ahead of its time, the combination of Kubrick and Spielberg is unique, its unlikely we will ever see anything like this again. Did I like it? The answer would have to be yes, the mix of styles will put many people off, but I found it to be unlike anything I have ever seen, and all the better for it. The story is by no means original but everything else about the film is so different that this can be forgiven. To get one thing straight, Kubrick decided Spielberg would be the better man for directing it, and I think this was a very wise decision, many of the ideas are pure Kubrick, but Spielberg has the neccassary attributes to direct such a film, and great credit has to go to Kubrick for handing it to him.Haley Joel Osment is amazing, the robot/human emotion must be amazingly difficult to pull off effectively, but Osment does it with such relative ease to the point where you do believe he is a robot, not that he is just acting as a robot. Jude Law is excellent, and so to is Frances O'Conner. As for the ending, as brave as an idea it may of been to end on a downbeat note at "the first ending" I think the slightly upbeat ending is much more appropriate.All in all I would say A.I is a wonderfully unique film that should be judged for what it is, a film. Forget everything about the Spielberg/Kubrick "issue" and just sit back and take in a truely amazing film. You may hate it, you may love it, but no matter what, it will effect your emotions in some way and you will discuss the film afterwards.This film will be truely judged in 20 years or so, when it can be assessed purely as a film, as with 'Blade Runner', '2001', and even 'The Thing', it will get better with age.

Actors:

Haley Joel Osment, Frances O'Connor, Sam Robards, Jake Thomas, Jude Law, William Hurt, Ken Leung, Clark Gregg, Kevin Sussman, Tom Gallop, Eugene Osment, April Grace, Matt Winston, Sabrina Grdevich, Theo Greenly

Review:

I used to read the adventures of Asterix when I was younger, and I was always delighted. But, watching this movie made me think differently: has the little 'Gaullois' village given up? the movie seems only made to guarantee commercial success: many famous people (many of whom are known only in France, plus some guest stars), special effects, big marketing, etc... But, in the end, the jokes are not very good, the special effects are sometime ridiculous, the plot is far fetched and the frequent appearance of guest stars doesn't manage to fill this rather empty movie (in fact, it ended getting on my nerves).

I don't know if children will find this movie funny, but it's really difficult for anybody without 'laughing potion' to take real pleasure here. Too bad for Benoit Poolevoerde, who has done his best to save the Titanicus!

Actors:

Gérard Depardieu, Clovis Cornillac, Benoît Poelvoorde, Alain Delon, Vanessa Hessler, Franck Dubosc, José Garcia, Stéphane Rousseau, Jean-Pierre Cassel, Elie Semoun, Alexandre Astier, Elric Thomas, Dorothée Jemma, Sim, Adriana Karembeu

Review:

If you – like me, and so many others – found 'Crash' (2005) offensively finger-wagging and dumb (its inherent message was: "Racism is bad."), Alejandro González Iñárritu's Babel will make it up to you with refreshing intelligence, respect for cultures and crisp acting. The plot outline is difficult to do justice in one sentence but much like Crash it explores culture clashes in life by navigating multiple interweaving story lines.

One of these is the story of the married couple Richard and Susan Jones, played by Pitt and Blanchett, who travel to Morocco 'to get away'. Theirs is a remarkably complex and bruised marriage at first but once the plot gradually unfolds the root of their problems becomes apparent. What is most remarkable about their storyline is that Brad Pitt actually emotes as an actor (although is he is grossly facilitated by heartfelt circumstances) and that Cate Blanchett regrettably never gets the chance to shine in her performance.

Cut to two young Arabic boys in the barren craggy hills of the outback of Morocco. They are brothers whom have just been given a rifle by their father to protect their goats and now they are having fun in learning how to fire the weapon. There is refreshing gritty honesty in the portrayal of this storyline – from the dirt and heat on their clothes to the realistic dialogue – and many heartrending moments due to the aforementioned. But be warned, this is no glossy or romantic depiction of North Africa...

Another storyline takes place in colourful Tokyo in Japan, detailing the teenage life of a deaf girl called Chieko. Hers is arguably the most compelling story especially in terms of sheer fun to be had. Being a teenage girl is hard enough and Chieko finds that her disability distances her from other people – the boys she is interested in looks at her like she is a monster – and frustrated and desperate to be loved, she indulges in teenage clichés like partying and drinking in the modern mess that is Tokyo. Here I found the single most vivid disco sequence completely sucking me in and not letting go until the fast-paced euphoria of Chieko finally subsided. There is absolute gold to be found in this Tokyo story.

Finally, the last storyline takes place in Mexico and the main character is a woman called Amelia (Adriana Barraza), who also happens to be Richard and Susan's nanny. When her son is getting married in Mexico and she cannot get a day off, she takes the kids with her across the border. Big mistake. I'm sure many will be able to identify with the sprawling surge of Mexican culture at the wedding and indeed the music and pace made this storyline both beautiful and enjoyable to follow. It is evident that director Alejandro González Iñárritu feels most at home in this setting and as a result, the story shines and its characters emote.

Although there is a lot to keep track of in 'Babel' owing to its many story lines, there is such a fluent and seamless intercutting of these segments that it is impossible not to be entranced in the entirety of the film. There is a wealth of juxtapositions of culture to be found and much fun and visual stimulation to be had because of it. From the dramatic barren landscapes of Morocco to the fast-paced teen world of Tokyo, Babel treats contrast with remarkable sensitivity and skill of the subject matter. In other words, it gives a nonsentimental yet compassionate insight into the lives of different people whose stories orbit around the kaleidoscope that is 'Babel', sewn together by unsparing and uninhibited performances.

Better yet, you get so caught up in each story that when it cuts to make room for the next you feel almost a little offended – and that is good film-making. Babel, given its content, is everything Crash was not. Finally, it offers a satisfying and humble conclusion to an otherwise epic film. Although I cannot help but remark, Iñárritu, come on – you could have made a good movie in less than 2½ hours... *hmph*

8 out of 10

Actors:

Brad Pitt, Cate Blanchett, Mohamed Akhzam, Peter Wight, Harriet Walter, Trevor Martin, Matyelok Gibbs, Georges Bousquet, Claudine Acs, André Oumansky, Michael Maloney, Dermot Crowley, Wendy Nottingham, Henry Maratray, Linda Broughton

Review:

Gritty, raw, disturbing, and powerful. Just a few words that describe Abel Ferrara's provocative Bad Lieutenant. It chronicles the downward spiral of a drug addict cop investigating the rape of a nun. It contains one of the best performances ever captured on film by Harvey Keitel. Ferrara's masterpiece is a story of the evils of man and one mans quest for redemption. You'll never forget this movie.

Actors:

Harvey Keitel, Victor Argo, Paul Calderon, Leonard L. Thomas, Robin Burrows, Frankie Thorn, Victoria Bastel, Paul Hipp, Brian McElroy, Frankie Acciarito, Peggy Gormley, Stella Keitel, Dana Dee, Anthony Ruggiero, Vincent Laresca

Review:

Aliens have landed on earth led by Lord Crumb, with the intention of selling mankind as hamburger meat to their intergalactic buddies. So we are now added to their menu, though the earth's government issues a full-scale alert and calls in "The Boys"- Frank, Oz, Barry and Derek to take care of the problem. Can they stop Lord Crumb turning the human race into "Crumb's Country Delights" or will "The Boys" meet the same fate as mankind. In all this leads up to bloody showdown between the two sides, literally.

Peter Jackson's roughly made cult classic "Bad Taste" is purely vulgar trash, but hey that's its charm. A lot blood and guts went into this production, do I need to say more. There's no real purpose, or story behind this shamble or better put madness. It's all about grossing you out with a huge excess of cheesy gore, sick humour and outrageous violence. Yummy! And to think I was going to eat dinner while watching it. Sure it's incredibly dumb and tatty, but this is one of those films that its so bad that its good entertainment. It looked like they had a great time making the film, and it definitely shows on screen. Well, the conviction was there since it took Jackson and his pals four years to make this low-budget splatter and the crew had a whole a lot things to do other than one particular role. Like Peter Jackson who directed, co-written, acted, edited, cinematography and did the special effects. From that it surely does deserve its strong cult status.

Everything about it boarders on farcical, the performances are truly uninspired, or they are just too damn relaxed. It's hard to say if they were mocking themselves as its like they just read the script for the first time and putting no real effort in their lines. Maybe the dialogue was made up on the spot? And those thick accents, well they came across as drongos (excuse the Australian slang) using a lot bad pun and wit. Although, the memorable fashion statements, takes the cake. Camera work is totally sluggish, the soundtrack is pumping for all different moods and there's nice dummy, uh I mean stunt work. The film is filled with a terrible amount of clichés and homage's, but the thrills are top grade. You get over-the-top gung-ho action with brain splattering and body parts flying everywhere! These moments are hilariously set-up in a twisted slapstick way. Although, the winner of this film is the repulsive gore and decent alien make-up and effects. Which is a big contrast to the pleasantly lush New Zealand scenery!

This deliberately idiotic feature mixes gore and comedy to great effect. Highly amusing, but definitely not for the faint hearted or squeamish!

Jackson went onto to make two more wicked cult films after this, the grotesque "Braindead" and the overly filthy "Meet the Feebles". If you dig this film, you might as well check out those films too.

Actors:

Terry Potter, Pete O'Herne, Craig Smith, Mike Minett, Peter Jackson, Doug Wren, Dean Lawrie, Peter Vere-Jones, Ken Hammon, Robin Griggs, Michael Gooch, Peter Gooch, Laurie Yarrall, Shane Yarrall, Philip Lamey

Review:

Just saw this film at the Dublin Film Festival this morning - packed screening at the Savoy. Stuart Townsend and Charlize Theron answered questions after wards - he was really nervous in front of a Dublin crowd. He said they filmed only two days in Seattle for budgetary reasons - the rest was in Vancouver. Good film though and he clearly did his research. I thought this was much better than Bobby, which had a similar ensemble cast and multiple viewpoints. Also, it didn't stick its politics down your throat and all sides got a relatively fair portrayal. The audience gave it a long ovation, and I see it got a good response at the Toronto festival - in my opinion it deserved it.

Actors:

Martin Henderson, Michelle Rodriguez, Woody Harrelson, Charlize Theron, Jennifer Carpenter, André Benjamin, Ray Liotta, Connie Nielsen, Channing Tatum, Isaach De Bankolé, Rade Serbedzija, Ivana Milicevic, Tzi Ma, Joshua Jackson, Christopher Jacot

Review:

OK let me start off saying that i loved Eternal Sunshine and had pretty high hopes for this film. Michael Gondry did a more than exceptional job to capture the tone of this film which i'll describe as old-school, and scraggly. Jack Black once again played the same part he usually does just a funny weird dude, Mos Def did a real nice job a lot better than I expected after seeing him in Hitchikers Guide to The Galaxy. Danny Glover was really great. But the thing I loved about this film is that it was so different from the usual cliché comedy. The movie does have some flaws but what the heck, just go see it and relax. Its not supposed to be a Citezen Kane. Overall the film was real fun and actually a little touching, so go see it. I recommend it for sure. Real Fun!!

Actors:

Jack Black, Mos Def, Danny Glover, Mia Farrow, Melonie Diaz, Irv Gooch, Chandler Parker, Arjay Smith, Quinton Aaron, Gio Perez, Basia Rosas, Tomasz Soltys, Marcus Carl Franklin, Blake Hightower, Amir Ali Said

Review:

OK, I admit...the first time I watched this movie I detested it. But hey, I was 16 years old and had expected an action-packed sci-fi adventure. Blade Runner is not such a film. But I am grateful for this, for after maturing a bit and rewatching the movie a couple of times, I discovered its greatness. It is not a traditional sci-fi movie, it's a touching drama about the value of life and the importance of making the most of what you've got. One of the most important themes in the film is the question of what is more valuable - humans without emotions, or machines with? The film gives no answer - it just opens our eyes and makes us aware that we should be grateful for being alive.

Some people prefer the Director's Cut, but I like the original version better - mostly because of the wonderful end line: "I didn't know how long we had together. Who does?" That pretty much sums it up.

Actors:

Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, M. Emmet Walsh, Daryl Hannah, William Sanderson, Brion James, Joe Turkel, Joanna Cassidy, James Hong, Morgan Paull, Kevin Thompson, John Edward Allen, Hy Pyke

Review:

This is simply the best movie ever made, containing all the elements a perfect movie should, even considering that every person has a right to his/her opinion. The soundtrack is amazing, the scenes are ingenious and the story is simply excellent! This is a story about a Scotsman named William Wallace (Mel Gibson) and his fight for the freedom of the Scottish people, from the oppression of the English ruler-ship. After seeing the death of his wife at the hands of an English nobleman, William Wallace (Mel Gibson) sets out on a quest for vengeance that quickly turns into a crusade for freedom for the entire "country". The extreme violence as well as the human compassion in this movie are overwhelming in its brilliancy.

Actors:

Mel Gibson, James Robinson, Sean Lawlor, Sandy Nelson, James Cosmo, Sean McGinley, Alan Tall, Andrew Weir, Gerda Stevenson, Ralph Riach, Mhairi Calvey, Brian Cox, Patrick McGoohan, Peter Hanly, Sophie Marceau

Review:

I expected there to be a high level of gay and crude sexual jokes in this latest Sacha Baron Cohen adventure. Then the movie took it 2 steps further than anything I had prepared myself for.The result; a lot of uneasy moments, a lot of uncontrollable laughing, and some putting my hands over my face in disbelief or disgust. The humour in the film is clearly that of in-your-face slapstick, however given the extremes the film goes to, it's all relatively entertaining. Like Borat, all of the genuine laughs are in everyday peoples reactions, rather than the poorly structured story or scripted scenes.That said, it was a challenge of how much one could handle, and I wouldn't have minded if they had left out a particular full frontal shot of the male anatomy spinning around (an image that will stay with me for some time and probably haunt my dreams). It's not a movie I could really get 'comfortable' with watching, seeing all hell unravel in a variety of situations one after another with very little in the way of breaks, but time did go by relatively quickly, which helps given the intensity of the scenes.It's not a film for the faint of heart, and definitely has more potential to offend than Borat ever did, though for the more open minded among us who aren't so easily offended, you may find some enjoyment in this film. Humanities finest moments certainly aren't on display here. Go see it with a few mates or drinking buddies and have fun, though you may exit the cinema a little more disturbed than when you went in.

Actors:

Sacha Baron Cohen, Gustaf Hammarsten, Clifford Bañagale, Chibundu Orukwowu, Chigozie Orukwowu, Josh Meyers, Toby Hoguin, Robert Huerta, Gilbert Rosales, Thomas Rosales Jr., Marco Xavier, Bono, Chris Martin, Elton John, Slash

Review:

I know there's a lot of people who either worship this movie or hate it. Truth be told this movie is just a fun action movie with a good plot, great characters, and very good direction. Compare it to whatever you want, but you can do that with any movie out there. If you haven't had the chance to catch this flick, go out and rent it! it's one of those movies that shouldn't be missed. I guarantee that once you see it you'll be quoting it left and right. Sean Patrick Flannery and Norman Reedus have amazing chemistry together, and David Del Rocko just adds the comedic relief that makes the trio one thats hard to take your eyes off of.

See the Boondock Saints and get ready to have a good ole celtic time.

(B)

Actors:

Willem Dafoe, Sean Patrick Flanery, Norman Reedus, David Della Rocco, Billy Connolly, David Ferry, Brian Mahoney, Bob Marley, Richard Fitzpatrick, William Young, Robert Pemberton, Bill Craig, Dot Jones, Scott Griffith, Layton Morrison

Review:

An all-star cast is showcased in this WWII farce centered around a B25 bomber squadron in the Mediterranean.

Alan Arkin shines as Yossarian, a bombadier who realizes the hopelessness of ever completing the number of missions required to be rotated out of harm's way; his commanding officers (Balsam and Henry) are constantly upping the number once anyone gets close. Yossarian decides his best bet is to try for a medical disqualification for flight under the grounds that it's insane to fly these missions, and since he's flying them, he must be insane. But the flight surgeon (Jack Gilford) declares anyone who realizes the insanity of the situation must, by definition, be sane, and therefore must continue to fly.

Lots of interesting side plots, such as War Capitalist Milo Minderbinder's (Jon Voight) excursion into, among other ventures, Egyptian cotton and Natley's (Art Garfunkel) discussions of lasting societies with an old Italian.

Austin Pendleton is perfectly cast as the son-in-law of General Dreedle (Orson Welles), a hulking figure of a man whose personal B25 is equipped with whitewall tires. When the General orders a moaning (after glimpsing the thigh of the General's female assistant) Richard Benjamin to be "taken out and shot", Pendleton's character admonishes him, "Dad! I don't think you can do that!" then whispers why into 'Dad's' ear.

A thoroughly enjoyable movie that may take more than one viewing before all the subtle humor begins to sink in.

Actors:

Alan Arkin, Martin Balsam, Richard Benjamin, Art Garfunkel, Jack Gilford, Buck Henry, Bob Newhart, Anthony Perkins, Paula Prentiss, Martin Sheen, Jon Voight, Orson Welles, Bob Balaban, Susanne Benton, Norman Fell

Review:

The next time that you're in the mood for some undemanding fun, this might be a good film to watch. This movie was certainly no laugh riot, but it did consistently keep a smile on my face. Probably the largest reason for me liking this film was John Cleese, who once again shows what a gifted comedic actor he is. Without him, I have little doubt that the film would have been somewhat less charming, because it really is little more than a one joke movie. But when the joke is on John Cleese, you know he'll give you a reason to smile.

Actors:

John Cleese, Penny Leatherbarrow, Howard Lloyd-Lewis, Jonathan Bowater, Stephen Moore, Alison Steadman, Mark Bunting, Robert Wilkinson, John Bardon, Mark Burdis, Nadia Sawalha, Dickie Arnold, Angus MacKay, Peter Needham, Peter Lorenzelli

Review:

Worthy addition to a very British literary, televisual and cinematic tradition of dystopian and apocalyptic narratives. H.G Wells, John Wyndham, SURVIVORS, 28 DAYS LATER.

These texts are revealing of the times in which they were made. Rather than looking forwards,they re often, at heart, deeply conservative. They frequently express a desire for a world where the centralised, industrial society has broken down entirely, replaced by an agrarian based model comprising small, rural communities. These narratives coincided with the rise in 'alternative ' lifestyles, interest in self sufficiency, organic farming, low technology and a different relationship with the Earth. Nostalgia for a pre Industrial past is more prominent than hope and anticipation of a glorious new future when civilisations been destroyed for a new, better world to emerge.

The grand narratives which we once imagined were going to change and improve the world no longer seem credible. Following the collapse of communism, there's a distrust of ideologies, especially those of the left. Arguably, the left has collapsed in the Western World. Thats the context this film arrives in, one where there seems no meaningfully effective counterbalance to the continued dominance of global capitalism, media saturation and environmental meltdown.

Arguably this film offers some hope but my overall impression is of something a lot bleaker than other apocalypse narratives. Without children there is, literally, no future left. Although emerging from a different context, this film shares with its predecessors a thoroughly revealing indication of the concerns preoccupying the time in which it was made.

Two scenes haunted me. The man in Battersea, isolated with his art collection and the set pieces of the illegal immigrants, rounded up and caged.

The Battersea scene uses its location and choice of Picasso's Gernika painting in the background to make a searing comment on a civilisation which, despite its pretensions to Art and Culture, has managed to engineer its own extinction. A civilisation whose intellectual and cultural elites, instead of challenging the prevailing discourse, isolate themselves, collusive in a form of collective denial.

The illegals scene is composed in such a way as to recreate images from the War on Terror, images which are now iconic. Both scenes link together through use of the painting which is an inspired device. This is definitely a movie to watch and work at. I was also intrigued by the recurring animals, and reminded of Tarkovsky, whose work is consistently loaded with symbolism. The scene at the empty, abandoned school was very reminiscent of the Russian director. Also praiseworthy is the astonishing use of sound, particularly in one of the key scenes when dogs can be heard barking in the distance.

Another haunting image is that of the flowers and wreaths laid very early on, after the youngest person on earth has died. Reminiscent of the mawkishness, sentimentality and mass hysteria of those laying floral tributes to murder victims they never knew, the so called 'Diana effect'. Again, a clear reference to todays world.

This is an outstanding piece of film making, I agree totally with previous reviewers comments, especially regarding the battle scenes, which have an immediacy, bringing to mind COME AND SEE or APOCALYPSE NOW. I ll give the last word to Peter Bradshaw, The Guardian newspapers film critic who called this 'a thinking persons action movie.'

Actors:

Juan Gabriel Yacuzzi, Mishal Husain, Rob Curling, Jon Chevalier, Rita Davies, Kim Fenton, Chris Gilbert, Phoebe Hawthorne, Rebecca Howard, Atalanta White, Laurence Woodbridge, Clive Owen, Maria McErlane, Michael Haughey, Paul Sharma

Review:

If the only thing City of Ember does is show that Belfast can play host to high concept movies, then it was worthwhile, but no doubt, it was aiming for more than that. Perhaps to stand next to such fare as Harry Potter, or a Pixar flick.

Unfortunately, it falls short, but only just. This is without doubt, an exciting romp about two coming-of-age children who break out of the mold forced on them by the dying Ember, and in doing so, change everything. The acting is solid, the set design and music excellent. The concept, the builders of Ember leaving behind secret instructions to get back to the world, is genuinely engaging.

Unfortunately, they don't get to these instructions fast enough, and a lot of time is spent wandering around the, albeit, beautiful city. Often times there is a lack of a perceived threat. Despite being replete with a nefarious mayor and a mutated mole (like the massive moths, never explained), the story uses neither of these things enough, leaving some scenes to be propelled solely by the heroes following the by-the-numbers instructions left to them. Worst of all, the ending feels like a poor man's Goonies.

In the director's corner, he is guilty of some slow scenes, but what is almost unforgivable is the flat looks of the actors during intense CGI action. Somebody wasn't thinking ahead.

Nonetheless, a charming film that I hope made enough money to spawn treatment of the books sequels.

Actors:

David Ryall, Ian McElhinney, Harry Treadaway, Tim Robbins, Bill Murray, B.J. Hogg, Toby Jones, Lucinda Dryzek, Matt Jessup, Lara McIvor, Myles Thompson, Eoin McAndrew, Rachel Morton, Conor MacNeill, Lorraine Hilton

Review:

This struck me as a documentary or, more fairly as a personal yet direct meditation on the own words of a man, embedded in context, which may also be a definition for documentary I was deeply impressed by the honesty of this film. I understood where Soderbergh, the artist, was, as i felt the space he left for me to think. How he uses Che's own expression of the part of his life depicted in the film, with the least possible manipulation (editing the book is already manipulating) and still, it's up to the viewer to place his own opinions over what he saw - more or less distanced according to where we come from and where and how long we lived. Of course this is made considering that who goes to the film has a previous knowledge of what context and moment, and what character he is about to watch.

I'll put this film together with Medem's 'La pelota vasca' (an assumed documentary) for they both show an extreme sensitivity working with such delicate themes as like they choose to work. Both originated some contesting, More with Medem's because the director was more rooted in the problem that was shown, and because the story is far from being closed, but to me they were both opened films which, as any contemporary film should be, leave a lot of the thinking to the public, and work as brain starter for discussion.

The narrative structure is effective, the artwork and editing are of great competence. Che in the woods of Sierra Maestra, on the verge taking the power in Cuba inter cut with his visit to the USA, in 1964. This second line is shot in black and white, the other has beautiful colors. The absence of music was a mildly risky choice i appreciated. The rest, you can think of it yourself. I thought Del Toro was very good, internally concentrated, resisted totally to being what we expected Che to be, and that's something, to be able to interpret a character with such an charismatic aura behind him, which we can still feel when his own words are spoken. From this film on, i admire Del Toro; before this i didn't look at him as i do now. I'll review his previews performances, i have to check if i didn't notice how good he is. Quite on the contrary, Bichir, as Fidel, was a total disaster, frankly one of the worst performances i've ever seen. How could he think Fidel was all about imitating a voice, some gestures, and handling a cigar. What a mess.

Of course this man's story is controversial, which means one can make radically opposed opinions out of the same known and accepted facts. The fair amount of arguments i've had since i saw it with someone who saw it with me prove me right here. I think Guevara was a lucid man, who read perfectly well the mechanics of the world of oppression where he stood. He chose to stand there and live like them, though he wasn't like them, and that's worth admiration. The ideas he made of the injustice he saw was a product of a genuine mind. But though the diagnosis was right, the whole process of making it in practical terms was a mess, to my eyes. He was at the root of a regime, inserted in a bigger regime, that grew on arrogance, on hypocrisies, and at a certain point became at least so unfair to the same oppressed people as those oppressed had before. And that's because, though wanting to do different, this revolution used the same weapons of strenght and physical superiority others had used. And that killed the whole idea. And Guevara was there, with it, being oppressive when he thought he was being better, out of, i think, ingenuity. What i say is, read the man, his observations are probably equally (or even more) correct today as they were when he made them, but don't follow his steps, i wouldn't, not knowing what i know today.

Also, notice how Che, the icon, grew to incredible proportions, 3 reasons i give it:

-He died young, and fighting for ideals, at least shooting for ideas;

-He was picked up by the very capitalism he rejected and was sold like an icon the population (mainly youth) desperate to get out of the contradictions in this regime, check the contradiction of this;

-He had an image standing for him, literally an image, the photograph Korda took. It's amazing, and it's probably an unique case, how a single image can move millions, how the right moment, with the right publicity can be so powerful. If you think about that, among the capitalists who sell tshirts and the liberals who believe Guevara, this is image is the center of the most successful publicity campaign ever. Once more, i admire Soderbergh's intelligence to leave that image out of this film. It's more than avoiding a cliché. It's avoiding the viewers to go recall clichés they've made (me included) over that image.

My opinion: 4/5

http://www.7eyes.wordpress.com

Actors:

Julia Ormond, Benicio Del Toro, Pablo Guevara, Franklin Díaz, Armando Suárez Cobián, Rodrigo Santoro, María Isabel Díaz, Demián Bichir, Mateo Gómez, Ramon Fernandez, Yul Vazquez, Jose Caro, Pedro Adorno, Jsu Garcia, Luis Rodriguez Sanchez

Review:

Much more than another coming of age movie – Ciske the rat is a fine example of the Dutch cinema. If you are found of the treble music you will definitely notice the song at the beginning performed by the Danny De Munk (famous singer from Netherlands) who plays the role of the troubled young lad – Ciske.

The childhood of Ciske in not easy – his father is sailing away and his mother does not really care about him. With rebellious spirit the young Ciske spends most of his time on the streets of Amsterdam. No one pays attention to the lonely boy. Trying to cope with the harsh live and attract some love and sympathy he has troubles with the law and even spends some time in prison. I really admired the way he protected himself there – if only all people were as strong as he turned out to be. Ciske has generous heart and when his teacher notices that he tries to help the young lad to take the right path.

Ciske the Rat is powerful and graphically brutal drama which is sure to leave a long lasting impression to anyone who had a chance to see it. I truly enjoyed watching it and highly recommend it.

Actors:

Danny de Munk, Willeke van Ammelrooy, Herman van Veen, Willem Nijholt, Peter Faber, Rijk de Gooyer, Linda van Dyck, Carolien van den Berg, Adriaan Olree, Ingeborg Uyt den Boogaard, Danny Merk, Mara Peelen, Rudi Falkenhagen, Hans Holtkamp, Henk Rigters

Review:

Feisty eleven-year-old Coraline walks through a secret door and discovers a parallel reality. That reality is sort of similar to the life she already knows yet deeply unsettling in a number of ways. Coraline (voice of Dakota Fanning) begins a journey of adventure and self discovery when her parents (Teri Hatcher and John Hodgman) relocate the family to Oregon from Michigan. No one in this new space has time for her so she spends her time exploring her new neighborhood with an talkative local boy named Wybie Lovat (Robert Bailey Jr.). After discovering the odd neighbors all of whom are true characters, she is still bored somehow.

All of this immense undertaking is courtesy writer and director Henry Selick, director of Nightmare Before Christmas, and the well crafted adaptation of Neil Gaiman's international best-selling children's novel. To Selick's credit this is the first 3D stop motion ever made; stereoscopic 3D. Selick himself worked on the film for three years. The style is stunning and the story is an unwavering fairy-tale nightmare that has some genuinely scary moments. is a masterful movie and an exciting tale of mystery and imagination.

In the rotting nooks and crannies of Coraline's new home the real story begins and where she discovers a hidden doorway behind the wallpaper. Inside is her alternate space where there are doubles of her distracted parents now lavish loving attention on Coraline, the oddball neighbors are friendlier, and her pesky friend long longer speaks. Only her parents' eyes now black buttons give a clue that something isn't quite right.

Selick has created a world as much for adults as children as there are references dotted throughout that the young won't understand. The imagery, however, is very child like. Both talents live side by side and bodes well for Selick's previous work in Nightmare before Christmas, James and the Giant Peach and even Monkeybone. His work has always been fascinating. Gaiman is to be credited with the story for sure, but this is Selick through and through. This film is sure to become an instant classic and as well executed as this movie is it should be.

Actors:

Coraline Jones, Mother, Miss Spink, Miss Forcible, Cat, Father, Wybie Lovat, Mr. Bobinsky, Sweet Ghost Girl, Ghost Boy, Tall Ghost Girl, Photo Friend #1, Photo Friend #2, Magic Dragonfly, Mover

Review:

Two gangsters on the run hide out in a isolated castle that is occupied by Plesance and Dorleac. The two share a rather bizarre passive, aggressive relationship that quickly disintegrates when interrupted by the strangers. Eventually a even more bizarre bonding develops between the couple and Stander, one of the gangsters. Very, very intriguing psychological drama with wonderfully subversive elements lurking just beneath the surface.

Polanski makes full use of the castle showing it's dark, shadowy interior as a sort of symbolic equation to the dark recesses of the human mind. The characters all have their odd traits yet are still believable and compelling to watch. Wonderfully photographed with a strong visual style that really gives this film a distinct look and personality.

Stander, who is probably best known as Max on the old HART TO HART series, has one of his finest roles. He plays a brute that mixes both savage and human traits all at the same time. Plesance though is astounding, playing a truly pathetic character that is simply unforgettable

Actors:

Review:

I was able to see this movie before it officially got out, and i was very impressed with this movie. I was dying to see Defiance because i'm a huge Jamie Bell fan, and the story seemed really interesting, but i was kind of worried cause Daniel Craig is not exactly one of my favorite actors, but he really impressed me. I think this is his best movie yet. And it's not just the acting, but i think the way they told this story is very efficient, and the sets were incredible. I think they truly stuck to the story of what really happened back then, and believe me, you will not be disappointed with this movie. Jamie Bell was wonderful as Asael (as usual), Liev Schreiber was great, and Daniel Craig was just as great. In my opinion, this movie is a must-see.

Actors:

Daniel Craig, Liev Schreiber, Jamie Bell, Alexa Davalos, George MacKay, Allan Corduner, Mark Feuerstein, Tomas Arana, Jodhi May, Kate Fahy, Iddo Goldberg, Iben Hjejle, Martin Hancock, Ravil Isyanov, Jacek Koman

Review:

Die Welle details how a project on autocracy gradually leads to disastrous results. Initially without enthusiasm to teach the topic, Rainer Wegner conducts an unorthodox experiment to demonstrate to his students (equally lukewarm to start with) what life would be like under fascism. Neatly structured by days, the experiment begins with simple disciplines and grows to become an exclusive cult named "the wave" with its own uniform and salute.

Similar to his 2004 film "Before the Fall" which concerns the Nazi's seduction of youth, Dennis Gansel probes the individual psychologies that bring about uncontrollable collective movement, and how personal life is transformed by it. It offers a balanced view on an organisation like "The Wave" by enquiring whether it is a crystallisation of the students' class-free utopia (at the cost of losing individuality) or a community for those in need of belonging and empowerment.

What is frightening is that many (though not all) of them voluntarily follow the conformity through reasoning. Ironically, the mob mentality engulfing the students is what they condemn formerly; even the "anarchist" Rainer finds himself intoxicated with his increasingly idolised status.

An engaging and powerful film with a sense of humour, suspension (terror arises when the light goes off during Karo's anti-Wave poster distribution), twist (Rainer's concluding speech), believable characterisation and excellent acting (Jürgen Vogel, Max Riemelt, and Frederick Lau). Inspired by a true event in California , this intelligent film merits attention particularly because of its non-preaching and humanistic treatment of a heavy subject.

Actors:

Jürgen Vogel, Frederick Lau, Max Riemelt, Jennifer Ulrich, Christiane Paul, Jacob Matschenz, Cristina do Rego, Elyas M'Barek, Maximilian Vollmar, Max Mauff, Ferdinand Schmidt-Modrow, Tim Oliver Schultz, Amelie Kiefer, Fabian Preger, Odine Johne

Review:

If you're a fan of action, horror, and the 1980s, this is the film to watch.

If you don't enjoy those things, stop reading. This is for the true believers.

Doomsday is a love letter to 70's and 80's classics like Mad Max and Escape From New York. It's pretty reminiscent of Grindhouse: Planet Terror, so if you enjoyed that modern cult classic, you could get some kicks out of this one too.

Rhona Mitra sizzles as the stoic feminine warrior. She kicks ass, she's looks good. Bob Hoskins gives the movie heart with his fatherly performance, granted he gets less screen time than he deserves. Malcolm McDowell is as entertaining as always, he brings some class to the occasion. But enough about the cast, how about the mayhem? Yes, this film has it all. Crazy punks, medieval gladiators, and modern futuristic soldiers. It's got tons of inventive kills and bloody gore to spare.

The soundtrack featuring 80's style heavy synth, grandiose opera, and 1980's hits such as "Good Thing". There's plenty of enjoyable, cheesy yet clever dialogue.

What more do you need? Action/Horror fans, check out this fun gorefest. Enjoy.

Actors:

Caryn Peterson, Adeola Ariyo, Emma Cleasby, Christine Tomlinson, Vernon Willemse, Paul Hyett, Daniel Read, Karl Thaning, Stephen Hughes, Jason Cope, Ryan Kruger, Nathan Wheatley, Cecil Carter, Jeremy Crutchley, Rhona Mitra

Review:

Normally we give too much credit to actors. They often work for short periods and force myriad takes. Directors manipulate and cajole them. Then the filmmakers spend months choosing the best shots, carving them and stringing them together to make the story (and the long-gone actors) look good.

"Doubt" is an exception, only in that the actors are especially marvelous. The many close-ups and the length of the shots attest to the trust John Patrick Shanley puts in them. Streep and Hoffman are superb. Adams and Davis are remarkable as well.

Still the most credit for this phenomenal effort must go to Shanley.

What a fascinating story, with layers and springbacks that will leave you thinking and rethinking.

Thank you very much to all involved with this fine film.

Actors:

Sister Aloysius Beauvier, Father Brendan Flynn, Sister James, Mrs. Miller, , , , , , , , , , ,

Review:

The mix of horror, thriller, spectacular science fiction and realistic science-fiction is not balanced very well and makes it confusing to see what you are actually watching.

The movie is interesting in the beginning but after about an hour the movie goes wild and all of the sudden we get a whole different story and movie. I don't blame the directing, I blame the story. The movie also leaves more question than answers.

And what was Morgan Freeman doing in this? Don't be fooled people, his role is actually a fairly small one. Come to think of it, his role was an totally unnecessary one. Also Tom Sizemore seemed to be walking around in this movie without having any idea what he was doing.

The movie had quite some potential but the execution of it is sloppy. The movie also fails to get scary and tense, instead the scene's get more comical in a way. Even though the movie is about 135 minutes long, it still feels short and very rushed, probably because there are too many story lines going on at once. Also the ending was quite disappointing.

Certainly watchable because of the directing, cinematography, special effects and soundtrack but it's not a must see.

5/10

Actors:

Morgan Freeman, Thomas Jane, Jason Lee, Damian Lewis, Timothy Olyphant, Tom Sizemore, Donnie Wahlberg, Mikey Holekamp, Reece Thompson, Giacomo Baessato, Joel Palmer, Andrew Robb, Eric Keenleyside, Rosemary Dunsmore, Michael O'Neill

Review:

I can totally understand how someone can have a lack of compassion for animals. By the end of this documentary I felt somewhat numb myself, from the ceaseless onslaught of horror contained within. So if you're brought up, for instance, in a hunting culture, or a biblical culture, or an "animal manufacturing" culture, or the outskirts of a bull-fighting ring, you're probably numb to the suffering of living things, too. What this movie sets out to do is climb into the minds of those who have lost perspective for whatever reason and remind them that if they're still mistreating animals, or participating in the mistreatment of animals, then they're not fulfilling a major responsibility of being human, and are therefore part human, semi-human, sub-human.

Call me a softy, but I've felt for a long, long time that there's really no fundamental difference between humans and other animals. Therefore, animals experience things like pain, despair, horror and fear the same way we do. To me this just makes logical, common sense. But again, I can totally understand how someone can disagree. I, and the creators of this film, just ask those naysayers to remember, to look deep within ourselves, beyond their conditioning, that it is possible for humans to err when it comes to such belief systems. The Nazis are a good example - they treated Jews like animals. But honestly, the stuff in this documentary are the same - and far worse, in many cases - than what the Nazis did to the Jews. Nazis still had a relative modicum of respect and restraint for other humans compared to the way animals are treated by humans. If you disagree then you need to get a grip, and look at the images in this movie, and compare the number of Jews (in the millions) to the number of animals (in the billions). Let's be frank.

The truth is this documentary is not going to change those who are like the people depicted in the movie who are completely blind to what they're really doing. Many humans are beyond hope in that respect. But it will change those who are straddling the fence. It will give them the knowledge they prayed would never interrupt their meals. It's not a message. It's a reality. A grim, horrific, and terribly sad reality.

Actors:

Joaquin Phoenix

Review:

The thing a lot of folks haven't liked about Stanley Kubrick's films is the fact that he always seemed to think the audience needed some points driven home a little harder than others. Very little is left for debate; most everything is spelled out, pressed hard, and dwelled upon. His critics have compared the long waits between his films to the long periods of waiting that occur while watching his films.

Personally, I like the long, slow scenes in his films. When they're filled with something: music, movement, thought, memory of a previous scene, dread, or any other emotion, they can never really be said to be empty. I like them because, with Kubrick, I can be sure that they're absolutely essential to his ultimate vision. He could have put out a six-hour documentary on tissue manufacturing; at least I'll know that not one minute of screen time is wasted.

"Eyes Wide Shut" isn't as vacuous as, say, "Barry Lyndon" or "The Shining." Compared to those two, this one scoots along like a person trying to get to his car in the rain. It'll try a lot of folks' patience, I'm sure -- even his most loyal fans will be bothered by the incessant piano "bell tolls" in the soundtrack of some scenes, or the constant reminders (in imaginary flashbacks) that Cruise's character is bothered by his wife's near-infidelity. I know I was.

Despite that, it's an apt final film for the long, glorious career of a man who has done more for the cinema, with less movies, than can ever be catalogued. To try and cite influences for this particular work is futile. Though one might draw parallels to Lindsay Anderson's "O Lucky Man!" or Martin Scorsese's "After Hours," "Eyes Wide Shut" is no less than a complete work from the cold heart and brilliant mind of Stanley Kubrick alone. It's also a furiously ingenious piece of filmmaking, one that works less on the emotions than on the senses and on the mind. Unlike most of Kubrick's earlier work, however, it does have an emotional subtext, which is used to devastating effect.

Cruise, by the way, does an outstanding job, not as a trained, camera-conscious film actor, but as a mature, seasoned performer. Here he uses his "Top Gun"/"Jerry Maguire" suavity to malicious effect; like Ryan O'Neal's Barry Lyndon before him, he's an egotistical cad. Unlike Lyndon, he gains our sympathy -- that's key to keeping us from disowning his character and thus negating the entire film.

Kidman is given less screen time, but it matters little. She's mostly seen in the beginning, and she has brief (but crucial) scenes throughout, and a masterful one at the end. It is safe to say that this is her best performance to date, and those of us who have been ignoring her treasured abilities up until now (the Academy, critics, myself) will be astounded to see how far she's come since "Dead Calm." Her high points: the argument with her husband that ends by setting the film's plot in motion perfectly captures the way women lure men into arguments when the cause for one is nonexistent (and on Cruise's part, how men can't think fast enough to do anything about it), and her dream confession scene, in which she wakes laughing but becomes tearful during recollection.

On a technical level, "Eyes Wide Shut" displays Kubrick's trademark perfectionism. Recreating Vietnam in rural England for "Full Metal Jacket" must have been nearly impossible, but the unrelenting accuracy in recreating uptown and downtown New York City is absolutely stunning. Right down to the diners and the newspaper stands; I shake my head in awe when I remind myself that Kubrick (a native Brooklynite) hasn't been to NYC in decades. The lighting and photography is impeccable, also, as it is in every one of his films.

This is the sort of film one sees more than once. Once is good to cleanse the palate, to clear out all the residual toxins left from other recent films. See it again, perhaps a third time, and get to appreciate the graceful, nearly unblemished finale of a man who took the art of cinema seriously. It's a sobering experience.

Actors:

Dr. William 'Bill' Harford, Alice Harford, Helena Harford, Roz, Victor Ziegler, Illona Ziegler, Bandleader, Nick Nightingale, Ziegler's Secretary, Sandor Szavost, Gayle, Nuala, Harris, Amanda 'Mandy' Curran, Lisa

Review:

Gomorra (2008) ****

Much of Gomorra takes place in and around a crumbling housing project, that in establishing shots looks as if it were a rotting labyrinth pyramid. The very structure of the film's slums serves itself as a visual metaphor for the Camorra crime institution in Naples. It's a bureaucratic shuffle, rivaling a large capitalist corporation, equally ruthless but in different senses of the term. Their products are drugs, extortion, and toxic sludge. Their version of corporate take-over involves murderously shameless acts of extreme violence.

Matteo Garrone deftly directs Gomorra, based on the novel of the same name by Roberto Saviano. It contains a labyrinth plot serving to depict a labyrinth lifestyle. One storyline focuses on a young boy, Toto, who lives in that decaying pyramid, and wants to join up with the gangsters who run it. By the end of the film, his youth will be shattered, and he'll have done things to those around him that would have seemed unthinkable before. He's the ground soldier in the gangster empire.

Don Ciro is an aging money runner, delivering rations to the families of mob prisoners. He gets increasingly caught between the war between factions within the complexes, and before long takes to wearing a bullet proof vest in fear of his own safety.

Roberto is a college graduate, given a high profile job working with Franco, who runs a scheme disposing of garbage and waste from the city by burying it in the countryside - a move that has sent the cancer rate in the countryside through the roof. Roberto must face his own conscious as he becomes more and more aware of the corruption of work.

Pasquale is a talented designer, who's put to work by his friend and boss completing a contract for dresses in less time than he and the workers should like. At great personal risk to himself, he takes an offer from a Chinese factory boss to gives lessons to his workers. The job means crossing the Comorra, so he is hidden in the trunk on the drive to the factory, with a modified hole behind the backseat so he can stick his head out to breath and chat.

The other storyline follows two Scarface-wannabes who long to be the crime bosses of all bosses. They cross the local boss by stealing drugs from dealers, causing trouble, then by stealing weapons from a mob cache, raising Cain. They are knuckle-heads, a couple of kids too stupid to see the truth behind the phony glorification of the gangster lifestyle.

That phony glorification is entirely absent here. Garrone observes his gangsters with an eye of contempt. There is no Robin Hood imagery in Gomorra. It puts on full display the ruthlessness of the gangster culture. It's a gangster as capitalist world, one where turning to killing kids or a woman is looked down upon, but not off-limits.

The film starts off with a fantastic sequence of tanning machines and surprisingly graphic murder, which would lead one to think that they were moving headlong into a Scorsese-like blood bath of macabre. You'd be wrong though. Gomorra is a very patient film, slowly unraveling its stories. It's clearly influenced by the early Italian Neo-Realists, and also has elements that reminded me of the gangster pictures of Jean-Pierre Melville. Garrone shoots in a documentary style with hand-held camera shots. It jumps between its story lines with utmost patience, which might slow down the film's pace more than many would like or are accustomed to. If you do not realize the scope of the Camorra's activity in nearly all facets of commercial and communal life in and around Naples, the connection between the stories may seem unclear. But that's one of the main services of the picture, to show us just how entrenched the mafia has remained in parts of Italy.

Although mob movies are a dime a dozen, Gamorra enters as a gangster epic with freshness. It's a very European film, and as far as gangster pictures go, with its no nonsense documentary style, and only slowly escalating violence and patience it feels like a unique addition to the genre. Gomorra is sure to split, maybe even downright annoy audiences looking for something more conventional. It defies at least most of the genre's clichés, and aims high with its quiet ambitions.

Gomorra won the Grand Prix at this year's Cannes Film Festival, and has been slotted as Italy's official entry into the 2009 Academy Awards for Best Foreign Film.

Actors:

Don Ciro, , , , , Franco, , ,

Review:

Actors:

Review:

The problem with any movie that focuses on technology, particularly computers, is that it will become dated nearly immediately. This isn't a new problem for filmmakers; great films of the past, from DESK SET to COLOSSUS: THE FORBIN PROJECT, from DEMON SEED to TRON and THE LAST STARFIGHTER have all featured 'cutting-edge' technology that seems quaint, by today's standards. Even 'Hal', from the timeless classic 2001:A SPACE ODYSSEY, is a huge monstrosity that could be miniaturized to a fraction of it's size, today. So when a film's whole theme involves computers, like THE NET, or HACKERS, you can't take the technology end too seriously, even if much of it is bogus, as is the case of Iain Softley's paean to teen-aged computer freaks. Hackers are, of course, not romantic, adventurous daredevils who are trying to right wrongs by attacking evil conglomerates via an expertise in computer programming; they are generally over-educated anarchists who create worms and viruses for the simple joy of seeing the disruption and destruction of EVERYONE'S computers, just to know that they can do it.

Having said this, let me say that the true joy of HACKERS is seeing a group of young 'Stars in the Making', early in their careers. Of course the most recognizable and famous of these is Angelina Jolie, who looks butch and adorable with short hair, and 'an attitude', but the film also offers a dazzling performance by Matthew Lillard (Shaggy in the live-action SCOOBY-DOO), who has become one of the finest young comic actors around; gifted British actor Jonny Lee Miller, playing an American, here, who would go on to TRAINSPOTTING, DRACULA 2000, and the title role in the TV production of BYRON; Jesse Bradford, star of last year's CLOCKSTOPPERS; Laurence Mason (BEHIND ENEMY LINES, A.I.); and Renoly Santiago (CON AIR). Quite an impressive resume for a cast of 'unknowns' in 1995!

Of course, the established actors of the film haven't done badly, either...While Fisher Stevens never became a 'major' star, after the build-up television and the SHORT CIRCUIT films gave him, he still remains active; and of course, Lorraine Bracco went on to THE SOPRANOS, as the Mafia's favorite 'shrink' (with the possible exception of Billy Crystal).

So, if you skip over the dated attempt to be 'cutting edge', and just sit back and enjoy the performances, HACKERS is a fun movie that can be appreciated as a 'Preview of Coming Attractions' from a remarkable cast...

Actors:

Jonny Lee Miller, Angelina Jolie, Jesse Bradford, Matthew Lillard, Laurence Mason, Renoly Santiago, Fisher Stevens, Alberta Watson, Darren Lee, Peter Y. Kim, Ethan Browne, Lorraine Bracco, Wendell Pierce, Michael Gaston, Marc Anthony

Review:

So I just went to a sneak peak of Hairspray this morning and was I pleasantly surprised. As a huge fan of Hairspray the stage show and of music theatre in general, this could be my favorite movie musical (Chicago, Rent, Phantom, Dreamgirls). The cast was for the most part quite stellar. Nikki Blonsky was one terrific Tracy. Very surprised and impressed with Amanda Bynes as well as Zac Effron. Elijah Kelley was impressive as Seaweed as well. John Travolta was very funny and was a great dancer (even in heals). Love Christopher Walkin's performance as well. Michelle Pfeiffer was a great evil Velma (although her singing was the weakest of the movie). Queen Latifah was PERFECT in this role, got to love her! The story lines altered from the stage show some (don't worry I won't spoil anything). But the differences were not distracting; the movie still made wonderful sense and had a great flow. Although I was bummed that several songs were cut, the ones that were kept in were sensational. Of special note were "I Can Hear the Bells," "Welcome to the 60's," "I Know Where I've Been," and "Without Love." These movie musicals just keep getting better and better. I can't wait for Sweeny Todd this Christmas!!!

Actors:

John Travolta, Michelle Pfeiffer, Christopher Walken, Amanda Bynes, James Marsden, Queen Latifah, Brittany Snow, Zac Efron, Elijah Kelley, Allison Janney, Nikki Blonsky, Taylor Parks, Jayne Eastwood, Paul Dooley, Jerry Stiller

Review:

I also was at the test screening in Peoria AZ. The film was spot on for the first hour. Jokes were hitting left and right, Smith and Bateman displayed good chemistry, and the special effects, though not always finished, were eye popping nonetheless.

Without giving it away, the final half hour was flat, straying from the comical nature that had preceded it and instead tried to get philosophical and introduce a week paint'by'numbers villain. I spoke with director Peter Berg after the film and he seemed fully aware of the issues relating to the final act. Hopefully the recent "re shoot" will polish up that last act, making Hancock one of the must see blockbusters of the summer. In the form I saw it; it still has a ways to go.

Actors:

Will Smith, Charlize Theron, Jason Bateman, Jae Head, Eddie Marsan, David Mattey, Maetrix Fitten, Thomas Lennon, Johnny Galecki, Hayley Marie Norman, Dorothy Cecchi, Martin Klebba, Akiva Goldsman, Michael Mann, Brad Leland

Review:

Oh my god, I still don't know what hit me. I have been a big fan of the first part but this one is a different league guys. Not a single boring moment, very nice editing. And our favorite characters have done it again. They didn't leave a single stereotype and ignorance untouched in the movie.

Trust me it will not be fair to compare the White Castle part with this one, as this is just a different experience no less than a roller coaster ride of genuine comedy. This movie has taken what it did in the first one, to the next but different level. To point out, as pretty clear from the uncensored trailers, it was awesome to see NPH and G "Dubya" Bush. Cho and Penn are just non-stop fun and have some really hot girl friends. From Ta-Ta's of girls to bottom less parties, nothing felt out of place. We also get to know allot about H&K's past.

It deserves a standing ovation and that's what it got from the audience in the theater. Oh man, I am so getting this on DVD when the extended unrated version comes out.

Actors:

Harold Lee, Kumar Patel, Ron Fox, Deputy Frye, Dr. Jack Beecher, Neil Patrick Harris, Vanessa Fanning, Colton Graham, Maria, Raymus, Raylene, Cyrus, George W. Bush, Sally, Tits Hemingway

Review:

The self-destructive and needy wealthy teenager Harold (Bud Cort) is obsessed by death and spends his leisure time attending funerals, watching demolishing of buildings, visiting junkyards, simulating suicides trying to get attention of his indifferent, snobbish and egocentric mother and having sessions with his psychologist. When Harold meets the anarchist seventy nine year-old Maude (Ruth Gordon) at a funeral, they become friends and the old lady discloses others perspectives of the cycle of life for him. Meanwhile his mother enlists him in a dating service and tries to force Harold to join the army. On the day of the eightieth anniversary of Maude, Harold proposes her but he finds the truth about the end of the cycle of life.

The cult "Harold and Maude" was a huge success in Brazil for people of my generation with a refreshing and funny exposition of themes like death, love and life through the friendship and love of a teenager and a septuagenarian woman. The complex Harold is a young man that needs the attention of his indifferent mother. He found in his childhood the only moment that she really seemed to be worried about him after a serious accident in school and he uses to fake suicides trying to have the same attention back. Maude is an anarchist old woman not attached to material stuff like properties or collections that steals cars for self-locomotion. Along a few days, Maude gives a lesson of life to Harold, changing his behavior and feelings forever. The performances of Ruth Gordon and Bud Cort in this weird love story are unforgettable and the soundtrack with Cat Steven's songs is another plus. Unfortunately "Harold and Maude" has been forgotten in Brazil by the distributors and neither the VHS nor the DVD has been released in my country; I just have a tape recorded from the cable TV. My vote is eight.

Title (Brazil): "Ensina-me a Viver" ("Teach me to Live")

Actors:

Ruth Gordon, Bud Cort, Vivian Pickles, Cyril Cusack, Charles Tyner, Ellen Geer, Eric Christmas, G. Wood, Judy Engles, Shari Summers, Tom Skerritt, Susan Madigan, Ray K. Goman, Gordon Devol, Harvey Brumfield

Review:

This is the story of a Julia, young Englishwoman who travels to Morocco in 1972 with her two young daughters in search of enlightenment. Kate Winslet, of Titanic fame, plays the lead, and evokes the experience of the early 70s, with its innocent hippie culture. The two young daughters, 6 and 8, are delightful and seem much wiser than their mother, who loves them dearly but is somewhat overwhelmed by the world around her.

Perhaps it was the sound system, but my American ears missed some of the British dialog and I wished I was watching it on videotape so that I could rewind and hear some of it again. Also, some of the editing seemed disjointed, and episodic rather than a smooth flow. However, I loved the cinematography, the setting, the realistic portrayal of Morocco. Casting was more than excellent, especially the two young actresses who played the daughters. Much of the story is told from the children's point of view, which added dimension and insight.

There's a romance between Julia and a charismatic street acrobat, played by a hunk of an actor named Said Taghaoui, who also works at a quarry doing hard physical labor. We get a serious glimpse into his character and his world. One great thing about the film is that the story moves along with twists and turns and, at the same, time, there are culture clashes and explorations of responsibility, escapism and common sense. Always, there is a sense of tension and a constant concern for the children.

The movie portrays a time and place and mindset that has a sense of authenticity. I give it one of my highest recommendations.

Actors:

Kate Winslet, Saïd Taghmaoui, Bella Riza, Carrie Mullan, Pierre Clémenti, Abigail Cruttenden, Ahmed Boulane, Sira Stampe, Amidou, Michelle Fairley, Kevin McKidd, Peter Youngblood Hills, Mohcine Barmouni, Annouar Zrika, Mohamed Cherkaoui

Review:

Not being a fan of the Harry Potter Movies, I toddled along to the first showing of this movie at my local UGC Cinema and sat down and thirly enjoyed this movie, but not in the way that I would enjoy something like the Lord of The Rings or Spider-Man. Of course Harry Potter's target audience is of a younger age so I can see how I might not have enjoyed it as much as a slightly younger audience, but to say the least it is a lot better than some of the crap that is fizzled out these days.

Crap this is not and a year on the main characters are a lot older, taller and voices broken. Many of the original cast return and a few new characters appear in this such as Kenneth Branagh and Jason Isaacs. Kenneth Branagh plays a wonderful part of Gilderoy Lockhart who seems to think he's adored by all and quite frankly he is adored by women for his charm and bravery. He was one of the better bits in the movie as was Jason Isaacs who played Lucius Malfoy father of Draco. Jason sports a nice long wig and plays the evil father/villian down to a T. He plays it much like his villian in The Patriot. I was sometimes phased by Rupert Grint's "Ron". He isn't that great an actor, but he could play his part satisfactory. He could have done better, but then again I have not read the book so I would not know how Ron would have behaved. I guess the scenes he played a scary person (which was quite a lot) in weren't convincing enough for me, but kids should get a good laugh out of him more than I did. I suppose you can't hold it against the kids who aren't up to par because they're just young and learning the actors trade, but for those who play their part well they should get a pat in the back.

The SFX were impressive, especally the character of Dobby. He was well great. I couldnt tell he was CG by his bad creation, but through the fact there was no way they could have done it otherwise. In fact the CG character of Dobby is very similar looking to Gollum in Lord of The Rings and the CG Asgard in television series Stargate SG-1 (speaking of textures) which which speaks well for Stargate SG-1 if it can do just as good as a top movie like this...and top it is. The CG Spiders were incredibly creepy and realistic looking. Not being too scared of Spiders, they kind of made me jump. I felt by body tense up as the gave case to Harry and Ron, which is a good thing because not often do I find myself doing this in movies. The person I had sat beside seemed pretty scared of the spiders as well.

John Williams score was very much like his original score with old themes returning and some of the music sounding like music from his Indiana Jones scores. I found myself whistling the main theme of Harry Potter for most of the night and on occasion not realizing I was doing it until someone else pointed it out to me.

This movie certainly had better action sequences and a lot more action geared than The 1st Potter movie. I found myself clenching up at points as they were really tense. The story wasn't too difficult to understand from a non-potter-fan point of view and the film was a lot shorter than I expected. I had thought it ran for three hours when it was more like 2 1/2. In some cases I found that you had to have seen the 1st movie to understand some of what was going on, but that was mainly due to the back story of he who shall not be uttered and some of the gags. The only thing that annoyed me was that the cues in the Foyer were too long and I couldnt get an ice cream and there was some little toddler crying down the front row for a few minutes mid-way. Why bring a toddler who's going forget about the film by next week? You may ask this yourself.

If you're not a mad-potter-fan then I would suggest you wait a few weeks so that you're not over run with humans who stand 4 feet tall...ie. CHILDREN! (I'm not talking about Dwarves)

I'd give it 8.5/10. But I am not a huge fan of these movies and I am not the target audience. That's a good thing in case you were wondering.

Actors:

Daniel Radcliffe, Rupert Grint, Emma Watson, Richard Griffiths, Fiona Shaw, Harry Melling, Toby Jones, Jim Norton, Veronica Clifford, James Phelps, Oliver Phelps, Julie Walters, Bonnie Wright, Mark Williams, Chris Rankin

Review:

Based on one of the best books of the Harry Potter series, the film adaptation of 'Harry Potter and the Goblet' had a lot to live up to and I think it succeeded. As Potter fans will know, in GoF, Harry is now fourteen and in his Fourth Year at Hogwarts. When an ancient tournament between Hogwarts and two other European wizarding schools is held that year, a Seventh Year contestant is chosen from each school to compete but things go dramatically awry when Harry, three years too young to even be entered in the dangerous and challenging tournament, is somehow also chosen after his name is mysteriously nominated. GoF is a sharp turning point in the books as the tone darkens considerably and the characters themselves change from being rather wide-eyed innocent children to adolescents thrust the turbulent, uncertain adult world where being 'good' or even an innocent will not guarantee your survival. This shift is also reflected in the film, which was rated 12A (PG13 for Americans), the first of the HP films to be rated so high.

I have to say I did enjoy this film, although Prisoner of Azkaban remains my favourite of the four. Unlike the first two films, this did not attempt to condescend as much to small children in the audience. The tasks of the Triwizard tournament captured most of the thrills of the book, particularly the second water-based task where the merpeople were suitably creepy (now we know why none of the kids go swimming in the summer term!), but the first task over-ran for a minute or two more than needed. Light romance was touched upon yet wasn't over-emphasised and the Yule Ball will please those who enjoyed the scenes in the book but audience members over the age of sixteen might find teens ogling each other a tad dull (Hermione is very out-of-character and the scene does drag).

The acting of the adult cast is, of course, exemplary as always. Alan Rickman's Snape may only have had four or so scenes but he definitely made his presences known while Maggie Smith really captured the essence of McGonagall. Many people do miss Richard Harris' Dumbledore but I found that Michael Gambon has done an excellent job of moulding the role to make it his own. In GoF, Dumbledore feels very human in the way he carries the weight of the wizarding world on his shoulders and though he struggles at times, his concern for his pupils is paramount. I finally felt the close rapport between Dumbledore and Harry in this film that was missing in the previous three HP flicks. However, the prize has to go to Brendan Gleeson for his scene-stealing depiction of Mad-Eye Moody. Gleeson clearly enjoyed illustrating Moody's dangerous, feral edge.

The younger cast have also grown into their roles, improving from their previous outing. Rupert Grint, usually used to playing a comical and stupid Ron, had the chance to cut his acting teeth and show Ron's darker, bitter side and he did well. The Phelp twins have also improved dramatically. No longer do they come across as wooden cut-outs just reading from a cue-card and instead they are able to show the mischievous spontaneity of the Weasley twins. And I look forward to seeing more of Matthew Lewis, who was great at showing Neville's sensitive side without making him too klutzy. Out of the younger cast, though, Dan Radcliffe is the one who has progressed the most. In PoA, he was awful in the 'he was their friend' scene so he seems like another boy in the harrowing graveyard scene and the aftermath, depicting Harry's anger, feelings of vulnerability and grief. He still stumbled on occasion in other scenes but I, at last, have faith he might be able to do the Harry of 'Order of the Phoenix' justice when the time comes.

The film did lose points on a few issues. Although most of the young cast have expanded their acting skills as they have gone on, Emma Watson is waning. She has a tendency of over-enunciating her lines and being too melodramatic, which worked in 'The Philosopher's Stone' when Hermione was condescending and childishly bossy, but is just annoying by this point. She spent most of the film sounding as if she was on the verge of tears or in a hormonal snit, even in scenes which were not remotely sad or upsetting. There was also a choppy feel to the film, as if Steve Kloves struggled to properly condense the book into a two-hour film. Those who haven't read the books will have missed quite a bit and those who have read the books will feel the film is very rushed. Molly Weasley and the Dursleys were also missed, especially since I think Julie Walters would have been exceptional in the Molly/Harry interactions that take place aftermath of the graveyard scenes of the novel as the film didn't round off in a manner that reflected a boy had died and Harry would be traumatised by what he saw.

I think most Potter fans will enjoy this although they will remark that it could have been better. Non-fans will also get something from this film as I imagine it is hard not to be captivated by the many action and dramatic events but they may find themselves muddled by the story. I would recommend that parents of young children either keep away or, at the very least, check out the film firstly before deciding if their child is old enough to cope with it. When I went to see it, there was a small lad of four or five being dragged along and in the middle of a particularly fearsome incident, the silence of the moment was cut by a wee voice crying, 'Mummy, I'm scared' so, parents, be warned.

Actors:

Eric Sykes, Timothy Spall, David Tennant, Daniel Radcliffe, Emma Watson, Rupert Grint, Mark Williams, James Phelps, Oliver Phelps, Bonnie Wright, Jeff Rawle, Robert Pattinson, Jason Isaacs, Tom Felton, Stanislav Ianevski

Review:

If there's anything this movie proves, it is the difficulty in separating the series from the demands of fans. This is clear just from hearing some of the comments. "Why didn't they identify the names on the Marauder's Map?" "Why wasn't the second Quidditch game shown?" "Why wasn't there more of Crookshanks the Cat?" By focusing on what the film didn't have, fans fail to look at the film on its own terms. I think this is by far the best Harry Potter movie yet.

The only way to satisfy fans would be to include everything from the book, which would require a miniseries. Since that isn't what these films are, the story has to be abridged. The first two films tried to fit everything they could within a reasonable slot of time. The result was a set of films that felt cluttered yet incomplete. Had they continued with this strategy for this movie, based on a much longer book, it would surely have been over three hours long.

The virtue of the latest film is that it makes a real attempt to adapt the story, not just marching in lockstep with the book's events. The screenplay is sparing, leaving out or simplifying loads of details not directly relevant to the plot. But it captures much of the book's delight and humor. The first two films fell short in this regard, because they lacked the guts to tinker with the details, even though that was the key to condensing the story while staying true to its spirit.

The movie is still faithful to the book, of course. Many of the scenes are exactly as I had imagined them. When it deviates, it does so based on an understanding of the story and characters. This is evident in the way they show, for example, the Knight Bus; Hermione's overstuffed schedule; and the introduction of the Marauder's Map, a scene that captures the twins' mischievous personalities. The changes are clever and funny, and they help compensate for the movie's loss in other areas.

Certainly this has something to do with the new director. Columbus's approach was to stick to the books as literally as possible, often draining them of their subtlety. For instance, where the books only hint that Dumbledore can see through the invisibility cloak, the earlier movies make it unmistakable. The new director never condescends to the audience in that way. This is a children's movie, but it is also a fantasy-thriller that we can take seriously, because not everything is spelled out for us. We're given a chance to think.

But part of what makes the movie work is the book itself. The story is gripping from start to finish, because the threat looming over the school is established early on. Harry's personal life is sharply intertwined with the plot. We feel for him as we watch his disastrous (but hilarious) attempts to escape his uncle and aunt, and his humiliating reaction to the dementors. The story avoids common devices such as the talking killer or deus ex machina, which the other books have in abundance. The ending is nicely bittersweet and ambiguous. The plot is so complicated, however, that the book spends several chapters explaining it all. The movie wisely includes only very little of this, allowing the plot twists to become understood as the story progresses. I was surprised to see certain events that were in the movie but not the book lend support to an important theory some fans have had about what is to be revealed at the end of the series. Of course, it is well-hidden and won't give anything away for those who aren't looking for the clues.

I was so satisfied with the film that it almost seems trivial to mention the flaws, but there are some. The portrayal of Fudge's assistant as the standard hunchbacked dimwit is out of place here, as it would be in anything other than a cartoon or spoof. The most serious misstep, though, is the casting of Michael Gambon as Dumbledore. Gambon's face seems frozen in a perpetual nonexpression, and his voice lacks resonance. He compares poorly to the late Richard Harris, whose line readings had gravity, and who played the character with a twinkle in his eyes. It is a pure mystery to me why this actor was chosen as a replacement, especially considering the fine performances from other members of the cast. Even the children are in top form here.

Those complaints aside, this is the movie I was hoping they would make when the series began. If it doesn't live up to the book, so what? What's important is that it lives up to its potential as a movie. Fans who want a carbon-copy of the book are looking in the wrong place, because they're never going to get it here. This is probably the best example of a Harry Potter movie that we're ever likely to see.

Actors:

Daniel Radcliffe, Richard Griffiths, Pam Ferris, Fiona Shaw, Harry Melling, Adrian Rawlins, Geraldine Somerville, Lee Ingleby, Lenny Henry, Jimmy Gardner, Gary Oldman, Jim Tavaré, Robert Hardy, Abby Ford, Rupert Grint

Review:

I was very pleased with this movie; in contrast to the other books, I found Order of the Phoenix as a book pretty dull and forgettable. But I felt the movie really brought it to life and narrowed it down into a much more succinct story. Some people would see this as a negative and others will think it is a positive.

Emma Watson's acting, as previously mentioned, is a little forced, but at the same time it does suit the type of character she is playing, and overall it can be forgiven. I think the special effects used in the Department of Mysteries and the battle scene were fabulous, and the screenplay was excellent, particularly when you look at the screenplays from the first couple of films.

I know I really enjoyed this film and it far exceeded my expectations. While the movies will never match up to the sheer brilliance of the books, I think the Harry Potter films are 'bloody brilliant' as an additional outlet for fans and a great way to enjoy the stories in a new medium.

Actors:

Daniel Radcliffe, Harry Melling, Jason Boyd, Richard Macklin, Kathryn Hunter, Miles Jupp, Fiona Shaw, Richard Griffiths, Jessica Hynes, Adrian Rawlins, Geraldine Somerville, Robert Pattinson, Ralph Fiennes, Natalia Tena, Brendan Gleeson

Review:

When I knew the film was being made, I thought how could they make a film that would be up to the standard of such a perfect book. But they did! Sure they missed bits out but they captured the essence of the book brilliantly. One member of the cast was mis-cast for me but my children disagreed.I even found myself believing they were flying and not wondering "how are they doing that?" So 10 out 10 Warner Brothers. Bring on the next one!

Actors:

Richard Harris, Maggie Smith, Robbie Coltrane, Saunders Triplets, Daniel Radcliffe, Fiona Shaw, Harry Melling, Richard Griffiths, Derek Deadman, Ian Hart, Ben Borowiecki, Warwick Davis, Verne Troyer, John Hurt, Richard Bremmer

Review:

This is the best new movie of any genre that I've seen in many months.

The film really drew me into its world of neighborhood pubs, football supporters, and the dirt-in-the-cracks reality of London. The violence is believable, realistic, graphic, and frightening. As are the consequences of that violence. This film does not glorify hooliganism, it portrays it honestly.

Hooligans doesn't preach about mob mentality, or strength in numbers, rather it gives credit to the strength in the individual that lives up to his commitment to his friends though he may suffer because of it. (That's the best way I could word it without including a spoiler.)

Actors:

David Alexander, Oliver Allison, James Allison, Joel Beckett, Geoff Bell, Kieran Bew, Andrew Blair, David Carr, Brendan Charleson, Scott Christie, Alec Dalman, Claire Forlani, Jacob Gaffney, Henry Goodman, Leo Gregory

Review:

I'm not sure why, but I guess I was interested in seeing the first Hot Shots since my mom only has the sequel and I noticed the movie in Blockbuster, I also love Charlie Sheen in comedies, he works so well in spoofs. Not to mention all in all, I do love spoofs, most work for me. It's just the kind comedy that I like. Hot Shots! proved itself to be a worthy spoof that is more than worth watching. It spoofs Top Gun, An Officer and a Gentleman, 9 1/2 Weeks, Gone with the Wind, Rocky, among many other movies.

Topper is a pilot who is wanted back in the navy and falls for a woman, but he has an edge is considered a rebel. Cary Elwes gives him a hard time constantly, especially since his father caused Cary's father to have a freak plane accident. Cary is also in love with Topper's woman and wants revenge.

Hot Shots is a great comedy that I have to admit is a guilty pleasure, but it has so much that most comedies lack now a days. It's just a fun innocent movie that deserves a little bit of a higher rating. Charlie Sheen rocks in comedies, although they have destroyed my new favorite guilty pleasure, 9 1/2 Weeks, it's all good.

7/10

Actors:

Charlie Sheen, Cary Elwes, Valeria Golino, Lloyd Bridges, Kevin Dunn, Jon Cryer, William O'Leary, Kristy Swanson, Efrem Zimbalist Jr., Bill Irwin, Heidi Swedberg, Bruce A. Young, Ryan Stiles, Rino Thunder, Mark Arnott

Review:

Sean Penn's new movie Into the Wild arrives on the wave of a well-regarded novel about a college graduate who decides that the anger and violence in civilized society is too much to handle and commences a journey through nature in order to truly live life as it was meant to be. This film is a wonderful glimpse into the life of a kid, wise beyond his years, and the bonds that he creates with people along the way. A victim of excess in wealth and a shortage of love, Christopher McCandless hid inside his mind behind knowledge and philosophy, building up his intellectual strength, as well as the physical, in order to complete his trek, ultimately leading him to Alaska. Penn never falls into the trap of showing too much heartbreak on the side of McCandless's parents, because he doesn't want the audience to second-guess the decision he made. There is no debate to be had here, our protagonist has no alternative but to get out and live off the land. Only being completely self-sufficient can he grasp a meaning for his life and one day perhaps go back with that knowledge fully learned.

Emile Hirsch is absolutely brilliant with his good-natured attitude and affable charm. His character believes that human contact is not necessary for happiness and never seeks out relationships. However, his character is so likable that they find him and latch on, not to change his mind, but to experience his level of being and hopefully learn something from him and help enlarge his vocabulary on life. The people he meets help him to fully grasp the decision of life in the wild and be able to survive it. Never coming off condescendingly to those he crosses paths with, Hirsch always holds a smile on his face. One scene, where he meets up with a couple of people from Europe, proves how contagious a clear outlook on life without the troubles of societal restraints can be. These three kids have a blast, if only for a few minutes—with Hirsch being chased by the police for rafting with no license—and it makes one wonder if maybe we all should take a journey into nature and feel the freedom and full warmth of heart that a lack of stress to succeed in the business world can give.

All the supporting players are magnificent at helping show the side to McCandless that Penn needs on display to succeed. Hal Holbrook, Brian Dierker, and Catherine Keener are by far the best of these side characters with Vince Vaughn and Kirsten Stewart adding some charm too. Dierker, Keener, and Stewart play hippie, flower-child type roles and allow Hirsch to show off how modest and unselfish he is. This is the family he deserved to have from birth and he is the son they wished their lives had earned them. At their best, all four together give some of the most emotionally charged moments in the film. Holbrook, on-the-other-hand, helps give insight into the philosophy that Hirsch needs to live with in order to survive the loneliness, looking him in the face, to come in Alaska. It is truly fascinating to see how every person adds something to his overall experience and to the tools he needs.

Hirsch deserves a lot of credit because he truly outshines the film itself with his dedication and sacrifice to the role. The length of time needed to allow him the ability to lose the weight necessary for a main plot point in the movie is crazy. If the time wasn't that long and Hirsch did it all rapidly, I'm even more impressed. With all that, there are many instances free of dialogue that he needs to carry with body language and actions alone. True, much of this is enhanced by a wonderful soundtrack from Eddie Vedder, but evenso it is a remarkable performance. Kudos to Sean Penn for a gorgeous filming job also. He captures the countryside with grace, while infusing many moments of visual style by slow-motioning glimpses, knowing when to show the family left behind, utilizing informative and essential voice-over, and even breaking the fourth wall. When Hirsch first looks into the camera, at the audience, it does not seem unnatural in the slightest, but instead an amazing link for the viewers to take a look into his soul like those that crossed his path have. McCandless is so pure that it almost feels like glimpsing the calm protectiveness of God.

Actors:

Emile Hirsch, Marcia Gay Harden, William Hurt, Jena Malone, Brian H. Dierker, Catherine Keener, Vince Vaughn, Kristen Stewart, Hal Holbrook, Jim Gallien, James O'Neill, Malinda McCollum, Paul Knauls, Zach Galifianakis, Craig Mutsch

Review:

Having been born in 1965, it's safe to say that the first time I ever saw "It's a Mad, Mad, Mad, Mad World" was on network television. Every other user comment already reveals enough about the movie, so I'll just stick with my own experiences regarding the film.

If you must know, yes I do believe this film is a well-deserved comedy classic, but it's also loaded with breathtaking scenery (natural and contemporary) that's often overlooked by most critics. Many a fan wants to know where that mountain road is. Since I'm also a fan of big cars of the post-WW2 era I can easily spot every one. Mickey Rooney's Volkswagen must be worth a fortune if it's still around. And I don't care if this movie is over 3 hours long. As one commenter put it it has been edited to pieces. I envy those who saw the original 1963 version of this movie, but even they didn't see everything. The versions I've seen include the original television edit, the director's cut on 2 VHS tapes which contain some "lost scenes" and people I never even knew were in the movie, the DVD, and even a version on TV where some scenes were shown out of order. The director's cut VHS tapes is the best, partially because of those scenes such as additional police observations, as well as having the sense to keep the original overture, entr'acte, and exit music title cards. Unfortunately, the DVD removes those lost scenes and mixes them with a section of other deleted scenes, like a louder version of Buddy Hackett's "17 ways of figuring it" speech, and some riskier ordeals in Santa Rosita Park.

I've come to the conclusion that there's only one solution to this problem -- unless all footage is found and re-installed into the original version, the screenplay must be released into a book and sold to the public.

Actors:

Spencer Tracy, Milton Berle, Sid Caesar, Buddy Hackett, Ethel Merman, Mickey Rooney, Dick Shawn, Phil Silvers, Terry-Thomas, Jonathan Winters, Edie Adams, Dorothy Provine, Eddie 'Rochester' Anderson, Jim Backus, Ben Blue

Review:

First off, Nicolas Cage was pretty good as a science teacher who's initial skepticism over a batch of numbers (scribbled on a piece of paper found in a school's time capsule from the 1950s) is tested and eventually worn away by a quest to find out what they mean. Cage runs hot and cold when it comes to the characters he plays; he's awesome in films like "Raising Arizona", "Con Air", or "National Treasure", while not so believable in stuff like "The Family Man". He's maturing as an actor and getting better, it seems, with every role. Another standout is Rose Byrne, as the daughter of the odd little girl who wrote out the bizarre number sequences that Cage's character is analyzing. Byrne's always good at playing pensive women with something mysterious in their back stories. Yet as good as the actors were, the special effects and the twists in the storyline are what make this movie really entertaining. The writers didn't take the easy, obvious route with the story which was refreshing. The plot continues to surprise throughout taking some very different turns with the outcome of the story which made it even more unpredictable and better for it. I like movies that keep me guessing and this is one of those. See it if you like the unexpected.

Actors:

John Koestler, Caleb Koestler, Diana, , The Stranger, , , Allison, Younger Caleb, Miss Taylor (1959), Miss Taylor (2009), Principal Clark (1959), Lucinda's Mother, Lucinda's Father, Phil Beckman

Review:

Like many others, I saw the "trailers" featuring Jack Black. The featurette made me think "Okay, at least I got to check this out". Not much more. It didn't make me think "This is gonna be awesome" or anything like that.

Boy, was I ever under-expecting.

At first I thought it was quite okay, decent entertainment and at least not totally crap. But then the really funny scenes and details kicked in, after Po gets into the temple. From then on, it was laugh after laugh, excellent voice acting, amazing CG animation (but this is Dreamworks so I expected that).

The whole deal simply hit home run for me. Spot on. I love martial arts movies, I love Dreamworks CG movies and I must admit I find Jack Black amazingly funny (saw Be Kind Rewind the other day and loved it). There was so much charm and amusement in this movie. It's without doubt the best animation from Dreamworks since the first Shrek.

Now, I am not saying this will be for everyone. There IS a lot of fighting going on, and while it is (for most of the movie) comical (yet amazing to behold) violence, it might not be suitable for the smallest of children. But for any healthy kid aged 6-7 or above (especially boys), this will be kick-a**! I cannot really put my finger on anything bad. Sure, the movie is filled with clichés, but sometimes you can go a long way with those. And this one serves them perfectly. I even rated this higher than Ratatouille, due to the fact that it took me totally by surprise. With Ratatouille, I EXPECTED it to be great. Kung Fu Panda I only expected to be decent, but it was awesome. That deserves the last point.

Actors:

Jack Black, Dustin Hoffman, Angelina Jolie, Ian McShane, Jackie Chan, Seth Rogen, Lucy Liu, David Cross, Randall Duk Kim, James Hong, Dan Fogler, Michael Clarke Duncan, Wayne Knight, Kyle Gass, JR Reed

Review:

Roberto Benigni's Vita e bella, is in many ways similar to Chaplin's Great Dictator. Both are comic attacks on fascism, but the former's is the more successful. Benigni initially accesses the emotions of his audience through simple comedy, which is a pleasant mix of Keaton and Chaplin. Romance ensues with his real life wife Nicoletta Braschi. The first half of this film has been seen by various critics as being inferior to the second, but this is certainly not the case. In the first section we follow the delightful romance that will eventually lead to marriage and the creation of the wonderful Giosue (Giorgio Cantarini).

It is the first half where the audience can laugh the loudest and delight at the immense comedy talent of Benigni. Unlike so many films nowadays there is nothing crude or course, his is simple innocent humour, which is all the more effective. The way he ties together little strand in the film to create comedy elements shows a great writing ability, and a mastery of timing when it comes to their execution on screen. Various incidents related to the rise of anti-semitism and fascism in Italy show that there are sinister forces at work which come to the fore in the second segment.

Guido (Benigni) moves events on from Tuscany in 1939 to the last year of the war in a concentration camp. In this period he and Dora (Braschi) have had their son Giosue (Cantanarini). The five year old greatly reminds me of Toto in Cinema Paradiso, and plays an equally important role in his prospective film (though in Paradiso's case it is at the beginning of the movie). The relationship between the two is very similar to that of Jackie Coogan and Charlie Chaplin (though Benigni, unlike Chaplin, keeps the best of the comedy moments). Guido attempts to keep from the boy the horrors of what is going on, and this eventually manifests itself as a game where the aim is to score 100 points, with the winner winning a real tank (which, of course appeals to the young boy). Comic moments are still present, that involving Guido's translation of the rules of the camp is particularly notable, but it becomes somewhat more difficult to laugh when we consider the gravity of what is going on.

The emphasis begins shifts, and we realise that this is a film about human spirit above all else. Guido not only appeals to the audience due to his comedy and sheer pleasantness, but also in the way that he loves his family and the measures that he will go to to protect them.

This is certainly no Schindler's List, but it never pretends to be. Occasionally events seem a little contrived, but this does seem to work in the film's favour. However, this film avoids the tendency of Hollywood to go far over the top in emotional and credibility terms.

Benigni shines like a lantern throughout the picture, showing that he is a talent, not only in comedy terms, that far outshines his peers. Cantanari is a delight, and Braschi also plays her part well. There is even an appearance by The Magnificent Seven's Horst Buchholz as Doctor Lessing, a man who events change for the worse.

Please don't let the fact that it, to all but the Italians, is a foreign language film. The language itself adds a beauty of form to the film, much as it did in the case of Il Postino. This has to be a certainty for the Best Foreign Language Film Oscar, though something tells me that it will be overlooked for other awards as it is Italian and not a mainstream English language picture.

Please see this film, and make up your own mind. It is appealing in so many different ways that I'm sure that you will not be disappointed.

Actors:

Guido Orefice, Dora, Giosué Orefice, Eliseo Orefice, Ferruccio Papini, Madre di Dora, Doctor Lessing, Guicciardini, School Principal, Rodolfo, Bartolomeo, Vittorino, Elena, Amico Rodolfo, Prefect

Review:

Walter Salles and his longtime partner Daniela Thomas come at their best with 'Linha de Passe'. After shooting Dark Water (which I haven't seen but only heard bad things about it) and the predictable Motorcycle Diaries, Salles focused on his best ability: showing the real Brazil to the world and - even more important - to Brazilians themselves. The acting is so accurate that sometimes the movie looks like a documentary about people who strive to have a decent life despite living in a poor suburb in São Paulo. Not only Sandra Corleoni - who won the Palme d'Or - is brilliant, but nearly everyone, even the characters who are not so much in evidence. I would say that this the movie captures the contradictions of the urban Brazil in such a profound way that it leaves you with little else to talk about the subject. Although each character kind of represents a particular stereotype of Brazilian people, there's so much subtlety in each of them (because of the screenplay and the acting) that the plot sounds completely natural, which doesn't happen with 'Crash', the awarded American movie that 'Linha de Passe' reminds me of. In my opinion, Salles' masterpiece is still 'Behind the Sun' (Abril Despedaçado), but if a foreigner asked me to explain what's to be Brazilian, i would suggest him to watch this movie.

Actors:

Review:

For anyone who wants a synopsis of this movie, the critics Ebert and Berardinelli have excellent, complete reviews of 'Lost in Translation', and they both give it their highest ratings.

My wife and I saw it tonight on DVD, with DTS 5.1 sound and both think it is a remarkable movie. I like Bill Murray in just about everything, and this will go down as one of his strongest performances, as Bob, the actor in Japan for a week doing whisky commercials. Scarlett Johansson plays Charlotte, the young wife virtually abandoned in the city to do her own thing as her photographer husband (Ribisi) goes to various locations for shoots.

What I liked most was the realistic feel. Being in a strange city, with unusual customs and a language you have no hope of understanding. Meeting someone who because of circumstances (age, marital status) will only ever be a friend. Being able to talk freely. Reflecting on where we've been and where we might be going. Many of the negative comments about this movie relate to an impression that it is 'boring.' I'll put on my 'maturity hat' and state that anyone who thinks 'Lost In Translation' is boring simply was not able, at least while they watched it, appreciate the inner beauty of this movie.

The scene that made the whole story come together for me was when they were in one of their hotel rooms (doesn't matter which), overhead shot, they were in bed talking, fully clothed, he is on his back staring at the ceiling, she is on her side, eyes probably closed, the tips of her feet barely touching the side of his leg, and he moves his hand and puts it on her feet. Then the scene fades to black. It is the kind of tender, non-sexual touch that tells us how close they have become, and that theirs is a relationship of mutual trust and admiration, not one of lust.

People like Bob and Charlotte really exist, and they really do meet up in very similar situations. After a week, they must go their separate ways, he to his family and activities of his kids, she to wait for her husband and figure out how to get out of the rut. We sense that he does not love her they way she needs, and we wonder what will happen.

Actors:

Scarlett Johansson, Bill Murray, Akiko Takeshita, Kazuyoshi Minamimagoe, Kazuko Shibata, Take, Ryuichiro Baba, Akira Yamaguchi, Catherine Lambert, François du Bois, Tim Leffman, Gregory Pekar, Richard Allen, Giovanni Ribisi, Diamond Yukai

Review:

There are so few movies that you can enjoy as a family, so perhaps I've given this more stars than it deserves. I did laugh out loud several times. The jokes are mostly "pop culture" references; for example, (the zebra (Chris Rock) has a treadmill in his area (not a cage, really) at the zoo.

This is sort of a twist on the fish out of water movies, as the zoo animals, according to the local animal rights activists, don't belong in the zoo; they are shipped off to Africa. Hilarity ensues; the animals don't end up at the planned destination and find out that they don't necessarily belong in the wild either. What I found unique about this movie is that for once, the actual nature of the animal is acknowledged. Ben Stiller's lion character realizes that everyone looks like a steak and wants to eat everyone. Of course, he realizes that he's "wrong" (HUH??) and tries to change. The kids loved it, I wasn't totally bored out of my mind, and the animation was pretty good, I thought. The penguins were especially cute. Wish they'd had more screen time.

Actors:

Alex, Marty, Melman, Gloria, Julien, Maurice, Mort, Skipper, Private, Kowalski, Mason, Fossa, , , Old Lady

Review:

Well, I just watched this, and I'm still trying to collect my thoughts. As cliché as it sounds, this was mindblowing! A random $12 purchase of a new movie at Wal-Mart (!) of all places usually equals a really sucky film. But why not take a chance when it's the always-reliable Tokyoshock involved? And lo and behold, this particular film (which may be the only Tokyoshock film I've even seen sold there) which was stupidly placed in the "Espanol" section of the DVD's went above and beyond the call of duty. Everything I'd ever want in a movie and more is contained within this particular film! First of all, it should be said that Tokyoshock MADE this film -- they usually just distribute (usually great) films. And I too was wary of "film fans making a film". That usually leads to pure crap or something that is just too smug and self-referential for its own good....

However, what Tokyshock did with this film was take everything that makes these "Japanese gore revenge epics" good -- and they trimmed all the fat and removed everything that usually bugs these things down (long scenes where nothing happens, unintentionally poor acting, etc). Every scene here is amazing! The film is hilarious, surreal, jaw-dropping, and ridiculous (in the best way possible). Just a good time for everyone involved. It's actually shockingly offensive, too -- in a hilarious way. Not trying to beat you over the head here, but just as you think the film might stop being entertaining, it goes in a completely new direction. However, it isn't some "wacky" Japanese film throwing random scenes and stupid gags at you for no apparent reason; this isn't Snot Rocket and Super Detective! This is made with a shocking amount of class -- good acting, a functional story, and no scene feels out of place. Crazy what a minor bit of production will do to a low budget film.

You get hilarious child murders, crazy families, insane kung fu, 3D ninja stars, and the most gore to ever be on screen since Riki-Oh, Dead Alive, and Premutos -- in fact, there is gore that is even more effective than those three films combined! To sum it up: Gory as hell, full of comedy and insane over-the-top action. Seems to hit on every Japanese film cliché but goes completely over the top. Completely extreme on every level and hilarious. Offensive, gross, ridiculous. Probably the best NEW film I've seen in a long, long time. Recommended for gore lovers, lovers of cheese, lovers of good acting, lovers of great film! Pretty much perfect. No reason to be long-winded about it: You HAVE TO see this film.

What else to say? Instant classic. See it instead of Indiana Jones or other Hollywood garbage.

Actors:

Minase Yashiro, Asami, Kentaro Shimazu, Honoka, Nobuhiro Nishihara, Yûya Ishikawa, Ryôsuke Kawamura, Demo Tanaka, Nahana, Taro Suwa, Noriko Kijima, Kentaro Kishi, Ryôji Okamoto, Erika Terajima, Hiroko Yashiki

Review:

Dr. George Miller's low budget Mad Max movies impacted on Australian culture and altered the perception of Australia and Australians overseas in a way that no other Australian film had done. Discourses such as man and the environment, fear provoking post-apocalyptic future, family, masculinity in crisis, good versus evil (Max as an iconic hero), Australian ethos and car culture, often featured within Australian films, are presented in a stark and dramatic way. The cinematographic impact is powerful; the human and emotional appeal is timeless.

Australia's barren deserts presented the ideal setting for a post-apocalyptic environment. The movie set is more identifiable as Australia as it was filmed around the city of Melbourne. Long deserted roads feature significantly in the film and the cinematographic device of taking long distant shots of Max demonstrates how small he is in the scale of the environment that he is living. It is a relentless, unforgiving environment which demands defeat or survival and marks the characters which play upon its stage.

Just as the physical setting is stark and desolate, the time setting and its associated events create an atmosphere of fear and foreboding which plays on the minds and emotions of contemporary viewers. In this fear provoking post apocalyptic future the few survivors of the nuclear holocaust are in warfare with one another, the rebel bikers and the police.

Good versus evil is a dominant discourse in many film genres and one which embraces the Australian ethos. Max possesses some highly valued "Australian" traits; in particular, those of the underdog, the battler, the hero. External forces beyond his control stop him from "winning" completely. Contrary to the Hollywood hero, the Australian hero is a pawn in the game of others, which explains why Max can never quite "win" in absolute terms. There is little public glorification of success in Australia; heroes are remembered for their style rather than for their achievements. (Venkatasawmy, 1996) Mad Max represented a tradition hero, a hero to whom many diverse cultures are able to relate, as a story of a lone hero is a story that goes back through centuries of storytelling, and as a consequence the film achieved colossal success within Australian and around the world. The Australian cultures and lifestyles shown throughout these films give Australians an understanding of their country in the landscape, the language, and the way we treat people, life and life in exceptional circumstances.

Reference Venkatasawmy, R. (1996), Australian Film in the Reading Room: The Hybridity of Film-making in Australian National Cinema: Formulating a Cinematic Post-Diaspora. Retrieved March 14, 2005, from http://wwwmcc.murdoch.edu.au/ReadingRoom/rama/CHAPT4.htm

Actors:

Mel Gibson, Joanne Samuel, Hugh Keays-Byrne, Steve Bisley, Tim Burns, Roger Ward, Lisa Aldenhoven, David Bracks, Bertrand Cadart, David Cameron, Robina Chaffey, Stephen Clark, Mathew Constantine, Jerry Day, Reg Evans

Review:

This is the most unfairly maligned film of the year. Some critics took it upon themselves to be the defenders of Japanese culture (without fully researching their arguments) and, in the process, betrayed their own racism. "The film is inauthentic because the actresses do not wear matronly bouffants," one said. Riiiiiight. Matronly bouffants are a Western stereotype! But in any case, some of them do and some don't! THAT'S authenticity. I guess critics wouldn't know that writing reviews without seeing the film or walking out long before it's over (some, such as Jeff Wells, do).

Anyway, it's a fantastic film and more than deserving of multiple Academy award nominations - which it may not get thanks to the fact that so many people decided they wanted to use the film as the sacrificial lamb for a half-baked debate about international politics, rather consider that pan-Asian casting for major roles is NOTHING new (it's true of House of Flying Daggers, The Joy Luck Club and even Crouching Tiger) and that this film's production might represent international cooperation at its best.

Look out for Gong Li and Youki Kudoh in RICHLY developed supporting roles. The supporting males, while obviously not as well developed since they spend less time in the geisha quarters, still give incredible performances. Ken Watanabe was excellent, but I particularly enjoyed the performance of the actor playing Nobu. Oprah is right about the sets and costumes; they (amongst other things) make you want to savor every moment of the film. Some people have argued that the brilliant colors make it seem like some sort of Orientalist fantasy. Truth is that this would only be the case if we saw a departure from a more sedate West to a flamboyant East; instead, the film opens in a rather sedate part of Japan and then takes us to the more colorful geisha district (which introduces this fascinating paradox of great suffering in a milieu of tremendous beauty). We know from Chicago that it's simply Rob Marshall's aesthetic to make everything the height of beauty, even if it's a slum. God forbid ENTERTAINMENT CIRCLES should be presented as visually spectacular! The film is by turns funny, moving and, yes, thrilling. Gasps in the audience for the film's third act gave way to sniffles. Ziyi Zhang really managed any language difficulties well; her face has this ripple effect when she's emoting. It's stunning to behold. If I were voting for the Oscars, I'd definitely give her a nomination at the very least. And homegirl can dance, too! Her performance and the film itself are not boring at all; audience members laughed when she was trying to be funny and sighed when she was suffering. IMO, too much happens in the film for it to get boring; there's a strong balance between the rivalries, the details about geisha entertainment and the romance. In the final scene, it all comes full circle. I won't tell you how. See for yourself.

My #1 film of the year. Brokeback Mountain, Chronicles of Narnia, Howl's Moving Castle, King Kong and Grizzly Man aren't far behind.

Actors:

Suzuka Ohgo, Togo Igawa, Mako, Samantha Futerman, Elizabeth Sung, Thomas Ikeda, Li Gong, Tsai Chin, Kaori Momoi, Zoe Weizenbaum, David Okihiro, Miyako Tachibana, Kotoko Kawamura, Karl Yune, Eugenia Yuan

Review:

I have to admit I was on my toes. It's one that gets better and better as the movie goes. It keeps you wondering and there is pretty much no foreshadowing at all. I really didn't know what was going to happen from minute to minute. This movie is one of those you'll want to watch again. Sutherlands performance is good but I've got to give props to the other actors as well. All their performances were pretty remarkable too. I'm not the type of person that enjoys crappy films. I definitely have to say I know a good movie when I see it and I'm confident of that. The overall twist and turns... yeah it's a definite popcorn lights off cuddle with your boyfriend scary movie.

Actors:

Kiefer Sutherland, Paula Patton, Cameron Boyce, Erica Gluck, Amy Smart, Mary Beth Peil, John Shrapnel, Jason Flemyng, Tim Ahern, Julian Glover, Josh Cole, Ezra Buzzington, Aida Doina, Ioana Abur, Darren Kent

Review:

Sergei Bodrov's Mongol provides something of a biography of the early years of Genghis Khan, at this point known as Temudjin. The film is destined to be historically flawed as there is little known about his life; this being said, Bodrov takes large handfuls of creative license. Bodrov's Mongol attempts to capture a man's rise to power in just two hours without making a rushed film; this impossible feat is Mongol's only true shortcoming.

Mongol is very much a "based off a true story" kind of movie. We certainly aren't seeing the true Genghis Khan. The film is riddled with historical inaccuracies, he is captured three times during the film, in reality he was only captured once. However, historical accuracy is not Bodrov's intent. Sergei Bodrov, grew up in the Soviet Union, a place where Genghis Khan is painted as a vicious killing machine. Mongol attempts to humanize him. This is the film's strongest point.

Mongol is just a good love story. Temudjin picks a bride at age nine named Börte and is set to wed her in five years. Soon after his father, a Khan, is killed. Betrayed by those his father used to command, Temudjin is left with nothing and swears to take it all back. This is the basic premise of Mongol. The relationship between Temudjin and Börte is portrayed as beautifully simple love. The film uses this connection to move the plot rather than bloody violence. Mongol does, however, contain several spectacular battles. Bodrov seems to have taken a page out of 300 and we're given a splattering of death sequences that while all together different feel and are shot similarly.

The largest flaw of the film is it's continuity. Bodrov, in order to condense the story under 120 minutes constantly cuts scenes in half. He will start a conflict and cut to it being over, leaving the audience to infer what happened. This is a double edged sword, on one hand it frees up time for necessary character development, on the other it makes the film feel choppy. Mongol is one of the few films that should be 15 minutes longer.

In the end, Sergei Bodrov's Mongol is an epic war film that succeeds not only on that level, but as a beautiful love story. The breathtaking landscapes of Mongolia provide an awe inspiring backdrop for the action on the screen. Mongol is a film of proportions not usually seen in Russian or Asian cinema. It delivers on a level that rivals if not surpasses many Hollywood blockbusters while keeping surprising heart evident throughout the film. Mongol truly is an inspiring film not only for the eyes.

Actors:

Tadanobu Asano, Honglei Sun, Khulan Chuluun, Aliya, Ba Sen, Amadu Mamadakov, Ying Bai, He Qi, Ben Hon Sun, Ji Ri Mu Tu, You Er, Ba Tu, Deng Ba Te Er, Bao Di, Su Ya La Su Rong

Review:

During world war 2 The Netherlands are under German control. A kid and his family live in a small snowed under town and go through their daily business. The war adds, of course, a certain level of tension and that only gets worse when the kid finds something, or rather someone. From there the tale runs on.

The film is based on a book by a Dutch writer and although I have never read the book I don't think I have missed much. Maybe the film was watered down on purpose but I don't see the reason for that - for me this film felt like I was watching a war film for children (however odd that must sound).

However well the roles are played out the film never captures the real drama of the war nor the real feelings the people must have been going through - I'd not take my 9 year old to see this film but that is only because there's better children's films to see - but this film is just too soft on all possible levels and that makes it too dreary to watch.

5 out of 10 films without a proper audience.

Actors:

Martijn Lakemeier, Yorick van Wageningen, Jamie Campbell Bower, Raymond Thiry, Melody Klaver, Anneke Blok, Tygo Gernandt, Dan van Husen, Ad van Kempen, Peter Eberst, Emiel Jansen, Mees Peijnenburg, Peter Post, Ben Ramakers, Remco Teer, Tibo Vandenborre, Jesse van Driel

Review:

In 1944, a group of high command officers plot an attempt against Hitler, and one of the leaders of the conspiracy, Stauffenberg (Sebastian Koch), goes to a meeting with the Fuhrer in charge of exploding the place. However, Hitler survives and the officers are executed.

"Stauffenberg" is another great example of the powerful German cinema. Based on a true event, with remarkable performances, tight direction and excellent reconstitution of a dark period of the contemporary Germany history, it is highly recommended – indeed a must-see film - for fans of war movies. My vote is seven.

Title (Brazil): "Operação Valkiria" ("Valkyrie Operation")

Actors:

Sebastian Koch, Ulrich Tukur, Hardy Krüger Jr., Christopher Buchholz, Nina Kunzendorf, Stefania Rocca, Axel Milberg, Olli Dittrich, Katharina Rivilis, Karl-Heinz von Liebezeit, Michaela Wiebusch, Michael Lott, Christine Sommer, Thorsten Merten, Joachim Bissmeier

Review:

I first saw this film almost fifteen years ago and thought about almost nothing else for at least a month. I have never seen a film before or since that presents the extremes of love, pain, and loss with such immediacy and ruthless candor. Watching this film with openness, identifying with the characters, made me wince and writhe in sympathetic agony. I didn't cry; rather, I was reminded of all the times I have wept in my life, and why.Perhaps each person person has a film -- usually a masterpiece -- which affects him or her so strongly that it is beyond description. This is mine.

Actors:

Harry Dean Stanton, Sam Berry, Bernhard Wicki, Dean Stockwell, Aurore Clément, Claresie Mobley, Hunter Carson, Viva, Socorro Valdez, Edward Fayton, Justin Hogg, Nastassja Kinski, Tom Farrell, John Lurie, Jeni Vici

Review:

It was a masterful achievement bringing the concepts of scent in to a book, bringing it to the large screen has even more challenges, which I believe was superbly overcome in this film. The film is narrated to ensure the audience understands some of the concepts and some parts of the plot were "dumbed-down" to make sure the audience got the point.

Unfortunately, much of the book had to be skipped in the interest of time – much of Grenouille's childhood is glossed over and the bit after the cave visit is completely omitted.

Despite this, the atmospheric sets and brilliant acting (with the exception of a disappointing Mr. Hoffman, who really does not have the stature of a master Parisian perfumer) kept me completely enthralled.

As in the original book, there is quite a bit of nudity, which is tastefully done, but I will be interested to see how this is swallowed in America – it will probably get an 18 rating or be cut down, which is a shame, it was given a 12 rating in Germany.

In summary, a really great film, but probably best if you have read the book beforehand..

Actors:

Ben Whishaw, Francesc Albiol, Gonzalo Cunill, Roger Salvany, Andrés Herrera, Simon Chandler, David Calder, Richard Felix, Birgit Minichmayr, Reg Wilson, Catherine Boisgontier, Núria Casas, Carlos Gramaje, Sian Thomas, Michael Smiley

Review:

When jittery advertising executive Neal Page (Steve Martin) is trying to go home for Thanksgiving, he gets stuck with boorish shower ring salesman Del Griffith (John Candy). Their experiences over the next two days are some of the funniest moments ever to grace the silver screen. The best parts are the "pillow" scene, the car rental scene, and the freeway scene (warning: you may very well laugh yourself to death). But overall, the reason that the movie is so good is because we come to understand why these two men are like they are.

I can't do "Planes, Trains & Automobiles" justice by trying to describe it. You have to see it to understand how hilarious it is. You won't have a dull moment in it.

Actors:

Steve Martin, John Candy, Laila Robins, Michael McKean, Kevin Bacon, Dylan Baker, Carol Bruce, Olivia Burnette, Diana Douglas, Martin Ferrero, Larry Hankin, Richard Herd, Susan Kellermann, Matthew Lawrence, Edie McClurg

Review:

Platoon is an idealised crayon-sketch of Oliver Stone's Vietnam experience, with its fair dose of guns, bombs, blood, rain, jungle, evil murderous Asian faces and similarly evil murderous Americans. It lacks the gritty realism of Full Metal Jacket and shuns the hysterical philosophical nonsense in Apocalypse Now, instead telling its story and its ideas with action, atmosphere, characters and soundbites. Is it the best Vietnam War movie made to date? That title will always depend upon perspective and criteria, but Platoon comes close: it is well made, well written, craftily shot and cannily acted.

Green and inexperienced, Private Chris Taylor (Sheen) arrives in Vietnam, a volunteer rather than a conscript. At first he commits all the sins of a rookie: overloading his pack, making misjudgements and acting with zeal, although there is an obvious sense of his 'education' as we follow him through the film. He encounters two veteran sergeants: the brutal, battle-scarred, kill-em-all Barnes, and Elias, a dreamy pot-smoker with much more smarts, idealism and political nous. These men are obviously metaphors for those in Vietnam, those who are coordinating it from abroad, if not the whole conflict itself. The futility of a purely military solution to political problems and the wasteless murder of search-and-destroy missions are both obvious.

In terms of action, the archetypal Vietnam elements are all there: the jungle ambush, the village raid, the attack with rolling air support, and the set-piece battle against NVA regulars. These scenes will satisfy fans of hardcore war-porn, but they are not so overplayed, choreographed or downright gory that they will alienate the mainstream movie watcher. The viewer gets a very real sense of Vietnam as a 3-D war, with threats coming from all around you, not just the enemy in front. We leave Vietnam with Taylor at the end of his tour, and the whole thing is as untidy and unfair as it was when we arrived: the snivelling O'Neill (McGinley) survives because of his cowardice in battle, for example. In that respect it is a fairly unfulfilling story, though as a movie it succeeds on most levels.

Actors:

Tom Berenger, Willem Dafoe, Charlie Sheen, Forest Whitaker, Francesco Quinn, John C. McGinley, Richard Edson, Kevin Dillon, Reggie Johnson, Keith David, Johnny Depp, David Neidorf, Mark Moses, Chris Pedersen, Tony Todd

Review:

First of all, it's a very interesting theory. Jews being warned about 9/11, a plan for global domination, etc. However, it doesn't stay focused on the Protocols of the Elders of Zion, it becomes a window into anti-Semetic sentiments in the U.S. on a whole. For this reason I think it should have a different title, because it's misleading. A loose theme pervades the film by stretching out the different protocols as the filmmaker encounters different opinions on Jews in general. There are very passionate views expressed throughout, some pro-Jew and some not. What makes it compelling viewing is that so many people want to believe that Jews are responsible for the evil in the world, when in fact they have been on both sides of the equation from the beginning of time. Yes, there are many Jews who have prospered in America and throughout Europe, but at what cost? Why are the perceptions of Jews so extreme? Why do all the Palestinians in the movie come across so angry and full of venom towards Jews? Why do so many Jews hate the government, or current administration, if in fact they are so powerful within it? These are all topics I wanted to see more of. So, to summarize, Protocols isn't a bad film by any means, however I found the title to be misleading.

Actors:

Alan Levin, Marc Levin

Review:

This film was everything I expected and more... To admit, I never really knew much about Bill Maher when I went to see this film. I saw this at the Atlantic film festival and I loved it. My friend had told me that it was going to be good, so when I saw it in the schedule I said " Hmm, maybe i'll see this." So we did. It was hilarious, I wet myself at several points. But! It was also VERY insightful. I actually learned quite a bit about how religion can be REALLY stupid. And it's true. I really enjoyed the interviews with some people who just take everything way to seriously. I loved the comedy being used to explain things that are very serious. So I completely suggest this to everyone, not just Bill Mahers fans.

" You don't need to pass an IQ test to be a senator."

Actors:

Bill Maher, Steve Burg, George W. Bush, George Coyne, Jerry Cummings, Jose Luis De Jesus Miranda, Reginald Foster, Dean Hamer, Ken Ham, Aki Nawaz, Andrew Newberg, Fred Phelps, Mark Pryor, Yisroel Dovid Weiss

Review:

this is the third movie i've watched today,and like the other two(Bangkok Dangerous,and Traitor)i find myself disappointed.this is the first CG animated full length Resident Evil film.i found the animation lacking.the character movements are jerky and the facial movements don't sync up with the body language.i also thought the story was lacking,and the action wasn't exactly stellar,in my mind.yet i was more entertained with this movie than either of Bangkok Dangerous or Traitor.i mean it is fairly fast paced.i just wish they could have had more of the characters from the previous Resident Evil films,and with the original voices.for me,Resident Evil:Degeneration is a 6/10

Actors:

Alyson Court, Paul Mercier, Laura Bailey, Roger Craig Smith, Crispin Freeman, Michelle Ruff, Michael Sorich, Salli Saffioti, Mary Elizabeth McGlynn, Steve Blum, Michael McConnohie, Kirk Thornton, Cindy Robinson, Kari Wahlgren, Keith Silverstein

Review:

"Repulsion" is a great example of how to make a truly scary movie: The trick is not to fill the screen with monsters or indestructible serial killers, it is to portray fear in a way that will be familiar to the audience. It is clear from early on in the film that the lead character, Carol, played brilliantly by an extremely young-looking Catherine Deneuve, is not exactly normal. When her sister leaves her alone in their shared London apartment for a few days, however, the things that scare Carol are the sorts of things that have scared a lot of people spending the night alone, such as hearing (imagined) footsteps in the hallway and the like. Of course, while normal people get a brief fright from such a thing, Carol descends into a madness of hallucinations. The movie is seen almost entirely from her point of view, using techniques borrowed by later directors such as Darren Aronofsky for his movie, "Pi", which gives the entire movie a claustrophobic feeling that enhances the impact of Carol's hallucinations.

There are no doubt people who would like to explicate this film as an exploration of sexual repression or the like, and perhaps they are indeed hitting the mark in doing so, but this film works brilliantly as pure cinema, with no metaphoric subtext needed.

Overall Rating: 4 stars (out of 4), or 9 (out of 10)

Actors:

Carole Ledoux, , , Hélène Ledoux, , , , , , , , ,

Review:

YES! it's that good. What a brilliant achievement for Mendes/Winslet/Dicaprio and the rest of the cast. this is easily one of the best movies I have ever watched.

The quality of the acting - my goodness - just looking into the eyes of Winslet during some cut-scenes sends you into a roller coaster of emotions. Michael Shannon in the very short scenes he is seen delivers an outstanding performance. Expect no lesser brilliance from Dicaprio either.

What else can I say, Art direction simply sublime! Honestly, the recreation of that era was so wonderfully done. To top it all off, a phenomenal musical score from Thomas newman - Give him his Oscar already!

I am very surprised this has been overlooked by the Oscars in favour of movies like Benjamin Button, Milk. Also, Winslet definitely deserved a double nomination for lead actress, in fact I would have picked her for this movie rather than the Reader.

Anyhow, I thoroughly recommend this to all. This one shouldn't be missed.

Actors:

Frank Wheeler, April Wheeler, John Givings, Jennifer Wheeler, Michael Wheeler, Mrs. Helen Givings, Mr. Howard Givings, , , , , , , Shep Campbell,

Review:

I watched Saw V with a good opening night crowd here in Sydney. I've enjoyed all of the Saw films, predictably liking some episodes a lot more than others, and Saw V is, again, very watchable, with some intense moments and no shortage of grisliness. But I'd still say it's the weakest entry in the series to date. The trouble is that the main narrative addition for this episode, which has to sustain half the running time, turns out to be a dramatically weak one. I don't think a Saw film ever previously failed to create excitement or new meaning via one of its big twisty revelations, but Saw V's add next to nothing. The knowledge gained doesn't force any re-evaluation of the past events it concerns; you just see and know a bit more about them, and to no great effect, except for the fact that Tobin Bell's performance is always compelling, maybe even more so when he's talking to people who aren't stuck in Jigsaw's deathtraps.

The Saw films have demonstrated an unfeasibly high success rate over time in terms of pulling off twist after twist and having them nearly all hit home. With this track record, it seems inevitable that there'd be a significant stumble at some point. They've never been bulletproof films (and thrillers are the genre that are hardest to bulletproof), but I'd say Saw V is definitely the stumble. In spite of this, it still keeps in enough with the series in general for me to be ready for Saw VI in 2009 - which I hope will be better work.

Actors:

Tobin Bell, Costas Mandylor, Scott Patterson, Betsy Russell, Julie Benz, Meagan Good, Mark Rolston, Carlo Rota, Greg Bryk, Laura Gordon, Joris Jarsky, Mike Butters, Al Sapienza, Mike Realba, Lyriq Bent

Review:

This is an extraordinary film. From the original concept of the novel on which it is based (Q&A by Vikas Swarup), the screenplay by Simon Beaufoy (Full Monty) but especially the masterful creation and direction of the film by Danny Boyle. From the opening moments until the final scene, the audience was fully engaged. I was completely lost in the world that Danny Boyle created. This is not a story that has been told and retold, hashed and rehashed. It is fresh and engaging - all at once quickly moving, romantic, violent, culturally insightful, desperate and slightly fantastic. There are some comic elements to the film but to describe it as a "comedy" seems inappropriate. The film was shot on location in India, mostly in Mumbai. Slumdog Millionaire is yet another testament to depth and range of Boyle's artistic talent who has directed such diverse films as Shallow Grave, Trainspotting, 28 Days Later and Sunshine.

I saw the film on at the 2008 Telluride Film Festival as a "sneak preview." The film was introduced by Boyle who said that the official opening of the film would be the next weekend at the Toronto Film Festival. He also said that there may be some final tweaking of the film prior to Toronto.

In the discussion after the film Boyle strongly recommended three Indian made films: Satya, Company and Black Friday. He described each as superb. Boyle also stated that a portion of the Slumdog Millionaire was shot with a Canon EOS still camera, especially around the Taj Mahal, rather than a proper movie camera which creates unwanted attention while filming at popular tourist locations in India.

8.2

Actors:

Dev Patel, Anil Kapoor, Saurabh Shukla, Rajendranath Zutshi, Jeneva Talwar, Freida Pinto, Irrfan Khan, Azharuddin Mohammed Ismail, Ayush Mahesh Khedekar, Sunil Kumar Agrawal, Jira Banjara, Sheikh Wali, Mahesh Manjrekar, Sanchita Choudhary, Himanshu Tyagi

Review:

The Orphanage meets Private Ryan. This is certainly a different type of WWII film. Not your daddy's tale of bravery.

But, it is just what you would expect from writer/director Jeff Burr, who gave us Leatherface: Texas Chainsaw Massacre III, Puppet Master 4 & 5, and Pumpkinhead II. A slightly bizarre twist on the usual WWII story.

Two deserters, Ryan Francis and Scott MacDonald, come upon a group of orphans that have mental and physical handicaps. The man and woman who ran the orphanage before the war trained them to fight. Deming (MacDonald) is a real sleaze, who tries to rape the woman despite her obvious scars. They are attacked by 60 Germans who are after treasure in the building where they are holed up.

The story is a mixture of strange and tender amidst the horrors of war. There is enough of Burr's past work to keep horror fans interested, but there is a beauty underneath, if you look for it.

Check it out for a different take on war.

Actors:

Ryan Francis, Scott MacDonald, Linda Thorson, James LeGros, Daniel Roebuck, David Warner, Liliana Perepelicinic, Gabriel Spahiu, Rebecca Denton, Nelu Dinu, Mihai Verbintschi, Ion Bechet, Iulian Baltatescu, Okan Kayam, Andrei Dumitrescu

Review:

Gerard Pires is a living legend in France since Taxi. But even "legends" are making mistakes. In Riders (in Holland known as Steal) is a B-movie in every way. It has a lot of car chases and action but that's the only positive thing about this product! The rest of the movie is as interesting as watching paint dry!

And did I mention acting? Oh my God, this is even worse, the guy who played the detective (I don't even want to know his name!!!!) must be forbidden playing a role ever again! This is the worst acting I have ever seen!!!!!

Actors:

Stephen Dorff, Natasha Henstridge, Bruce Payne, Steven Berkoff, Clé Bennett, Karen Cliche, Steven McCarthy, Alain Goulem, Andreas Apergis, Tom McCamus, Andy Bradshaw, David Gow, Jamie Orchard, Stephen Spreekmeester, Mariusz Sibiga

Review:

'Skin', set in a grim Dutch working class area in 1979, tells the story of Frankie, who starts out as a normal, somewhat rebellious teenager, and ends up as a neo-Nazi in jail. His Jewish father, a concentration camp survivor, is unable to communicate with his wife and son, which frustrates Frankie and has already created a clearly uneasy father-son relationship at the beginning of the film. When Frankie's mother gets seriously ill and needs to be hospitalized, all frustrations come creeping out from under Frankie's skin and a rough process in which he alienates from his father and most of his friends is set in motion. Even though Frankie does not intend for it to happen, he gradually finds some solace with a group of skinhead neo-Nazis, and escalation ensues.

There are some parallels between this film and the classic 'American History X', but whereas that film shows us how a remorseful neo-Nazi seeks redemption, this one explores how exactly a young person who would seem an unlikely candidate for adopting such views ends up doing so for all the wrong reasons (if there even are any right ones to begin with). Moreover, 'Skin' is a strong, gripping story about what may happen when communication fails, set against a background of growing intolerance and violence.

Actors:

John Buijsman, Chris Comvalius, Guus Dam, Robert de Hoog, Rian Gerritsen, Paul Geusebroek, Juda Goslinga, Jason Gwen, Dajo Hogeweg, Bart Klever, Teun Kuilboer, Mike Libanon, Mike Meijer, Negativ, Urmie Plein, Sylvia Poorta, Jorik Prins, Mark Scholten, Joshua Timisela, Juliann Ubbergen, Vincent Vianen

Review:

Monopolized supermarkets chains dominate food sales. Bananas from Columbia and avocados from Brazil fill food baskets of European consumers throughout winter-time. These and other unsustainable consumer habits lead to a well of waste, burned oil and overflowed landfills. Desperately seeking an alternative, dumpster divers take to the streets, feeding themselves and those hundreds in need with dumpstered food. "Skipping Waste" follows these communities through France and the Netherlands as they recoup and reuse what a capitalist society deemed as trash.

Actors:

Review:

If "Superhero Movie" gives you the same giddy, guilty-pleasure feeling as "Airplane!" and the "Naked Gun" movies, it's no accident. Some of those movies' personnel – who were also involved in two lesser "Scary Movie" sequels – show up here. (Those include writer-director Craig Mazin, who happily has come a long way from 1997's abysmal "Rocketman.")

The movie's title says it all. It's a comedy that takes a well-known hit (in this case, "Spider-Man"), turns it inside out, and uses it as a clothesline for gags. In this parody version, nerdy Rick Riker (amiable Drake Bell of cable-TV's "Drake and Josh") gets bitten by a mutant dragonfly, turning him into...well, take a guess. Meanwhile, a well-meaning scientist (Chris McDonald) turns nasty when his experiment backfires and he finds he must sap others' life-blood in order to keep himself alive.

As is typical of such parodies, the movie's approach is as subtle as a spitball gun. Some of the gags are terrific, and some are groaners. But they're all fired at such a rapid pace that after a while, you have no choice but to give in to the silliness. The characters are like shooting-gallery ducks waiting to have parody lobbied at them. Best of the bunch are Rick's well-meaning but dotty uncle and aunt (delightfully played by Leslie Nielsen and "Happy Days'" Marion Ross). The most pitiable is a take-off on disabled genius Stephen Hawking, who seems to push Mazin's bad-taste button over and over ad nauseum.

This leads me to the movie's most required caveat. While the flick is mostly silly fun, it pushes its "PG-13" rating right up to the edge of the "R" cliff. The movie is larded with sexual gags and profanity abound, and what might possibly be cinema's longest-ever flatulence gag.

But if you can bear up under the cringe factor, "Superhero Movie" is mostly high-powered fun. Nifty comedy here runs neck-and-neck with bad taste. It's a close race, but the comedy wins.

"Superhero Movie" is rated PG-13 for countless sex and drug references, crude humor, and adult language.

Actors:

Drake Bell, Sara Paxton, Christopher McDonald, Leslie Nielsen, Kevin Hart, Marion Ross, Ryan Hansen, Keith David, Brent Spiner, Robert Joy, Jeffrey Tambor, Robert Hays, Nicole Sullivan, Sam Cohen, Tracy Morgan

Review:

Just saw the film. I thought I might be let down as I've been waiting with anticipation since I saw the trailer on youtube. I can say that not only was I not let down by this film, but that it superseded them in the most refreshing way possible. There was something I noticed about the movie. It had great comical moments, but it was not the funniest film ever. It had great acting, writing, and was filmed beautifully...and yet I'm sure that it is probably not the best film ever. What I loved about it though was that it was NOT like most films of late that try so hard to be the best film ever. You know the ones with the fancy film work and the melodrama...the lines written that are asking for an Oscar. Sometimes those just irritate me because they are trying so hard to be a great film and they forget to tell a great story. The film makers didn't forget that here. I was not distracted by anything. Everything came together in this film that I felt like I knew the people and I wanted to know what happened to them. I liked it because it reminded me that we're all human. I love that.

Actors:

Rose Lorkowski, Norah Lorkowski, , , Mac, Lynn, , , , , , , , ,

Review:

I saw this movie shortly after it first came out - when I was a kid. The scene that sticks with me to this day is when the scoops come to break up the riot. The cop says, "The supply of Soylent Green has been exhausted. The scoops are on the way." Then the front-end loader trucks come and scoop the people up like so much garbage. The fact that 2022 looks like 1973 is entirely plausible because society has gone retrograde. Charlton Heston's performance is beautifully nuanced and believable. Edward G. Robinson is unforgettable as Sol. References to this movie pop up in shows like "The Simpsons" and "Millennium" for the simple reason that it is a visionary look at the future with real heart - a true classic.

Actors:

Charlton Heston, Leigh Taylor-Young, Chuck Connors, Joseph Cotten, Brock Peters, Paula Kelly, Edward G. Robinson, Stephen Young, Mike Henry, Lincoln Kilpatrick, Roy Jenson, Leonard Stone, Whit Bissell, Celia Lovsky, Dick Van Patten

Review:

Not quite awful but very far from good, this odd little movie wears out its welcome a lot sooner than you might imagine. It's like one of those sub-standard VIZ clones that cluttered up newsagent's shelves from the late eighties onward come to life, with a screenplay apparently written by an unreconstructed nightclub comedian who aims for the lowest common denominator and hits his target every time. It might be funny to see marching genitalia, a monkey poking a woman's naked breasts or the Tarzan character getting his penis stretched to impossible lengths the first couple of times, but that's really all the film has going for it in the humour department. A shame, because the animation is actually pretty good, and whoever came up with the rich soundtrack score deserved to see his work put to better use. The film achieved a minor cult following in the early days of home video in England due to its explicit (for the time) subject matter and the novelty value of seeing cute characters behaving badly.

Actors:

Bernard Dhéran, Georges Aminel, Arlette Thomas, Paule Emanuele, Claude Bertrand, Pierre Trabaud, Roger Carel, Guy Piérauld, John Baddeley, John Belushi, Pat Bright, Adolph Caesar, Brian Doyle-Murray, Andrew Duncan, Judy Graubart, Christopher Guest, Deya Kent, Bill Murray, Emily Prager, Guy Sorel, Johnny Weissmuller Jr.

Review:

I was able to see a preview of this movie through UCLA's pre-screening program, and let me tell you: THIS MOVIE IS UNBELIEVABLY GOOD!!!! I have seen many movies, but few have made me laugh so sincerely or talk about the movie afterward as much as this one. I had a decent respect for Tenacious D before seeing the movie, and now I am MAD about them. I will most definitely buy their album when it is released on the 14th and will see this movie again.

If you were on the fence about seeing this movie, GET OFF AND GO SEE IT!! It is worth the extremely expensive price of movie tickets these days, as you will surely bust a nut laughing during the whole thing.

Aside from the comedy, the glorious and divine music that flows from KG's guitar and JB's voice is awe inspiring. The audience is left in a stupor that such beautiful harmonies and amazing riffs can be created in conjunction with such ridiculous (and hilarious) lyrics. If for nothing other than the music itself, this movie is worth the price of admission.

With a wonderfully coherent storyline tying in almost all aspects of the traditional "D" history and hallmarks, great new songs, hilarious comedy, and some pretty awesome cameos, this movie ranks up there with the best! Go see it!!

Actors:

Jack Black, Kyle Gass, JR Reed, Ronnie James Dio, Paul F. Tompkins, Troy Gentile, Ned Bellamy, Fred Armisen, Kirk Ward, Amy Poehler, Tim Robbins, David Grohl, Ben Stiller, Lara Everly, Brittany Eldridge

Review:

I must admit that I was a true loner in high school, and essentially I'm now at 33 I'm still a loner who has become a bit more jaded with the passage of time. With that said, John Hughes "The Breakfast Club" seems to me to be a sort of love letter to all of us who just seemed to blend into the background during our high school years. Of course like everyone I also have a favorite character in the film, and my choice is Allison who is wonderfully played by Ally Sheedy. So, my advice to all who have read this far is to try and watch this film with your emotions rather than trying to analyze the film to death.

Actors:

Emilio Estevez, Paul Gleason, Anthony Michael Hall, John Kapelos, Judd Nelson, Molly Ringwald, Ally Sheedy, Perry Crawford, Mary Christian, Ron Dean, Tim Gamble, Fran Gargano, Mercedes Hall

Review:

There have been more than a few films on the subject of the Holocaust, possibly the daddy of them all being Steven Spielberg's "Schindler's List" based on the book "Schindler's Ark" by Thomas Keneally. Much better, however, in my mind is Costa-Gavras' "Amen" based on Rolf Hochhuth's play "Le Vicaire". Now Mark Herman's "The Boy in the Striped Pajamas", itself based on John Boyne's novel, is fit to mentioned alongside these two great films.

I was initially doubtful at the premise of this film since my knowledge of Holocaust history suggested that 8 year old boys would have been sent straight to the gas chambers on arrival rather than set to work in a camp (obviously I am happy to be set straight on this point if I am wrong). And having seen the film, I also doubt that the boy in the camp (Shmuel, well played by Jack Scanlon) would be able to sit at the camp fence undetected long enough to meet and talk to Bruno, the camp Commandant's son (an astonishingly assured performance by newcomer Asa Butterfield).

There has also been some criticism of the fact that all the actors speak in Received Pronounciation English accents (even American actress Vera Farmiga, whose English accent is completely faultless). This is true, although to be completely accurate, all the actors would have to speak in German and the film would have had to be subtitled as a result.

In truth, however, none of these criticisms actually matters a damn. For even though all of the above is undeniably true, the film still works. And my, how it works. When it finished, I sat in my seat stunned (I had the same reaction after watching "Disaster Movie" last week, but most definitely not for the same reason, I assure you).

The Holocaust as seen through the prism of 8 year old German boy is a novel approach and although we all know what is happening at the camp nearby, at the beginning, he does not. And every step he takes, he gets closer to discovering the truth, losing his childhood innocence in the process.

What I liked about this film is the sophisticated and multi-layered portrayal of the German characters. None of them are one dimensional wholly evil characters but nor are they wholly good either (not even Bruno who tells lies on several occasions, one occasion which results in brutal punishment for one of the prisoners as a consequence).

With good performances from Asa Butterfield as Bruno, Amber Beattie as his sister, David Thewlis as his father, Vera Farmiga as his mother and Jack Scanlon as Shmuel, this may not be the first film about the loss of childhood innocence in the Holocaust (Roberto Benigni beat Herman to it with "Life is Beautiful" and whilst Benigni's film has a powerful end of its own, even that does not compare to the powerful shattering ending which this film possesses) but it is the best and most effective to date.

With restrained direction by Mark Herman and a similarly restrained score from James Horner, if this film does not win the hat full of Oscars next year that it surely deserves, the Academy of Motion Picture Arts and Sciences will have shown itself to be completely irrelevant.

Actors:

Asa Butterfield, Zac Mattoon O'Brien, Domonkos Németh, Henry Kingsmill, Vera Farmiga, Cara Horgan, Zsuzsa Holl, Amber Beattie, László Áron, David Thewlis, Richard Johnson, Sheila Hancock, Iván Verebély, Béla Fesztbaum, Attila Egyed

Review:

"The Lion, the Witch, and the Wardrobe" is a film with a lot to live up to. Not just it's (considerable) legacy, but the many recent fantasy films as well. The one place where there are no worries is the story. Four children living in London during WW2 are sent away as refugees to live in the country. The place they are staying is the home of an elderly professor. The youngest soon discovers a magical wardrobe which leads into another world. All of this is brilliant set-up for an adventure. It works much better than if they had simply entered a wardrobe in their own home. Out of many difficulties related to production, one of the largest lay in the script. Ann Peacock did a fine job adapting a film which is not particularly suited to the cinema. The director, Andrew Adamson is a bit unsteady with his first live-action feature. At times, a real spark is evident, but it is sometimes filmed too much like animation. One of the most important parts is the score. Harry Gregson-Williams does do a fine job, but has not created a score that is quite good enough to work separate from the film. The few vocals that are included work nicely as well.

The cast is nearly perfect. The expression of wonder and awe on the face of Georgie Henley (Lucy) seems to be completely real. She is a joy to watch, and appears to truly love playing her role. Skandar Keynes (Edmund) plays his character with all appropriate mean-spiritedness and greedy attitude. William Moseley and Anna Popplewell (Peter and Susan) are good as well, but not as complicated or important characters as the two youngest. Tilda Swinton (Jadis - The White Witch) has a shockingly sharp stare, which she uses greatly to her advantage. Her appearance and demeanor are excellently suited to her role. James McAvoy (Tumnus) is one of the stand-out supporting roles, and fits seamlessly into his animated lower half. Of course, most important of all is the character of Aslan, voiced by Liam Neeson. A perfect choice for the role, Neeson gives a sense of great age and dignity.

Even though I missed the opening night due to bad Canadian weather, the crowd retained that grand spirit of being one of the first to see a film. "The Lion, the Witch, and the Wardrobe" has left a big impression for fantasy films to follow, and will likely be followed by six more motion pictures from The Chronicles of Narnia.

9.1 out of 10

Actors:

Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Tilda Swinton, James McAvoy, Jim Broadbent, Kiran Shah, James Cosmo, Judy McIntosh, Elizabeth Hawthorne, Patrick Kake, Shane Rangi, Brandon Cook, Cassie Cook

Review:

I was fortunate enough to be invited to a screening in Washington, DC prior to release. This production has what it takes. Great production, true to the story line, lots of nail biting and fascinating.

It never felt like it was over two hours. I'd have to say that Walden did an amazing job of staying true to the storyline and that Disney's magic is back. I will recommend this movie and absolutely plan on adding the DVD to my library when it comes out. I may even go and pay to see it again.

The only recommendation I have is to continue with the other 5 books. I've seen every one of the productions of The Lion, The Witch and The Wardrobe, and it took Disney to make it right. Now they've continued with Prince Caspian, and I'm anything BUT disappointed. As long as the storyline and production keep improving, it can only get better.

Actors:

Ben Barnes, Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Sergio Castellitto, Peter Dinklage, Warwick Davis, Vincent Grass, Pierfrancesco Favino, Cornell John, Damián Alcázar, Alicia Borrachero, Simón Andreu, Predrag Bjelac

Review:

Definitely, a beautiful movie! Superbly shot, with obvious plastic virtues, and a keen eye for epoch reconstruction and historical precision. A real feast for the sore eyes.

The script itself, however, is quite linear, devoid of logic and imagination. One should remember that the genre of fantastic realism supposes certain rules that must be followed. Once we propose a fantastic premise - here, the "curious case of" a child born old and gradually regressing to youth and infancy - we must construct its relationship with the real world, rational and natural as we know it, in a coherent and credible form. This is how we achieve that "state of real" which makes the basis of any successful fantastic story.

In this case, the state of real is sorely amiss. Although aware of the protagonist's oddity, the people around react in an apathetic and conventional way. As such, paradoxically, the convention doesn't function (or, in other words, "conventionalism kills the convention"). As a result, the much needed conflict is weak and fragmentary. The writers show a surprising lack of creative imagination, just going with the flow. And the flow is slow. And low.

One should also point out that the script departs its own referential frame. So, our character "turns young", with all the consequences as such derived. But, dearies, sclerosis, Alzheimer and any other forms of senile dementia are 100% results or the brain's physical degrading (the neurotransmitters' failings, the proteins' faulty processing, and so on!) As such, WHY does the "old child" B.B. turns senile, when his brain is literally young and vital? BY CONTRARY, in that instance, we really had a high potential for drama: an individual having all the knowledge and living experience of eight decades of life, amplified by the super-intelligent and vivid mind of a child! A "wonder-kid", a "genius", not due to any super-powers, but strictly as a result of his own peculiarity: age regression! THIS was the true ending of the story - and how dramatic and compelling it would have been! A real ending to remember! As such (and following also the total lack of depth and fantasy of the story, plus the stereotype profile of B.B. - who has no personality at all), everything remains shallow, useless, slow-paced, boring and insignificant. Thank God, the plastic departments are sublimely represented! At least for cinematography, sets, costumes and, of course, first of all make-up, this movie would deserve some Oscars (but only in those fields!)

Actors:

Cate Blanchett, Julia Ormond, Faune A. Chambers, Elias Koteas, Donna DuPlantier, Jacob Tolano, Earl Maddox, Ed Metzger, Jason Flemyng, Danny Vinson, David Jensen, Joeanna Sayler, Taraji P. Henson, Mahershalalhashbaz Ali, Fiona Hale

Review:

It's odd to think that fifty years from now there may only be a handful of movies released in 2004 that will be remembered at all. I don't care to venture any guesses as to what they may be, but it's easy to see why The Day the Earth Stood Still is one of the ones from 1951 that remains a classic, while so many others sank into obscurity. The movie deals with a theme that was at the forefront of so many peoples' minds in the early 1950s, in America and the rest of the world, and that is the conflicts between many different nations, and more generally the tendency for humans to fight each other. It was released at the time of the Red Scare and so soon after World War II that international tensions were still high. Also odd is that if you switch the last two words in the title, why, it's not very frightening at all!

Okay, that made no sense, but I couldn't resist. My respect for the movie dimmed sharply when I saw that the alien was not only a man, but a good looking man who spoke perfect English, but then won back my respect completely when it took the time to explain that his culture had learned about humans through intercepting radio transmissions over many years. Unlikely, but it's an explanation, which is more than most science fiction films provide. Granted, not much time should be wasted on the science of science fiction, but in this case something had to be said. The alien didn't give may details as to his physical condition, but scientists hypothesized that since he so closely resembles a human, he must have a similar environment to our own on his planet.

Speaking of which, there is one thing about the science that I'm also curious about. At what stage were astronomical studies in the early 1950s? I'm wondering how far into space scientists were looking, because Carpenter, the alien, states with some grandeur that he has traveled 250 million miles to get to earth, which in astronomical terms is a tiny, tiny distance. Considering that the sun is 93 million miles from earth, this would mean that his planet is within our own solar system. And here's another little factoid – Earth makes a complete revolution around the sun every year, as you know. Pluto, on the other hand, takes something like 248 years to revolve around the sun. That has nothing to do with the movie, but is an interesting digression, I should think.

I found the political backdrop to be one of the most interesting things about the movie, and not only because of what the political landscape was like at the time. It was interesting to watch a movie about aliens that so quickly and completely dissolved into a close examination of volatile human relations, and without ever becoming preachy or devolving into peace propaganda (oxymoron intended). I actually think that a large part of what made up for the lack of aliens in this alien movie was the validity that its argument has.

When Carpenter (who they stopped just short of simply naming Jesus) was greeted with the response that a meeting with all of the worlds leaders was impossible because of tensions between nations, he was genuinely surprised and saddened. He gives as his reason for visiting earth the fact that his civilization has noticed satellites being launched around the Earth's atmosphere and, since humans clearly are unable to get along, he was sent here to tell us to join them and live in peace or face our present course and face obliteration. Most importantly, if we chose the latter, they would be there to ensure that we would not export our violence to peaceful civilizations in space. The descending nature with which he speaks is truly revealing, it makes humans look childish because of our constant battling with one another.

This is also where the movie coincides with some of the themes that Jonathan Swift presented in Utopia, his novel upon which several failed civilizations have been attempted. They have created robots, which we seen in the Iron Man, to prevent the rise of violence in their society. The robots have tremendous power, which cannot be revoked, and at the first sign of violence they react swiftly against the aggressor, which results in a peaceful society. I'm also reminded of Gulliver's Travels, also by Jonathan Swift, particularly the section where Gulliver lives among the Houynymns which, interestingly enough, are talking horses with a remarkable ability to live at peace. When at one point Gulliver describes lying, which does not exist to the Houynymns, one of them responds incredulously with something like, "Why on Earth would one say something that isn't so?" Carpenter displays exactly the same shocked surprise when he learns of some of the awful characteristics of human beings, which seems to suggest that before we look for other civilized worlds in the galaxy, maybe we should work a little more on civilizing our own world.

The famous quote that I've quoted in my summary line is one of the many delights that this film presents, and Evil Dead fans will be thrilled to see the origins of those strange words that Ash had such a hard time speaking in Army of Darkness. The genre of science fiction has a much larger than average ratio of bad films to good ones, and I think the best ones are the ones that have a concrete connection to the real world, as The Day the Earth Stood Still obviously does. Given the political atmosphere here in the first month of 2005, it's obvious that humans have not taken much advice from this movie, but then again, as Arnold stated in Terminator 2, "It's in your nature to destroy yourselves."

Scary.

Actors:

Michael Rennie, Patricia Neal, Hugh Marlowe, Sam Jaffe, Billy Gray, Frances Bavier, Lock Martin

Review:

This movie is really exceptional in a lot of ways. It's got one of those plots, full of ironic reversals and personal struggle, that's been turned into melodramatic trash in every creative medium ever invented. With Robin Williams as the magic crazy guy and Jeff Bridges in an 80s ponytail, the ways the basic concept could have gone awry (in other hands) are truly frightening to contemplate. But with Terry Gilliam at the helm, The Fisher King speaks to your emotions more directly and powerfully than 90% of the movies out there without degenerating into sappiness.

Perhaps the most brilliant acheivement of this movie is the way it takes Robin Williams' crazy-improvisational persona and makes it an integral part of the story. Instead of being a tacked-on adjunct to the "real" movie, Williams' stream-of-consciousness patter is essential to the work as a whole.

At the same time, Gilliam is making an almost-mainstream movie for the first time in his career, while explicitly referencing his past (the Holy Grail). It all comes together into a movie you will never forget.

Actors:

Jeff Bridges, Robin Williams, Mercedes Ruehl, Amanda Plummer, David Hyde Pierce, Adam Bryant, Paul Lombardi, Ted Ross, Lara Harris, Warren Olney, Frazer Smith, Kathy Najimy, Harry Shearer, Melinda Culea, James Remini

Review:

An R-rated "Yellow Pages--let your fingers do the walking" ad. A bizarre kitchen cook show. "The Dealers." "Mumble" jazz music over the Watergate hearings. Koko the Clown. Dated stuff, but occasionally funny stuff, and arguably stranger than either Kentucky Fried Movie or Tunnel Vision. I was surprised to hear that this movie was originally rated X, when it contains less nudity and sex than Kentucky Fried Movie. Perhaps the full frontal nudity of both the hitchhiker and the girl nailed the rating.

Of the skits, The Dealers contains some inspired moments and leads up to a great punchline. Koko the Clown is hilarious. However, the 2001 spoof at the beginning drags on too long, and like Kentucky Fried Movie, the movie is a bit too obsessed with the act of sex. Writer/director/star Ken Shapiro pretty much dropped off the face of the Earth after this movie, unless of course if you count Modern Problems, more "family friendly" than Groove Tube but weird in its own right.

Actors:

Ken Shapiro, Richard Belzer, Chevy Chase, Buzzy Linhart, Richmond Baier, Berkeley Harris, Jennifer Welles, Roy Wallace, Kirtus Allen, Laura Glicken, Hal Fore, Jennifer Zens, Leo Petrie, Lane Sarasohn, Paul Norman

Review:

First, let me start by saying that this is a funny film.

Like many others, I suspect, I was worried by the MJ Simpson negative review, but having seen the film I can't really understand what all the fuss was about.

Personally, I am very happy that this version contains the new material. I don't want to sit in the cinema watching a line by line copy of the radio play, book, or TV series. Each of those stand by their own merit, and each were good largely because of the new material they contained.

I think the cast did an excellent job, and although Zaphod wasn't quite how I pictured him, Sam Rockwell brought a freshness to the part which largely works. His portrayal of Zaphod as a guy who "thinks he is cool", rather than "is cool" works pretty well, and once you get over the southern drawl, he soon settles as a character. Ford is beautifully played, as are all the major characters.

Admittedly, some of the criticisms that were voiced by Simpson have some justification, but most were simply overstated to support his general vitriolic attack on the "purity" of the film.

In summary, go to see this film and don't worry.

I'm looking forward to the DVD and I have all my fingers crossed for a sequel.

Martin

Actors:

Bill Bailey, Anna Chancellor, Warwick Davis, Mos Def, Zooey Deschanel, Su Elliot, Martin Freeman, Stephen Fry, Richard Griffiths, Dominique Jackson, Simon Jones, Thomas Lennon, Mark Longhurst, Kelly Macdonald, John Malkovich

Review:

I think it is important to remember that Peter Jackson took up this film not in order just to make a film of `The Lord of the Rings' but because he wanted to make a 'fantasy just like the `The Lord of the Rings'" as he himself put it. After repeating that phrase on a number of occasions the question popped into his mind: "Well, why not the `The Lord of the Rings' itself?". In doing this he, of course, set himself an enormous challenge: he had to make a really good `fantasy' film, one which would stand on its own and be true to what he had originally wanted to do but he would also, and here the task he had set himself was enormous, be true to the original book and to make a film which the legions of people who have loved this book would feel happy with. In the latter task he was certainly not helped by the author or the book: Tolkein, it would seem, hated cinema. The book itself is `HUGE': this was not going to be the kind of task that the James Ivory team set themselves, or Scorsese nor the kind of task facing Branagh with Hamlet; nor was it going to be like the puny task that faced Columbus with `Harry Potter' who had the bigger budget ($130 million for one film as compared with Peter Jackson with $300m for three).

I have just seen the first `volume' and can say without hesitation that he has succeeded in both his goals. It is not the book but a reading of the book which is inventive and fascinating. It is the kind of experience that makes you want to go back and reread the whole thing in the light of the emphases that Jackson has brought to the story. He focuses on the corrupting influence of the ring and, through this focus, the character of the chief protagonists of the story are revealed. Clearly those most tempted by it are mortal men (Boromir and even, in one moment, Aragorn), those who already have power (Elrond - `The ring cannot stay here'; Galadriel; Gandalf and Saruman), and, of course, those who would not normally desire it but who by accident become ring bearers - Gollum, Bilbo, Frodo. I can see why, in this reading, Jackson decided to leave out the Bombadil episode. Bombadil, like the Balrog, is beyond the ring but the latter is important to the unfolding of the story of the fates of all the characters, Bombadil isn't.

It is a miracle of this reading of the first volume of the book that one can see where Jackson is going and one can get a feel of how the reading is going to unfold. In a sense, Jackson's real trial - as far as those who know the books are concerned - will come with the second film in the series. He has lived up to our expectation by creating even bigger ones: how can he handle the story of the chase andrescue of Merry and Pippin, the storming of Isengard etc - stories which don't really add much to the core theme that is emerging. Or is he now going to add the theme of the great contest of good versus evil to the unfolding reading?

All of this points to the fact that the film, even though it is a feast of special effects, focuses on character. And this also explains why Jackson chose the actors he did for their roles: they are not `big' names - no `Sean Connery', no `Alan Rickman', no `Brad Pitt', no `Sam Neill'etc. He didn't want them getting in the way of the story of character. Ian McKellan's talents, in particular, are used to tell a large proportion of the story: an enormous amount is conveyed simply through his facial expressions and even by the language of his body. The other miracle in all of this is Elijah Wood. Like many others, when I first heard of Jackson's choice, I groaned: but Wood has been extraordinary. He brings, as one friend said, a strange kind of androgyny to the role and this is just perfect. McKellan has already been knighted: give Wood the Oscar.

And then there is Middle Earth: this is, as someone put it, another character in the story and the New Zealand landscape, digitally enhanced on occasion, lives up to its role too.

Enough. See this film! Greatest film ever made? How can one make a claim like that! Silly really; as silly as claiming that `The Lord of the Rings' is the greatest book ever written. Can't one simply love a story, enjoy reading it a number of times amd lose oneself in it. One CAN claim that it is the greatest work in its genre as is the film.

10/10

Actors:

Alan Howard, Noel Appleby, Sean Astin, Sala Baker, Sean Bean, Cate Blanchett, Orlando Bloom, Billy Boyd, Marton Csokas, Megan Edwards, Michael Elsworth, Mark Ferguson, Ian Holm, Christopher Lee, Lawrence Makoare

Review:

I considered The Fellowship of the Ring to be one of the greatest movies ever. This one is better!

The scenery is marvelous, the animations great, and the story superb. This episode strays further from the books when it comes to the unfolding of events, but I feel that it stays closer in atmosphere and realism; the nazgûls are now the fear-inspiring creatures they should be. Gollum, excellently implemented, even becomes more realistic then I remember him from the books, not to mention other attempts to portray him. His schizophrenic monologues are among the highlights of the movie.

The major drawback is once again the apparent incapability of the dark-side creatures. Aragorn with fellows can ride back and forth among them unhurt, while the Uruk-Hai fall in large numbers just for being nearby. Though I enjoy many of the jokes made at Gimli's expense, this still is another thing I partly dislike. Gimli sure is no clown in the books.

I rate the movie 9/10 (my highest so far).

Actors:

Bruce Allpress, Sean Astin, John Bach, Sala Baker, Cate Blanchett, Orlando Bloom, Billy Boyd, Jed Brophy, Sam Comery, Brad Dourif, Calum Gittins, Bernard Hill, Bruce Hopkins, Paris Howe Strewe, Christopher Lee

Review:

Frodo and Sam continue their quest to destroy the ring, led by the untrustworthy Gollum. Meanwhile the rest of the Fellowship prepare for another battle to hold a human city against an onslaught of orcs.

If you check my other reviews you will note that I wasn't a massive fan of the first two films - I loved them, but was not blind to their faults. However, let me just lay my cards out here, I was totally blown away by this film. For the vast majority (and more of that later) the narrative flowed really well where the other two films had struggled to really keep consistent. Here the various strands work well together and, while characters have only brief times to tell stories, on the whole it manages it well. I got the feeling that the film really let rip - it knew this was the ending and it did feel that everything came together in a collection of noise and energy which really made it feel like the final part of a trilogy rather than just a stand alone film.

The one area where the film really stutters (and actually caused people to leave the cinema in annoying numbers) is ironically the place where Jackson is true to the book, and that's the final 20 minutes. There is a clear scene where the film ends, however it then runs for another 20 minutes - which is a mix of scenes that all fade out like they were the end. To Joe Public (ie me!) I would have been happy not to have all the loose ends tied up in the way the book does it - the film should have ended on a high (with the King being crowned etc) but instead it seems to crawl to an end in a way that is not in line with the momentum of the film (if not the whole trilogy!) This problem is minor on the grand scheme of things, but I would rather have left the cinema on my high than be made to wonder `when's this ending? Is this the end now? Oh, maybe this is it now?' - but I do understand why it was done this way.

The cast, as they have been all the way, are excellent. Wood's Frodo changes well during this film while Astin is touching in his portrayal of unerring friendship. Bloom and Rhys-Davis had less to do but came into their own during the battle scenes - adding both action and the odd comic touch (`that still counts as one' being accepted by the audience as a chance to break the tension). Mortensen is the title character and serves it well, with McKellen also continuing his strong role. I could list through the whole cast but I will stick with noting two things. Firstly, both Monaghan and Boyd had bigger and more meaningful roles and rose to them well. Secondly I continue with my belief from the second film that Serkis is the stand out actor of the trilogy. His Gollum is so much more than an effect - he is tragic, fearsome, hateful and funny. Praise of course goes to the special effects for making this character tell so much with an expression but to pretend that the work of the actor is secondary to the character (as opposed the look) is foolish. He deserved one for Two Towers so I hope an Oscar goes his way. It was a shame to not have screen time for Lee but the film works well without him and it was a brave move by the editors.

The special effects do not stand out - and that's a compliment. Even in state of the art movies of late I have been aware that I could be watching a video game. Here I only occasionally noticed that things were clear computer effects, even though the majority of the film was! This is how they SHOULD be used - not as a draw in their own right but as part of the film. Whether it be the massive battle scenes that are spectacular or the animated spider or just the fact that I forget that Gollum is only an effect, I cannot fault it's use of effects or the sheer visual feast that is this film.

I have tried not to gush because there will be plenty of others to do that without me joining them, but it is hard to really fault this film. It is the strongest of the trilogy and brings it all together really well, it is an emotional event more than a film and, if Jackson needs 20 minutes of slow closure to finish it to his satisfaction then I can give him that in return for all the hours of wonderful cinema that he has given me.

Actors:

Noel Appleby, Alexandra Astin, Sean Astin, David Aston, John Bach, Sean Bean, Cate Blanchett, Orlando Bloom, Billy Boyd, Sadwyn Brophy, Alistair Browning, Marton Csokas, Richard Edge, Jason Fitch, Bernard Hill

Review:

This is just a wonderful telling of Charles Dickens great Christmas story. The story being so good, you would have to try had to make a bad movie out of it. But the Muppet Christmas is a splendid modern version which probably Dickens himself would have liked a lot.Other than Disney movies, the singing does not get on the nerves and the comic relief is actually funny. Muppet characters we have known for decades like Kermit and especially Gonzo are having great moments.This is the perfect Christmas movie to watch with kids. It is something to lighten up your soul. And the fate of Tiny Tim is a cause for tears again and again, no matter how often you watch the film.Merry Christmas!

Actors:

Michael Caine, Dave Goelz, Donald Austen, David Alan Barclay, Robbie Barnett, Meredith Braun, Fergus Brazier, Marcus Clarke, Raymond Coulthard, Sue Dacre, Geoff Felix, Jessica Fox, Anthony Hamblin, William Todd Jones, Steven Mackintosh, Russell Martin, Kristopher Milnes, Nigel Plaskitt, Karen Prell, Mike Quinn, Tim Rose, Edward Sanders, Theo Sanders, David Shaw Parker, Reginald Turner, Robert Tygner, Robin Weaver, Simon Williamson

Review:

I really loved this movie, which is impressive since I usually can't stand fantasy/adventure movies. It affected me on a nostalgic level, as I had seen it once before, when I was about 7-8 years old, and seeing it again(now 17, soon to be 18) brought back a lot of memories. The movie is like it's made up of hundreds of kids' imaginations. It brings you some of the most memorable and fantastic creatures ever seen on film. Of course the effects seem awfully dated, especially now, where practically every new movie has CGI effects; but they're still good enough, and they were very good in their time. The plot is great, it evolves at a perfect pace, and keeps your interest from the very first second to the very last. I never took my eyes off the screen. The acting is also great, which is quite an achievement, considering the fact that a lot of the cast consists of child actors, but they all portray their respective characters well, and pull off believable performances. The characters are well-written, and, considering that they mainly consist of fantasy creatures, they're all perfectly credible. There isn't really anything in this masterpiece of fantasy/adventure that I would change in any way; even the few things that are corny have their own charm. I recommend this to any kid, and any person of any age who enjoys fantasy/adventure. It's definitely worth watching. 10/10

Actors:

Barret Oliver, Gerald McRaney, Drum Garrett, Darryl Cooksey, Nicholas Gilbert, Thomas Hill, Deep Roy, Tilo Prückner, Moses Gunn, Noah Hathaway, Alan Oppenheimer, Sydney Bromley, Patricia Hayes, Tami Stronach

Review:

THE NIGHTMARE BEFORE CHRISTMAS / (1993) ***1/2

Starring the voices of: Danny Elfman, Chris Sarandon, Catherine O'Hara, Ken Page, Ed Ivory, and William Hickey Directed by Henry Celiac. Written by Michael McDowell. Running time: 76 minutes. Rated PG (for horrific images and some animated violence).

Tim Burton seems like the only being on the planet who could come with characters such as the ones found in "The Nightmare Before Christmas." The feature is literally a tale likely to be found in a child's dreams. It creates a world of its own, inhabiting unforgettable characters and events that should be shared with generations. This film is a visual masterpiece; a movie that deserves to be a holiday favorite for some time to come.

The atmosphere director Henry Celiac captures in "The Nightmare Before Christmas" is truly breathtaking. The cities and setting in which these characters live are visually perplexing, yet descriptive and develop the production's mood perfectly. We, as audiences starving for originality and imagination, are able to enter a scope so believable and unrelentingly convincing we lust for every last minute of it.

The movie's protagonist is Jack Skellington, the pumpkin king of the holiday town of Halloween. Jack is the role model for much of the cities population. The only problem is that Jack has been around for ages, parked in a town where every single year builds up for a conventional holiday, Halloween. This character has grown depressed and saddened by the routine living style he inhabits. We learn of his passion for new events and a and new life through a musical number that is both effective and engaging.

Later on that vary night, Jack wonders off into a nearby woods and stumbles upon an area surrounded with magical doors leading to specific holiday worlds. Jack, blooming with curiosity, enters Christmas town: a joyful, happy place with snow, glitter, children singing, and colorful lights decorating the village in its entirety. Jack is mystified by the glamorous atmosphere, and rushes home to tell the Town of Halloween about his adventures.

We realize the internalconflict is Jack's boredom of routine. This becomes more complex when he tries to figure out the meaning of Christmas. The external problem comes later in the plot, where we predict an uneasy disaster upcoming due to his intentions of recreating Christmas in Halloween style.

Other key characters are Sally, the puppet-like creation of an angry professor, the city's Mayor who has a head for both his good and bad personality, the Oggie Boogie, the film's villain who is everything we ever dreamed of regarding a diabolical animated bad guy, and the inevitable character of Santa Clause.

"The Nightmare Before Christmas" is not necessarily a children's movie, it might be too strange or fanatical for the very young. It is certainly a musical production, and at times, I felt that the songs replaced essential development. However, the musical numbers are challenging and memorable, containing passion and emotion. The picture is a walk into the mind of some of the most wildly imaginative filmmakers of our time. "The Nightmare Before Christmas" is titled wonderfully, although the film is truly not a nightmare, but a dream--a dream brought to life on the big screen.

Brought to you by Touchstone Pictures.

Actors:

Danny Elfman, Chris Sarandon, Catherine O'Hara, William Hickey, Glenn Shadix, Paul Reubens, Ken Page, Edward Ivory, Susan McBride, Debi Durst, Greg Proops, Kerry Katz, Randy Crenshaw, Sherwood Ball, Carmen Twillie

Review:

This film is twisted and dirty. I just wanted to get that off my chest. Now to my review. I was fascinated by the idea of an R rated cartoon, and Fritz the cat seemed the obvious choice. The film begins with Fritz' wife harassing him about the state of his life. To escape the ranting, he lights up a joint and reminiscences how he came to lose many of his lives. The film ultimately shows that Fritz has no chance to improve his life, as every opportunity he gets he sees as another chance to have sex, smoke, cheat the system, and make an idiot of himself. some trippy scenes follow in this dark movie. I would not recommend this to the faint hearted, the violent scenes of murder and assassination are examples, but if you're looking for something different, give it a look.

Actors:

Skip Hinnant, Reva Rose, Bob Holt, Robert Ridgely, Fred Smoot, 'Sweet' Dick Whittington, Luke Walker, Peter Leeds, Louisa Moritz, Larry Moss, Joan Gerber, Jim Johnson, Jay Lawrence, Stanley Adams, Pat Harrington Jr.

Review:

David Hare wrote one of my favorite female characters in "Plenty", Meryl Streep brought her to life in the most extraordinary way. Here, Hare writes another power house female character. It doesn't have the intellectual aspirations of "Plenty" but there is also a form of mental illness in his character. Kate Winslet is magnificent. Her early scenes with the wonderful David Kross are filled with compelling, contradictory and totally believable undertones. My misgivings are to be pinned on Stephen Daldry, the director. His sins as a filmmaker start to become a sort of trade mark, visible and palpable in the moving "Billy Elliot" and the shattering "The Hours" I can't quite pinpoint what it is but in "The Reader" that element is more obvious than in the other two. Maybe it has to do with loftiness. There are moments so frustratingly long and slow here that he lost me in more than one occasion. In any case, the cast makes this film a rewarding experience. Besides Kate Winslet and David Kross. The tortured Ralph Finnes has a couple of wonderful moments as well as Bruno Ganz and Lina Olin in a dual role.

Actors:

Michael Berg, , Young Michael Berg, Hanna Schmitz, , , , , , , , , , ,

Review:

The Patriot is NOT a documentary. It didn't pretend to be, and wasn't. Loosely based upon Francis Marion (the "Swamp Fox"), it only touched on Marion's impact on the Revolution in South Carolina. If anything, it was downplayed. For instance, in real life, he had over 150 men in his guerrilla band. The movie portrayed much less. As a documentary, it fails on this and other points. As a movie, it is a tremendous success.

As far as visuals, it was stunning. The wide-open vistas and battle scenes were breath-taking and beautifully filmed. Yes, it was violent, but that lent a realism to the film that most other films about this era lack. The look and feel of this period was portrayed well.

The acting was superb. I won't give anything away, but this did NOT have either a "Hollywood" plot or much of a "Hollywood" ending, as I feared it would. That was impressive, and made the film genuine, exciting and at times, shocking. Plot points such as Benjamin Martin's youngest daughter's feelings about her daddy, and the romance between his son and a young girl were touching, and even emotional.

I found some things complain about. Crisp, clean, brand-new Colonial American flags suddenly appear after, and during, the final battle. In reality they would have been rags by then – or at least not so clean. One bad bit of dialogue: Benjamin Martin is on the beach with his sister-in-law, and he asks if he can sit down. Her reply, "It's a free country – or soon will be." was a 20th century throw-away line dressed up with a 1780 caveat, and I cringed at it.

The film was historically accurate in many respects. The formal way of speaking, plus the family-above-all, loyalty-to-The-Cause attitudes expressed throughout, were genuine, even though both are out of favor today. Children using weapons, and going off to fight on a moment's notice, was not an uncommon story, and supposedly happened in a branch of my own family. Relationships like Martin's and his wife's sister did occur, often out of necessity. I was surprised to read afterwards that the battle tactics of the last scene occurred, almost exactly as shown, at the Battle of Cowpens, including fierce hand-to-hand combat. Colonel Banastre Tarleton – the basis for the movie's character William Tavington – was indeed seen as a war criminal by American colonists at the time, and the real Tarleton even had a horse shot out from under him!

But was it biased? Sure it was. Roughly a third of the American colonists were Loyalists, another third were `rebels', and another third were undecided. It would have made the story more complete and complex to portray this (or the time Tarleton mistakenly slaughtered some of those very Loyalists!) But I've read a poem online, "Ode to Valour", dedicated to Col. Tarleton's "heroic exploits" that would shame modern-day propagandists.

I think we all accept that not every British officer of this era was a monster. In fact, in the movie – as in real life - Cornwallis and other British officers were appalled that the "Ghost"/Swamp Fox did not play by the rules of "civilized warfare", and chastised characters like Tavington who also breached them. The real Swamp Fox knew a bit about balance, however. After after the war, when the real Francis Marion served in the South Carolina Senate, he is said to have advocated a lenient policy toward the Loyalists. The real Tarleton survived the war, went home to write his memoirs, was seen as a hero, and was elected to Parliament. Maybe we need a sequel to cover all of these other aspects of the story. Until then, this one is a must-see.

Actors:

Mel Gibson, Heath Ledger, Joely Richardson, Jason Isaacs, Chris Cooper, Tchéky Karyo, Rene Auberjonois, Lisa Brenner, Tom Wilkinson, Donal Logue, Leon Rippy, Adam Baldwin, Jay Arlen Jones, Joey D. Vieira, Gregory Smith

Review:

Excellent adult thriller. Stylish, intense, funny and unexpectedly moving. Intricately plotted (it will always be one step ahead of you) and fluidly, inventively directed (including a unique twist on Eastwood's classic "Did I fire six bullets...or only five?" line). Well-acted, especially by Kilmer. The less you know about it beforehand the better, though, so I'll just add this: this film is not always pleasant to watch, but it has personality and will take you on quite a journey. Don't read about it, see it. (***)

Actors:

Val Kilmer, Vincent D'Onofrio, Adam Goldberg, Luis Guzmán, Doug Hutchison, Anthony LaPaglia, Glenn Plummer, Peter Sarsgaard, Deborah Kara Unger, Chandra West, B.D. Wong, R. Lee Ermey, Shalom Harlow, Shirley Knight, Meat Loaf

Review:

Thomas McCarthy's follow-up to the enchanting "The Station Agent" (2003) is another contemplative drama filled with subtle humor and a lot of humanity/passion for its characters. Walter (Richard Jenkins, "Six Feet Under") is a widowed college professor that meets two illegal immigrants - a Senegalese woman (Danai Gurira) and a Syrian man, Tarek (Haaz Sleiman) -, living in his apartment in NYC. After the initial discomfort of the situation, Walter decides to help the young couple and an unlikely friendship is born.

"The Visitor" deals with human relationships and discusses post-9/11 America socio-political issues (the plight of immigrants, xenophobia, etc.) with no hidden agendas. McCarthy has proved himself as a sensitive director/writer, and he extracts a magnificent performance from Richard Jenkins, a character actor who gets his first leading role at the age of 60. Jenkins is fascinating to watch as an ordinary man trying to find himself; he gives one of the best male performances of the decade and I'd love if he got at least an Oscar nomination, since I can see him remaining in my top 5 by the end of the year, perhaps still as my favourite. I know that the movie's small indie weight and the fact that it was released early in the year will probably hurt his chances (the Independent Spirit Award could be his biggest reward), but if it's strongly campaigned, it might get a nod à la "The Savages" (even though I know he's not half big a name as Laura Linney). Anyway, I hope he gets some sort of recognition - he'll also be seen later this year in the Coens' "Burn After Reading". If you like human dramas, sensitive writing/directing and superb acting, you should check "The Visitor" - the finest 2008 release I've seen so far. 10/10.

Actors:

Richard Jenkins, Haaz Sleiman, Danai Jekesai Gurira, Hiam Abbass, Marian Seldes, Maggie Moore, Michael Cumpsty, Bill McHenry, Richard Kind, Tzahi Moskovitz, Amir Arison, Neal Lerner, Ramon Fernandez, Frank Pando, Waleed Zuaiter

Review:

I have never been so terrorized while watching a movie. The tension in this film is so greatly created but it makes you want to leap out of your seat, dash down the aisle, and never think about kissing again. I felt the need to take a long, hot shower after this film, as it left almost a pile of dirt on each my shoulders. When coming out of movies, I can usually express right away the emotional turnout the film provided but this left me bewildered, stunned, shocked, more adjectives. The art direction was probably some of the most beautiful I've seen, but it's hard to appreciate a film when you keep turning away and groaning in agony at what could happen next. I suggest seeing the film, as it is masterfully done and quite beautiful, but be prepared to be repulsed and saddened by all that you see.

Actors:

Jodelle Ferland, Janet McTeer, Brendan Fletcher, Jennifer Tilly, Jeff Bridges, Dylan Taylor, Wendy Anderson, Sally Crooks

Review:

I was lucky enough to see this piece of celluloid magic on the big screen when it first came out. I'm glad I did, too, because the shoe-box multiplexes that were being slapped together couldn't do this movie justice. Terry Gilliam hits just the right note when he introduces Kevin, a ten-year old with big appetite for western mythology(you get the impression that in another year, he'll be reading Joseph Campbell and Rider Haggard)and an even bigger imagination. Having parents of the most sterile, materialistic bent(plastic couch covers--ecch)just ensure his receptiveness to the adventures that follow his falling through the time-door in the back of his closet with Randall and his fellow dwarves as they plunder and loot their way through time and history. Gilliam pokes fun at some of history's figures, like Napoleon("That's what I like to see--little things hitting each other!"), Robin Hood("was it really necessary to hit him?""Yes boss.""Ah, I see."),and others. Gilliams' lesson that having lots of stuff will not ensure happiness and that usually, the journey itself is reward enough is artfully told without flogging the audience with it. Something else that stuck with me, but I didn't realize until long afterwards, were the things that Kevin discovered, after a fashion, in his adventures but didn't have in his life back in the 'burbs: a real father figure, played by Sean Connery as Agamemnon, and true love, as presented by Peter Vaughan and Katherine Helmond as Mr. and Mrs. Ogre. Plus the special effects are economically impressive without being too cheesy(my god--the fortress of ultimate darkness WAS made of lego blocks!). In the end, though, it was something that I find far, far too rarely in movies now and before, and it occured to me after I had seen, of all things, "Crouching Tiger, Hidden Dragon". What Ang Lee's film had in common with Gilliam is simply this: they both had the feel of a great big story that you came in the middle of, and you didn't want ever to end, but it didn't matter, because the structure was such that you had enough to digest for now. And I can count on less than two hands the movies where I was left with THAT wonderful feeling.

Actors:

John Cleese, Sean Connery, Shelley Duvall, Katherine Helmond, Ian Holm, Michael Palin, Ralph Richardson, Peter Vaughan, David Warner, David Rappaport, Kenny Baker, Malcolm Dixon, Mike Edmonds, Jack Purvis, Tiny Ross

Review:

When I look at Jan De Bont's resumé, I think of all the brilliant Dutch projects he has worked upon, and then I think of the films he has directed in America. The gulf between the two is such that even the less discerning can't help but be amazed. This is, after all, the guy who worked alongside one of Holland's favourite sons, the legendary Paul Verhoeven, on such indisputable triumphs as Turks Fruit or Flesh + Blood. To call directing such dreck as Speed or Tomb Raider 2 a comedown is a form of flattery.Lara Croft, Tomb Raider: The Cradle Of Life, also proves one of a certain critic's rules regarding appreciating film based on their titles. The rule basically states that the longer the title is, the worse the film will be. Just as RoboCop, clocking in at a mere seven characters, is one of the greatest films the American film industry has ever been blessed with, Tomb Raider 2's full title clocks in at a whopping forty-two. Believe me, the quality level indicated by this under the aforementioned rule is very much in force here.A classic example of this film's idiocy is when Lara, bleeding from one leg and stranded outside an underwater crypt, punches a shark in the face before riding on his back and finding a quiet place to sleep out on the ocean for an unspecified period. I'm no expert on sharks, but I would have thought that the impediment to motion that being under several hundred feet of water poses would make a punch in the face feel to a shark what a light poke in the nose would feel to us under normal circumstances. Not to mention the fact that, after lying out in such a large body of water for so long with an open wound, at least another shark is bound to come along sooner or later.One area where Jan deserves credit is that I've never seen him resort to the use of shaky-cam. Thankfully, directors of European origin saw right through the party line that this puts the audience into the action, and realized that it does nothing of the kind. As a result, while many shots are too close for comfort during action sequences, they are at least stable enough that one can make sense of the actors' motions. The fight scene choreography is of such a quality that it doesn't need to be hidden from the audience.Angelina Jolie seems to have a lock on strong woman characters that are so generic she can portray them all alike, yet she does this template so well that at least this audience member fails to notice. The problem here is that every character in this film is so generic that you cannot help but notice. Jolie's acting is never that brilliant, but she looks like Anna Paquin next to Gerard Butler. Noah Taylor is another classic example of a reason why I am not surprised that Australian entertainers rarely manage to get out of the isolation tank that is Australia. Seriously, this guy could be reading a description of Angelina's naked body and bore the hell out of me.I gave Lara Croft: Tomb Raider: The Cradle Of Life a two out of ten. Don't mistake this to mean that it is necessarily better than the films I gave a one out of ten. When I give something a two out of ten, that means its mediocrity makes it seem like a deliberate waste of a good hundred million. Aside from Angelina Jolie in skin-tight lycra and a clever twist ending, there ain't nothing to see here, folks.

Actors:

Angelina Jolie, Gerard Butler, Ciarán Hinds, Chris Barrie, Noah Taylor, Djimon Hounsou, Til Schweiger, Simon Yam, Terence Yin, Daniel Caltagirone, Fabiano Martell, Jonathan Coyne, Robert Cavanah, Ronan Vibert, Lenny Juma

Review:

This film became almost a cultural phenomenon as soon as it was released in Britain in February 1996.

Adapted from the first (and best) book by Irvine Welsh, the film shows the lives of a group of Edinburgh heroin addicts.

The film is a black comedy, at times hilarious, tragic, surreal, brutal and uplifting. The film is full of memorable moments such as the chase down Edinburgh's Princes Street which opens the film (I happened to be there when they were filming that scene) and Ewan McGregor diving down the "Worst Toilet in Scotland" headfirst.

The film doesn't condemn drug addicts, but it is probably more effective then any amount of preachy moralising as it depicts the devastating consequences that can happen to drug users.

The film is well acted by a cast who have (mostly) become pretty famous since. Especially memorable is Robert Carlyle as the violent Begbie.

I have seen this film many times. It is an instant classic. Go check it out.

Actors:

Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Kevin McKidd, Robert Carlyle, Kelly Macdonald, Peter Mullan, James Cosmo, Eileen Nicholas, Susan Vidler, Pauline Lynch, Shirley Henderson, Stuart McQuarrie, Irvine Welsh, Dale Winton

Review:

A handful of familiar plot elements (all used effectively by Hitchcock, so let's not look down our noses here) is vividly drawn in a great location. We're not on Amtrak and the more perilous side of American's traveling in distant lands is beautifully rendered by the director Brad Anderson and sensational cinematography by Xavier Giménez.

However, it's the cast that takes this from something routine to something very unsettling. Emily Mortimer gives a fine performance as a woman trapped by her past. She does more with this role than perhaps was written and finally cinches her place as an actress you can count on. Two supporting roles, Eduardo Noriega being a great predatory villain who sees a mark in Emily Mortimer's character and plays her for all she's worth. At his side is an unsettling performance by Kate Mara, who with less to say makes a very vivid impression as a girl who's both mysterious and sympathetic.

Woody Harrelson stumbles, but he's always interesting to watch. His character doesn't belong in this film (which is almost the point of the movie) but he plays naive closer to dumb (or dumber). And we understand why Mortimer may be frustrated with her marriage, but it's halfway through the film that lots of beans are spilled about her past and everything we've seen and will see is dead on and convincing.

Less convincing is the plot which isn't up to the level of the other elements. I'm not sure in a real world these characters would have faired as well as they do or nearly so long.

Ben Kingsley shows up and works fine as someone who may be the lifeline to our travelers, but as the action heats up too many things require answers that the plot doesn't have time (or the audience much interest) in figuring out.

Yet it's one of the better films this summer. And if you don't like what's going on with the plot, you can always look at the exotic frozen Lithuanian scenery, or the shadows of fear the Emily Mortimer sends across her face tingling up our own spines. Terrific performance.

Actors:

Woody Harrelson, Emily Mortimer, Ben Kingsley, Kate Mara, Eduardo Noriega, Thomas Kretschmann, Etienne Chicot, Mac McDonald, Colin Stinton, Perlis Vaisieta, Mindaugas Papinigis, Mindaugas Capas, Visockaite Sonata, Larisa Kalpokaite, Valentinas Krulikovskis

Review:

Val (Kevin Bacon) and Earl (Fred Ward) are two likable handymen who work in a very small Nevada community and who are itching to leave for the big city - or, at least, the nearest town. Their departure is halted by the sudden, unexplainable arrival of some voracious underground monsters that have begun devouring the locals. In short order, they're taking charge as they lead their fellow denizens in a battle against the creatures.

Both a tribute to and spoof of 1950's monster movies, this movie can be summed up in three words: silly, undemanding fun. (I would advise viewers not to take it seriously.) It's ultimately upbeat and lively entertainment and it's hard not to like. The movie has some interesting and offbeat characters ('Family Ties' dad Michael Gross and country-western sweetheart Reba McEntire play a gun-happy survivalist couple). By the way, McEntire made her feature film debut here, one of the unlikeliest that I can think of.

Good location work, good acting, good banter between Bacon and Ward, decent music, and impressive creature effects highlight this modest movie that to date has spawned three direct-to-video-and-DVD sequels (the third is coming out next year) and an unnecessary TV series.

Interesting how this movie offers no explanation for the creatures' existence.

8/10

Actors:

Valentine McKee, Earl Bassett, Rhonda LeBeck, Burt Gummer, , Melvin Plug, Nancy Sterngood, , Mindy Sterngood, , , , , ,

Review:

This time there isn't quite the cast used in the first one, in fact there are really only four main characters this time around. There also is not all that many kills, but still I enjoyed this one. It is one of those rare direct to video releases that is actually quite good. Fred Ward does return again, as does Michael Gross and they both are still very strong. This one has the infamous Graboids attacking some place down in Mexico I believe. Fred Ward's character is asked to come and help rid the area of these creatures as he has the knowledge to fight them and kill them. Well it proves to be to much of a challenge as there are a lot more of them than he anticipated so he enlists the aid of Gross's character. Well everything seems to be going down without a hitch, but something is not quite right. One of the monsters seems to have exploded from the inside and there seems to be another monster loose in the desert. Not the original as I have said, but it still works. Though I never saw part three cause it looks rather bad.

Actors:

Earl Bassett, Grady Hoover, Kate 'White' Reilly, Burt Gummer, , , ,

Review:

Strangely, many third sequels turn out to be prequels. Psycho did it, Hellraiser did it, Phantasm did it; and now Tremors has done it too. Often, these fourth films tend to be worse than all three of their predecessors; but believe it or not, Tremors 4 is actually a good film - and miles better than the two that preceded it. For a direct to video release, this film is surprisingly well put together. The dialogue is crummy, and the acting matches it; but in the effects and story departments (the more important elements), the film is very worthy indeed. Tremors 4 follows the risky premise of going back over one hundred years to the time that the Graboids first appeared in Rejection (the settlement that would become Perfection Valley). I've no idea why anyone would think to call their settlement 'Rejection', but then again; this film isn't completely sound where logic is concerned. The trouble starts in the local silver mine, when miners are killed by Graboids and the town's source of income is diminished. It is then that Hiram Gummer; ancestor of Burt turns up and hires a gun to sort things out...

The main reason why the original film worked so well was the way that it mixed the cool western themes with old-school monster horror. The previous two sequels lost that set-up somewhat, but this one gets it right on again. The film does a good job of enforcing its western elements early on, only for the horror to come along and shake things up. The special effects on the monsters are great, and prove that modern films don't need masses of CGI to look realistic. There is a little CGI here and there; but most of the effects are 'real', and it benefits the movie immensely. Michael Gross is pretty much the 'hero' of the series, and he takes the lead role in this one despite it being set over a hundred years earlier than part one. He plays Burt Gummer's ancestor, and, aside from a few silly moments; generally does pretty well with it. The rest of the cast is made up of unknowns and, to be honest, they're all pretty terrible. It doesn't matter at all, however; as nobody goes into Tremors 4 expecting Oscar worthy performances. This may not be one of the greatest modern horror films; but it's better than you would think, and provides a nice end (...) to the Tremors series, as almost everything is wrapped up nicely.

Actors:

Black Hand Kelly, , , Old Fred, , , Fu Yien Chang, , , , , ,

Review:

Advanced screening: Toronto (July 31, 2008) Tropic Thunder is a film I've anticipated (from it's trailers/ Downey Jr's "Blackface" controversy) for quite awhile, but knowing Ben Stiller's hit (Reality Bites) or miss (Zoolander) directing filmography, I kept my expectations relatively lukewarm. Luckily that wasn't necessary because it's Stiller's best effort as a director to date as well as one of the best comedies of the year.

Starting with the best fake-trailers this side of Grindhouse, TROPIC THUNDER develops into the most uniquely wacky blend of satire/action/ and gross-out I've ever seen. At first it appears to be a straight-up spoof on popular war films, then it becomes a film within a film, then an attack on Hollywood and the film industry in general. Also present are some rather shocking (and hilarious) sight gags (exploding film-crew members, the brutal slaughter of an endangered species) that managed to catch everyone off guard (yet not offend them).

The main reason TROPIC THUNDER works so well though is it's stellar ensemble cast. You have the likes of Ben Stiller, Robert Downey Jr, Jack Black, Jay Baruchel, Steve Coogan, and Nick Nolte all turning in terrific comedic performances that they obviously had fun with. Tom Cruise gives the extended cameo of the year as a studio executive, while Tobey Maguire and a slew of other actors make notable appearances. Ultimately it is Downey Jr. who steals almost every scene as the platoon's very white, African-American squad leader.

Rude, witty, and ballsy, TROPIC THUNDER is a great time at the movies. It's hard finding worth-while large budget comedies these days, but DIRECTOR Ben Stiller, supported by a strong cast and a great premise, has proved himself to be the right man for the task. 8/10

Actors:

Ben Stiller, Jack Black, Robert Downey Jr., Nick Nolte, Steve Coogan, Jay Baruchel, Danny R. McBride, Brandon T. Jackson, Bill Hader, Brandon Soo Hoo, Reggie Lee, Trieu Tran, Matthew McConaughey, Tom Cruise, Jeff Kahn

Review:

It was curious timing to release this film on Christmas Day. As David Letterman quipped on last night's monologue: "Nothing says Holidays like a good Nazi death plot".

Release timing not withstanding, this is a very powerful movie and by all accounts comports with the historical record. There was little embellishment for dramatic effect here. Hitler murder conspiracy dramas are abundant in Hollywood, but this one actually happened and was nearly successful. The story is riveting, and even though the outcome was already known (at least to anyone who had a rudimentary knowledge of WWII), the excitement level was sustained by not really knowing the precise timing of events or, more importantly, who would be spared in the end.

Tom Cruise was very good in the lead role as the chief conspirator (Col. von Stauffenberg). The rest of the cast was first rate, including Tom Wilkinson as Gen'l Fromm, a Nazi head honcho who was playing both sides of the fence, and many other notable actors, such as Kenneth Branagh and Terence Stamp, all excellent.

For fans of "Downfall", the German film documenting Hitler's final week in the bunker (one of the all time great WWII films and #75 on the IMDb top 250), there were two actors from that movie playing in this one. Thomas Kretschmann and Christian Berkel both were key figures in "Downfall" had supporting roles in this film.

For people with an interest in WWII or history in general, this is one film worth checking out.

Actors:

Tom Cruise, Kenneth Branagh, Bill Nighy, Tom Wilkinson, Carice van Houten, Thomas Kretschmann, Terence Stamp, Eddie Izzard, Kevin McNally, Christian Berkel, Jamie Parker, David Bamber, Tom Hollander, David Schofield, Kenneth Cranham

Review:

We went to the San Francisco Film Institute's first public screening at their campus in Emeryville. Everyone's sworn to secrecy, but for a film with little dialog, it carries more of an emotional punch and has a richer story than any live-action movie this year. The tone and style of the film is completely different for Pixar, and Disney haven't tried to override the darker thematic elements at all, making the story surprisingly three-dimensional.

This will end up being the animated film of the year and I had the same 'wow' feeling as after seeing Ratatouille. Considering that animated films have always played second-fiddle to live-action, and have been aimed at kids, it's ironic that once again Pixar produces a film that rivals any live action on every level. Bravo!

Actors:

Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, MacInTalk, John Ratzenberger, Kathy Najimy, Sigourney Weaver, Kim Kopf

Review:

I just got back from an advanced screening of Wanted. I have to admit not being a fan of the Director, Tim Bekmambetov. Somewhat disappointed in his Russian Films Nightwatch and Daywatch. However, in his American directorial he delivers!! An abundance of profanities and over the top action sequences that are beyond xtreme fill the screen in a dizzying array of visual adrenaline. Holding you in a tight breathtaking grip with its interesting visual techniques, humor and acting. James McAvoy (the sweet faun from the Chronicles of Narnia) plays the loser we all know, Wesley Gibbon. The guy, who just trudges through life allowing himself to be walked upon, humiliated and has no desire to escape it, except in a bottle of anti-anxiety meds. Enter a beautiful Woman, Fox (Angelie Jolie), a mysterious wise man Sloan (Morgan Freeman) and his life instantly changes from Billing Reports to Gratuitous Violence, Mastering Weaponry Skills, and Assassination. Believe me when I say what the Matrix introduced, Wanted has mastered. The director is a skilled artist at using the camera in conveying visual emotions of Wesley like I have never seen before, wait I take that back, seen it in NightWatch. I definitely recommend this deliberately humorous, action packed, violent, profane, to-the-extreme film to be seen on the big screen - check this one out!!

Actors:

James McAvoy, Morgan Freeman, Angelina Jolie, Terence Stamp, Thomas Kretschmann, Common, Kristen Hager, Marc Warren, David O'Hara, Konstantin Khabenskiy, Dato Bakhtadze, Chris Pratt, Lorna Scott, Sophiya Haque, Brad Calcaterra

Review:

I thought this movie was a lot better than most movie critics are giving it credit for. Though it has its confusing parts of the plot, it doesn't greatly interfere with your understanding of the movie. That being said, If you're not open to more liberal political ideas, then this probably isn't the movie for you. I thought all the actors in the movie were outstanding. Each character has their funny moments and the audience at the Tribeca Film Festival was laughing throughout the whole thing. I thought the satire was a tad over the top in one particular area, but that's intentionally done. John Cusack is right in that although it's set in the future, it really makes you see the present.

Actors:

John Cusack, Hilary Duff, Marisa Tomei, Joan Cusack, Dan Aykroyd, Sergej Trifunovic, Ned Bellamy, John McLaughlin, Montel Williams, Ben Kingsley, Lyubomir Neikov, Nikolay Stanoev, George Zlatarev, Bashar Rahal, Velislav Pavlov

Review:

Before anyone sees this film, Zach Snyder should be given a pat on the back. He did what a dozen directors struggled to do for twenty years: he made a Watchmen movie. It seems unthinkable that anyone could properly put the greatest graphic novel of all time on the screen. But Snyder has done pretty much that.While it is not Alan Moore's Watchmen, it is the closest thing that anyone else could have put on the screen. Snyder approached the material with enough reverence that fans of the comic will appreciate the film. As Snyder has openly declared, the final act does include significant changes, but the alterations that take place fit better on the big screen than the original ending would have. It works because it cuts down on a lot of the necessary back story which Snyder could not include.Even though many pages of the book were not included, Snyder did take the time to try and preserve other information by including short "historical" sequences in the fantastic opening title sequence. By this point, viewers will also have had a chance to appreciate the stellar, and time appropriate, soundtrack. Unlike the hard rock recordings the Snyder chose for the background of 300, Watchmen's background fits the tone and mood of most of the scenes. The only questionable choice was the selection of Leonard Cohen's "Hallelujah," not because of the recording, but rather its awkward placement. Some may also question Snyder's inclusion of gore not present in the book. While the comic does include it's share of violence, Snyder did overtly change several scenes to be more violent. These changes, while flashy on film, may disturb squeamish moviegoers. However, changes aside, Snyder has captured the essence of the book and packaged it in a beautiful 2 hour and 40 minute delight. Overall, it is a satisfying film experience for someone familiar with the source material.But this might be a different experience for anyone who does not know the book. There is a lot to digest, and the overwhelming visuals may distract some moviegoers from the bigger picture. The interaction of these unique characters remains an integral point to understanding this film, and when the book was pared down for the movie, the relationships of the masked adventures became a bit more forced. The best part of the comic was the glimpse of what is "beneath the hood," and we have less of that in Snyder's adaptation. Additionally, the ending, while simplified, is still a bit convoluted.Fans and those previously unfamiliar with Watchmen should go in with an open mind. Snyder has performed what Doctor Manhattan might deem a miracle, so it may take more than one viewing to truly appreciate this unique adaptation.

Actors:

Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson, Carla Gugino, Matt Frewer, Stephen McHattie, Laura Mennell, Rob LaBelle, Gary Houston, James M. Connor, Mary Ann Burger, John Shaw

Review:

I was looking forward to this film, because I'm a big fan of Tom Sharpe's novels. At the same time I was rather apprehensive as well. This is a comedy, and comedy movies are made these days with a family audience in mind. Tom Sharpe's novel Wilt certainly does not fit into this bracket and so I expected some dreaded compromises.

Inevitably, they came. Of course, the film still has a US R-rating and a UK 15 rating, but this has more to do with the intrinsic adult nature of the basic material than with the film makers' attempts to preserve the spirit of the novel. The whole thing still felt much too sanitised, too toned down, too understated. Part of the problem might have been that filming faithfully the original story would have made some middle-aged established actors and actresses occasionally prance around in the buff, simulate drug abuse, and molest each other, but the story really needed a higher dosage of excessiveness.

Actors:

Griff Rhys Jones, Mel Smith, Alison Steadman, Diana Quick, Jeremy Clyde, Roger Allam, David Ryall, Roger Lloyd-Pack, Dermot Crowley, John Normington, Tony Mathews, Charles Lawson, Gabrielle Blunt, Edward Clayton, Jeffrey Chiswick

Review:

Rev. Billy and the Church of Stop Shopping saved me from the sin of racking up debt and spending money I don't have to secure the love of people who love me anyway this holiday season. This film is funny, important, and down right righteous. Follow the brave souls of the Stop Shopping Choir as they journey across this spoiled land of ours saving people from the evils of consumerism. Hear the amazing tales of people using credit cards to drown children with cheap, plastic toys from China. Witness the Revered Billy bravely absorb the evil magnetism of credit cards into his own body. Seriously, this is a really cool documentary, I saw it at Silver Docs in Washington DC and the audience loved it, the characters, the visuals, the story...all great. See it at a theater near you as soon as you can!

Actors:

Adetola Abiade, Paul Norman Allen, Paul Norman Allen, Paul Allen, Shannon Baxter, Rick Becker, James Solomon Benn, Reverend Billy, Ben Cerf, Misun Choi, Ben Dubin-Thaler, Savitri Durkee, Leah Farrell, Gina Figueroa, Mike Flthye, Donald Gallagher, Jerry Goralnick, Amber Gray, Mark Harder, Julio Herrera, Marianne Hodge, Monica Hunken, Saru Jayaraman, Eric Johnson, Nasser Kagiri, Gwen Kash, Valerie Kelley, Barbara Lee, Katrina Lewis, Chantel Cherisse Lucier, Anna-Sara Malmgren, Meredith Manna, Derrick McGinty, Urania Mylonas, Madeline Nelson, Laura Newman, Andrew Pacho, Stefani Peikin, Pearl Quick, Precious Quick, John Quilty, Maraluna Rivas, Sari Rubenstein, Sarah Schol, Judy Sky, Michele Smith, Nate Stevens, Sasha Sumner, Lizzie Steelheart Taubeneck, Mark Tipton, Rick Ulfik, Francisco Valera

Review:

To make a great classic film i think it has to work on several different levels and this one not only plays on many different levels It scores tremendously.

It is a great childrens movie. With zany classic characters such as Roger, the Weasles, and Benny the Cab. They are original crazy and fun. Also it is a mystery. It plays perfectly as one of those Old 50's detective stories. It is a milestone in film making. The scenes of the "toons" and humans sharing a world is great. I think the best scene as special effects go, is the one where Eddie and Roger are handcuffed together in his office. It looks so real!!!!! This movie is fun and creative and will go down in movie history. I don't know what else to say it is simply the best.

Also do your self a favor and steer clear of the bad rip off Cool World.

Actors:

Bob Hoskins, Christopher Lloyd, Joanna Cassidy, Charles Fleischer, Stubby Kaye, Alan Tilvern, Richard LeParmentier, Lou Hirsch, Betsy Brantley, Joel Silver, Paul Springer, Richard Ridings, Edwin Craig, Lindsay Holiday, Mike Edmonds

Review:

I read over the reviews from other IMDb users and am surprised how many mentioned that this film is "racist" or "insensitive". It begs the question: Are people going into to ADAM SANDLER films searching for serious or deep social and political commentary? This movie is a comedy and it stars Adam Sandler if you walk into that theater expecting anything except a stupid-funny movie then you need to instead leave the theater to go home and hit yourself in the face with a rock, after all it can't do more damage to your brain.

In the most simple of terms this movie stars Adam Sandler if you do not find him and his over the top antics funny then I would delicately suggest that you do not see his movies as I understand they are not for everyone. To preempt any whining from people saying that "Other Adam Sandler films made me laugh but this one was not the same" let me remind you that the movie you just saw was called You Don't Mess with the Zohan NOT Happy Gilmore. If you walked into this theater expecting to see Happy Gilmore then again let me remind you that you can actually buy Happy Gilmore on DVD and also there is a rock at home for your face. NEWSFLASH! Movies do have differences from one another and thank heavens they do or the only Adam Sandler movie we would ever have is Happy Gilmore recycled over and over.

Finally and perhaps most important of all this movie was never intended to somehow explain or even explore the difficult and tense situation in the Middle East it was not even necessarily supposed to poke fun at it. This movie was supposed to make you laugh. If you laughed and had a good time then who cares? Everyone in the theater with me was laughing through the movie and having a good time. That is what I look for in a comedy so thumbs up Sandler for a fun night out.

Actors:

Adam Sandler, John Turturro, Emmanuelle Chriqui, Nick Swardson, Lainie Kazan, Ido Mosseri, Rob Schneider, Dave Matthews, Michael Buffer, Charlotte Rae, Keana Texeira, Sayed Badreya, Daoud Heidami, Kevin Nealon, Robert Smigel

Review:

An extremely competent look at the Scottish drug-Scene, Trainspotting is a perfect example of the potential of the UK industry to tell a story of tragedy, horror and hope in a manner that the American industry has yet to do without drifting into tired Cliche. While the manner and style of delivery are extremely funny and at times appear almost unreal, the fact remains that these characters are real. The clearly psychotic and alcoholic Begbie, played by Robert Carlyle is a supporting role that is actually of immense value to the film. Here we have character who I've met, you've met and we've all met. A man with very little to lose absorbed in a sea of alcohol and prone to violence. I choose him as example because he isnt even involved in the drug-scene in which the main characters are central. In fact his opposition is somewhat humorous when we consider his own vices make him argueably worse off and the incidences of violence he becomes involved in

are most definitely black humour. Considering what is actually happening isnt funny, watching it play out, aside from one major incident, is extremely funny. And that is the tone of the film throughout, as characters continually talk nonsence and sail through the lives they have chosen, making very little progress, but instead drifting downwards until an opportunity presents itself to change their ways, where upon Renton, Ewan McGregor, must make a choice between his own life or his friends. McGregor himself is excellent in the film that made him, as is Jonny Lee Miller, who surprised me in this film by having a more thought-provoking character than the script and time strictly allowed considering his relatively minimal place in the main storyline. Ewen Bremner provided some excellent and often well-needed comic relief and Carlyle as I mentioned, was outstanding. This film is both real and unreal, taking the Humour of "Human Traffic" and the somber tone of "My name is Joe" and blending them together to create an unforgettable experience vividly accompanied by strains of "Perfect day" and other cultural and nostalgic sounds, particularly of the place and period. Trainspotting has been accused of glamourising drug-use but I firmly believe anyone who takes this view hasnt watched it properly. The fun is equally, if not more so, matched by some nasty images and for the time it was released, provided what was a very necessary look at the growing drug industry, the loss it creates and the hope that can arise. Superb.

Actors:

Ewan McGregor, Ewen Bremner, Jonny Lee Miller, Kevin McKidd, Robert Carlyle, Kelly Macdonald, Peter Mullan, James Cosmo, Eileen Nicholas, Susan Vidler, Pauline Lynch, Shirley Henderson, Stuart McQuarrie, Irvine Welsh, Dale Winton