BIGLENS Reviews

BIGLENS 5.2

2009-06-14T20:33:00.001+01:00

Happy days, a new edition of BIGLENS it out and ready to be consumed by all! Check it out at http://issuu.com/biglens/docs/biglens_5.2

Terminator Salvation

2009-06-11T00:27:00.002+01:00

Terminator Salvation is a film confused. There are so many plot-holes (where the plot even decided to show itself) it makes David Lynch perfectly cogent. Maybe I'm being a little bit harsh; it is, after all, primarily an action film, and there are some frenetic scenes that are quite engaging, but by the end it was getting a little repetitive. The great thing about The Terminator and Terminator 2 was that although there was a lot of action, we actually cared about the characters, and there was some emotional development going on. Christian Bale gives another turn highlighting why many people dislike him; charisma is lacking and, to be perfectly honest, I couldn't give a rat's behind if he ended up dead or not. The film almost became a comedy, such was the seriousness of Bale's acting, seemingly unaware of the ridiculousness of shooting big moving robots and meeting your father who is younger than himself. Terminator 3 was equally shaky, proving that this franchise is definately one in need of salvation. And really, can any film directed by someone who just calls himself McG really be any good?

Psycho

2009-03-23T15:30:00.002Z

To me, in life, there are few greater pleasures then sitting on your own, in the dark, with a duvet wrapped a round you, eating sweets and watching a film that scares the absolute crap out of you. Enter Psycho, the clsssic 1960 Hitchcock bloodbath. I could argue forever about where this film stands in the heirachy of Hitchcock's stunning filmography but what's the point? The honest truth is, I found myself laughing in an almost maniacle way at the image of Norman Bates running doen the stairs just as the heroines sister discovers the grim truth abiout 'Mrs Bates'. Surely nothing comes close to the horrible realisation of that moment? if you love horror films you must love Psycho, and if you don't love Psycho then you must be mad. Oh well, we all go a little mad sometimes......

Vicky Cristina Barcelona

2009-03-16T14:26:00.004Z

Picture the scene. It's half past 2 in the morning on a Sunday. I sit awake on the edge of my seat, watching The Oscars live online after spending half a century downloading software because I dont have Sky. 'And the winner, for Best Supporting Actress 2009 goes to... Penelope Cruz!' Now, even though I was certain she would win anyway, it didn't stop me screaming with happiness, CRYING and then clapping and congratulating the poster of her I have on my wall. Now you may wonder why i'm telling you this. Well the thing is, I hadn't actually watched Vicky Cristina Barcelona when I saw her speech; I watched it 2 days later. But my point is, sometimes you just know that something is going to be amazing, and no amount of building it up in your mind will ever lead you to be disappointed. And this is how I feel about Vicky Cristina Barcelona. I knew it was going to be good before I even watched it. And disappointed I was not. It would be slightly unfair of me to put all the praise on Penelope; she is my favourite actress after all, but I cannot mention the film without mentioning her incredible performance as an absolutely insane, erratic, yet incredibly sexy Maria that seems familiar to us, yet totally unpredictable at the same time. Rebecca Hall's Vicky, or 'the voice of reason' in this increasingly bizaare set up is wonderfully cynical to begin with, and her confusion as the film goes on only mirrors ours. Scarlett Johanson's Cristina could have been played in an utterly one dimensional way, yet the subtlety she adds to her character makes her completely endearing. Allen has definately done well here, and as for Javier Bardem... now there's a man who must love his job.

Valkyrie

2009-02-16T14:49:00.002Z

He has flown F14 jet fighters against the Russians, stopped murders before they happen, undertaken not one, not even two, but a whole three impossible missions, he is the last samurai and to top it all off, he can make one heck of a cocktail. But that is all in the past, however, his new adventure is even further back. This time Tom Cruise is back to try and kill Hitler – a pretty big mission for such a small man. Now, I will admit to being sceptical about this film; Cruise just does not seem to fit the part, it would be a bit like seeing Arnold Schwarzenegger going back to save Jesus, or Ricky Gervais heading back to warn President Kennedy it might be best not to take the car. Couple to this the mishmash of actors, whose names seem to have been drawn from a lucky dip (how Eddie Izzard appeared alongside Hollywood A-List is beyond any rational explanation), the fact that this is a serious bit of history, and it really is hard to see how this could be a great film. The trailer looked ridiculous, almost a German Indiana Jones, the marketing was, quite frankly, dreadful and everything about the look of this film did not seem right. Not even slightly. Historical epics, war films especially, usually have a great force and presence about themselves, they generate their own buzz, the trailer for Saving Private Ryan could simply have been Spielberg saying, “go see it” and everyone would have; there is just something about them. Except this one. It was almost as though we were being forcibly convinced that it was worth our money, most movies are a “it looks good, eh?” campaign, Valkyrie had an air of desperation about it, more, “pleaseeeee come and see it, we’ve worked very hard.” So, with the same fear and trepidation of an aqua phobic about to take a shower, I went to the cinema, bought a ticket and settled down for what I was sure was going to be two hours of mediocre entertainment, enough factual inaccuracies to make Lord of the Rings seem like an actual history of the world and Tom Cruise generally looking out of his depth. I was wrong. And boy, oh boy, do I hate being wrong – having to admit it is even worse. Yep, this film is good. Really good. It was like a thriller, a proper full blown, edge-of-your-seat thriller. What makes it even better is the fact it actually happened, usually when a Hollywood film begins with, “based on actual events”, it goes on to ignore them completely, or change them to show America saving the world – see U571 for details – but Valkyrie was mostly bang on; and what you have to remember when watching is that these chaps were sticking it to the man who is viewed as the embodiment of evil, if there was ever a set of blokes in history who had balls, then it is them. They did this in the full knowledge that if they failed, it would mean probable torture and certain death – not just for them, but their friends and families too. Yet, try they did for the good of Germany and the world. Not bad at all. Everything about this film is exciting, you grow attached to the characters in an extreme way, you want them to succeed even though you know they don’t. Downsides? Well, this is a tricky one. The film is too long for its portrayal of events, but, lose even ten minutes and a lot of context is gone, the casting still annoys me; it seemed to be who was available then who actually would have been right to play the part, and it just will not go down as one of the great historical films. Yet despite this, I would highly recommend it. Why? Because it is a great story, one which is largely unknown and is a different slant on a war film – German good guys for crying out loud! Word of warning though, the film ends on a bit of a downer. So, just remember one thing; even though they lost, we eventually win.

Damian Wrigley

One Flew Over The Cuckoo's Nest

2009-02-09T14:00:00.002Z

I hadn't watched OFOTCN in a fair while, though I could remember it was an amazing film. But until a couple of nights ago I didn't realise what an utterly magnificent piece of cinema it is. It's truly a classic - it even swept the big five Oscars (Best Film, Directing, Actor, Actress, and Screenplay) when it was released and is, in my opinion, one of the seemingly rare cases when the film actually beats the book (though the book, too, is wonderful).

I don't want to describe it too much, but essentially the film follows R.P. McMurphy (Jack Nicholson), a live-wire who gets himself sent to a mental hospital in order to escape his tedious prison life. He clashes with the detestable Nurse Ratched, and what follows is two hours of cinematic bliss. There are a surprising number of laughs to be had, and the moment with the TV and the imagined baseball game is one of my all time favourite cinematic moments. Watch it and you'll understand. In fact, that's just my advice about this film as a whole.

Watch it, and you'll understand.

Tom Brown

Che Part One- The Argentine

2009-01-27T22:30:00.002Z

I may have used this line before but i shall use it again- there are some films that are made that allow you to remember why you fell in love with the cinema. This film is one of them. I watched the film out of nothing other than wanting to have a brush up on history, i viewed it with no expectations, no political stance and a very minute amount of knowledge about the story of Che Guevara. Yet now, not only can i sound that little bit more intelligent if the subject of the revolution comes up in conversation, but i can speak knowing i was taught with the brilliant and beautiful passion of Soderburgh. This film is more than just a history lesson, it is an homage to all that fought with a fierce love of their country. Benicio del Toro radiates charm, intelligence and an incredible love through his performance as Che. i of course write with the naivety of somebody who does not know the ending, but Che Part Two is waiting in the wings, i just hope that the impact of the first will be rounded off with justice. No matter what your political stance, go and see this film. It is a piece of cinematic art that i doubt will ever recieve the recognition it deserves, then again, we all know what happened with Citizen Kane... Watch this space.

Planet Terror

2009-01-08T20:00:00.002Z

Every now and then, any film fan must sit down and think- is this it? Sometimes the studios are just spewing out any old crap and you wonder if there is anyone out there who is willing to reignite the flame in your heart that is slowly dying when you see films like Saw 12 or whatever number its on now. Enter.... Tarantino and Rodriguez.... enter Grindhouse.
I am one of the few fortunate people who have seen both Planet Terror and Deathproof back to back... with trailors. And every second of doubt that I had in my head about the state of the industry is wiped out. Im talking mainly about Planet Terror here, not because Deathproof wasn't good; it was of course, achingly cool, but it was Planet Terror that reminded me that films are bloody brilliant. After the trailors (how good was Machete?) the film begins with an uber sexy Rose McGowan strutting her stuff as a go-go (not a cry-cry) dancer, and before you can say 'exploitation' the film explodes into a lovely Rodriguez-Tarantino feast of zombies, boobs and... Mexicans. Everything about the film is spot on, you find yourself hysterically laughing and recoiling in horror at the same time. This gore-fest is over the top but in the most perfect way, go and watch it please!!!

Ghost Town

2008-11-23T12:13:00.000Z

America takes most things in this world and then claims ownership; they take our history and use it in war movies, they took the nuclear bomb, the jet engine, radar, submarines, some Germans and used them to build space rockets, the television and so many other things that to include them all here would require more space then the Internet is capable of providing. But to be honest, it isn't that big of a deal. Until now. Now they've gone and done it, swung in with a big-fat left hook and taken .... Ricky Gervais. Bastards. Yep, as if taking The Office and filling it with their own actors was not enough, they've gone and taken the man himself, and put him in Ghost Town. Here he plays a complete miser, a self centred, uncaring twat of a man more concerned with avoiding people then spending any time with them. Life as a dentist allows him to spend the days not talking to people, exactly how he likes it. All is going well for the hermit until one day, when a routine operation goes slightly awry and he dies for seven minutes. Fear not, he lives. But not in the way he'd like, see, whilst you've probably had the odd side affects from medicine - headaches, diarrhoea, two heads or whatever, Ricky, he suffers from something probably not known as Bruce-Willis syndrome: he sees dead people. And they all want something, they are stuck on the planet as long as their unfinished business remains, and the only person who can help is Gervais, able to see the dead and living, he has to act as an intermediary to solve their problems, like Switzerland really, just without the chocolate. Spinster ways and public service rarely go together, and so for most of the movie Gervais desperately tries to ignore those around who need his help and carry on as if everything were normal. In the end giving in to Frank Herhily who wants to try and split up the impending marriage of his ex-wife. Gervais ends up playing piggy in the middle, and falls in love. Eventually Gervais realises that to be part of humanity, he has to help the dead.

Usually in films Ricky Gervais is absolutely excellent at playing Ricky Gervais. This film is no different, except it is. He's just something more then regular old crooked teeth Gervais; in the same way that Sky + is just Sky but a million times better, there is something extra to his performance, something genuine, something that makes you believe his character. If you happened to see Mr G on Jonathan Ross, before certain phone calls were made, you will know he has received literally hundreds of scripts and turned them all down until he read this one, because he liked it. We really must thank him for such restraint, because the Gervais brand is known for quality, not quantity; it's why there are only 14 episodes of The Office and 13 of Extras, why he doesn't appear in advert after advert, and why he is quickly becoming the biggest British thing to hit the world stage since the Royal Navy.

If this review section were to run on scores out of 10, this film would get a 7, which sounds average for some reason. If we use our big boy University system, then this film scores a first. Why? Well because it's beyond anything you could actually imagine, it's very funny, sentimental, endearing, happy, sad, clever, fast paced, moving, lovely, smile inducing film. We can only hope Gervais will keep his British roots.

The film is also a good lie detector, because if someone says they don't like it, then they aren't telling the truth.

Damian Wrigley

Quantum of Solace

2008-11-07T12:12:00.002Z

At the moment, thanks to some idiots in suits who have the mathematical abilities of the average Amazonian tree, we all have a choice – we can either buy some milk and bread or go to the pub to see your mates. If you attempt to do both, you will go bankrupt, or, “do an Iceland”. This means we have to tighten our belts, no longer can we live on an enormous pile of debt, not caring about tomorrow, because unfortunately the sun has come up, and it's never going down. We have to pick our nights out with as much care and thought as a bomb-disposal officer deciding whether to cut the red or yellow wire. What's needed nowadays is not the guarantee of a thumping good night out, but the promise of value for money; you don't want to look at your wallet in the morning and discover that you can no longer afford to stick the central heating on. With this in mind, I decided to head to the cinema and see Bonds new outing, Quantum of Solace. It looked like it would tick all those boxes, allowing me to weather the financial storm, and, if lucky, get the girl. And oh dear. This film was more off target than the average American air strike; remember the trailer, with all its shaky action footage, so that you didn't know what was happening, just that there was a motorbike going fast? Well, that's exactly how the action scenes are filmed – all too close, with shots changing faster then a machine gun unloading on fully automatic; what was needed were big, sweeping shots like the crane sequence in Casino Royale. The opening car chase is a case in point, it looked like a trailer for a Grand Theft Auto game, just cars and guns with no real sense of purpose. We were promised twice as much action, and that's exactly what we got, but it came at the expense of the plot, which was more watered down then a wartime pint, and as solid a foundation for a film, a Bond film no less, as wet paper bags are for a skyscraper. The film is not about the bad guy – who, incidentally is after some water and is as threatening as a Labrador – it's all about revenge, all. This could be a story about any bloke, it really isn't Bond. The only way it slightly relates is that it is a bit old-school Bond, with pointless action desperately trying to move the plot forward, silly explosions which need not happen, see the last scene for details, and more locations then you would find in a travel brochure. I disliked this film in the same way a wine connoisseur dislikes Lambrini. It is completely hap-hazard, full of more product placement then Tescos and will generally leave you feeling short-changed. Are there any good bits? Well the plane chase sequence was entertaining, and the sound that Aston Martin makes is better then anything that has been in the charts for at least a decade. Plus, Daniel Craig shines more then the Northern Lights, he truly is an excellent Bond, and in the same way a solider in Afghanistan cannot be blamed for the direction of the war, Craig cannot be blamed for the films' shortcomings.

As a bit of generosity in these hard up times, here's some free advice: if your friend calls on Saturday wondering if you want to go and see this film, stay in and watch X-Factor.

Damian Wrigley

Wall-E

2008-08-01T21:57:00.002+01:00

Everyone should go and see Wall-E. Now. Right now. I fell in love with the binocular-eyed, garbage-dispensing little robot, and you will too. This is always said about the best animation films, but one of the things that stuck me most was how this was really a film for adults, perhaps even more so than children. Wall-E is the last robot on an earth that is as bleak as Blade Runner, and the first half an hour or so passes with barely any dialogue, an incredibly brave move and one that you might think would test our attention spans, especially those of young children. But the time passes effortlessly, and, as expected, the visuals are stunning.

Amongst the various film references, including the obligatory 2001 nod, what's most pertinent are the similarities with the one and only Charles Chaplin. There's the silent comedy, the barriers of social class being transcended, and most of all the sentimental emotion that, by the end, left me strangely (or not so strangely) moved and affected by this lovely little robot. Even if you want to ignore all the filmic references, the social messages and the environmental warnings, Wall-E remains a masterpiece. Waaaaaaall-eeeeeeeeeee!

The Happening, 2008

2008-06-19T21:00:00.004+01:00

Tagline: "We've Sensed It. We've Seen The Signs. Now... It's Happening". The entire time whilst I was sat, dumbfounded, with a box of popcorn in my lap, watching this 'thriller'; one clear question came to mind... what's happening exactly? Ironically, nothing really happens. Director M. Night Shyamalan has done an appalling job, with promises of his scariest movie yet, my hopes and expectations have been severely disappointed. The quality of acting, with the exception of Wahlberg who demonstrated a mere glimpse of satisfactory performance, is awful. The only scary aspect, unfortunately, is the future of horror as a genre, which has relentlessly deteriorated since the genius of Hitchcock.

[Spoilers removed - Ed.]

The Bank Job 2008

2008-06-17T11:30:00.002+01:00

The Bank Job based on the heist that took place on Baker Street, London in 1971, is an exciting, action-packed film exploring the possibilities of police corruption and the scandalous affairs within the British royalty. Perhaps Roger Donaldson is commenting on British affairs by shedding light on the discrepancy between the poor and the rich, and brutally exposing the amorality of 20th century society. The movie basically does what it says on the tin. It is simply a movie about sex, murder, corruption, money and scandal, which will surely leave you hanging on the edge of your seat; how could it not?

2008-03-13T14:14:00.001Z

Stardust

When you’re young the world is a magical and brilliant place; full of mystery, wonder and excitement. When you’re older, it isn’t; the world becomes a horrible place filled with taxes, health and safety, deadlines and Gordon Brown. Stress is a foreign concept to a child and an all too familiar one for us older folks. In fact the only time of year when we can truly relax and relive some of that childhood magic is at Christmas, a time when the nation relaxes, with an unparalleled sense of joy and happiness spreading throughout the land. But, once those two weeks are over, it’s back to the normal drudgery of everyday life. Is it all doom and gloom? No. Because there are films like Stardust out there – welcome everyone to a DVD bursting with more fun then you’d get in Disneyland.

After having a one night stand with a Princess in the magical realm located next to his village (as you do), Dustan Thorn is landed with a son – Tristan, who, as luck would have it (and because he slept with a Princess) – is half royal. This puts him in line for a throne he doesn’t know exists, and in a race for it he doesn’t know he’s in. So, after somewhat foolishly promising his girlfriend to bring back a fallen star, he sets off on what will become an epic journey – filled with more drama then a whole week of Coronation Street, more ups and downs then you get in the Yorkshire Dales and more laughs then a childhood holiday. Along the way he discovers that the fallen star is in fact a beautiful woman called Yvaine and that and evil old hag called Lamia is determined to steal her youth, and the kingdom with it. As if that wasn’t enough all the while they’re being pursued by the remaining brothers who also want the kingdom to be theirs. Who then does Tristan get given to help him? Well, there’s Ricky Gervais playing, erm, Ricky Gervais and Robert de Niro as the gay captain of a flying pirate ship. And that’s no joke – to get an actor of such calibre in that role is something very special indeed. That neatly fits in with the essence of the film – because this thing is stands out amongst the hundreds of other ‘fairytales’ and adventures; it fuzzes with the formula delivering an original, good humoured and utterly stunning take on an all too familiar genre.

It is two hours of pure and utter escapism. What more could you want? However, are there faults? Well yes, the acting (Mr de Niro aside) is a bit ropey in places, and some bits might not be too easy for a child to follow, but it is just so perfectly wonderful that you won’t really notice. All this and it has a Take That song playing over the credits. It is guaranteed to lift your mood from sad to happy or happy to stratospheric: except that is, once the credits stop – and you have to go back to the real world.

Damian Wrigley.

Juno 2007

2008-02-29T10:22:00.002Z

Director Reitman and writer Diablo Cody have done a terrific job. Just from the opening credits alone, I already knew this film would be moving and life-changing. The premise of the film is nothing special, but the high quality of performance gives it such a unique touch. It is an ordinary but beautiful story about a sixteen year old who accidentally becomes pregnant and the way she handles it-namely, in a stoic, brave and self-less manner. If this film doesn't reinforce your belief in humanity, i'm not sure what will.

The acting was phenomenal, 21 year old Ellen Page in particular, has such a cool charm, she is sure to move audiences. She portrays Juno in such a rounded and believable manner, it will surprise and impress you. Similarly, Michael Cera's portrayal of Paulie Bleeker is so heartfelt, it will warm the cockles of your heart.

The soundtrack is fantastic, it will leave you foot-tapping along, with tracks by Sonic Youth, Belle and Sebastian, Velvet Underground and The Kinks. The entire film experience is absolutely wonderful.

2008-02-16T18:35:00.002Z

National Treasure: Book of Secrets

Beige. It’s a colour that never lets you down. Sure, nobody is ever going to walk into your living room and go, “beige, wow”, but then again, they aren’t going to criticise it either; no matter where you put this colour, it just works. Now, I can’t label this film as being ‘beige’, because that would be ridiculous, like telling a friend that some bloke is impotent and then expecting her to go on date with him. It would be a complete lie to call this film boring, because it’s absolutely wonderful. If you’ve seen the first, you know the basic idea: man finds clues to a treasure that’s not supposed to exist, and has stayed hidden for a thousand years but, now, for some reason, it needs to be found. Cue Nicholas Cage as the brilliant Ben Gates, treasure hunter extraordinaire to solve the puzzle via a ridiculous number of seemingly impossible challenges, riddles and mysteries each more fantastic than the last. In this instalment, Gates has to clear the name of his great-grandfather, accused by Ed Harris of being a co-conspirator in the Lincoln assignation; to prove this fact he, rather helpfully, has a 140 year old letter from a book supposedly destroyed in a fire. Seeing as this just won’t do, Gates swings into action criss-crossing the globe, making friends with policemen in Paris, steeling from the Queen and then driving recklessly in London, kidnapping the President and ending up in a city of gold hidden under Mount Rushmore. Which then floods. The only criticism really is that Gates’ sidekick, the ever annoying Riley Poole gets far too much screen time and detracts too much from the actual action and pace of the movie – why Gates puts up with him really is the biggest mystery in the film. Also, the mish-mashing romance does start to get grating by the end, but, I’m not sure it really matters because some people will think it was “just lovely”. This film is first class entertainment, and that rather neatly brings me back to beige – because this film will never let you down, and will go down well in almost any situation – a date, when you’ve got the family round at Christmas or if you’ve an evening to yourself. The best news I’ve saved till last, because in a rather non-subtle moment during the film, they set themselves up for a third.

Damian Wrigley.

2008-02-09T15:49:00.000Z

In The Shadow of the Moon

Nowadays, science moves rather slowly. I’m sure there are those out there who will disagree, scientists, probably – but it’s rather hard to think of something which has captured the public's imagination and been a genuine Godzilla sized leap forward. Think about it; the iPhone is just an iPod you can talk into, HD TV is just shiny TV and the much trumpeted Macbook Air is just a regular laptop stripped of everything useful. All these things, I’m sure have their uses, but they’re designed for luxury and convenience and not to push the boundaries of what is possible. Just the other day, Intel launched a chip which contains two billion transistors, which must be better then a chip with one billion, but it’s no cure for cancer or warp drive, now is it. This takes us then, to a story which happened forty years ago, before people worried about how much things were going to cost and before health and safety could stick its nose in. This is the story of how we got to the moon and back. Now, 1961 was a time of free love and hard drugs, but we have to assume that old Kennedy wasn’t stoned when he announced his somewhat ambitious plan of getting a man on the moon and bringing him back to earth, safely, in just nine years. This seems like a tall order, but with these instructions, America got busy; funnelling $125 billion (in today’s terms) into the space programme, employing 400 000 engineers and any number of others to solve the problem. In the Shadow of the Moon is an extraordinary tale of how the impossible got solved, told by the men who actually went to the moon, in a craft with less computing power then you’d find in a pocket calculator. The strongest element of the film is the personal aspect, the ignoring of the politics of the time and the removal of patriotism – it is a story of how we, the human race, travelled for the first time to another world. The films only downside comes towards the end, when they bring up the politics of today, with the bloody bandwagon that is global warming. But overall, that can’t dent what is a warm-your-heart tale of how great humans are when we get about the business of starring the seemingly impossible and unknown in the face, and going about finding a solution. If anything, this film leaves you with the longing question of why we don’t do it anymore.

Damian Wrigley.

Cloverfield, 2008

2008-02-06T20:49:00.000Z

I was absolutely stunned by this film. Matt Reeves delivers a captivating, spellbinding, and absolutely riveting performance. The brevity of the movie is fitting and effective, only 85 minutes in length, yet retained with moments of the farfetched. But strangely, it seems to work. I was not sure whether the style of cinematography (the shaky camerawork*) would be successful, especially after the Blairwitch Project (1999) fiasco, however I was left pleasantly surprised. There were a few inconsistencies, which is to be expected with a horror/monster film that is documented by a hand-held video camera, but it is easy to overlook such discrepancies when you are literally enraptured by the action and hoopla on screen. The ending was abrupt and quite out of place, which is one of the flaws that impinges the overall efficacy of the film. Nevertheless, it is entertaining, clever and very dramatic, surely to leave audiences gasping for more- fortunately, the possibilities of a sequel is promising, a project that the team is willing to explore in due course.

*Warning: Cinematography style might cause sensations of vertigo, nausea and sickness.

2008-01-30T14:33:00.000Z

Die Hard 4.0

The word ‘legend’ is tossed around a lot nowadays; do anything from making toast to throwing a party and that’s exactly what you get called. Clearly this isn’t a bad thing, it’s always great to get bathed in ego-boosting words, and legend is pretty much the highest praise the English language has to offer. Unfortunately, the word is used so much that it has pretty much lost all meaning. However, there are one or two people to whom it really does apply, and one, a full nineteen years after first blasting his way onto our screens, and a twelve years after the last instalment, is back! Yes, that’s right, at the tender age of 55, John McClane returns to kick some terrorist arse in Die Hard 4.0. Now whilst you may have concerns about resurrecting the franchise after so many years, you really need not worry. It’s not as accomplished a picture as say, Casino Royale, or as shiny as a Bourne film, but it is a refreshing take on a genre that in recent years has become too wrapped up in itself, revelling in needlessly complex plots, moving just fast enough to hold an audiences interest but which ends up being about as distinctive and original as Ikea furniture. Die Hard 4.0 gives that idea the middle finger, and delivers to the audience a full fat, top speed and hardcore action flick, reminding everyone that nineteen years ago they invented this genre, and today they still reign supreme.

Based in a firmly digital age, the plot centres around a terrorist mastermind trying to bring America to its knees, not by using lots of bombs, but a few men in glasses typing away on their laptops. What they hadn’t bargained on was a man who has yet to join the 21^st Century way of living, and someone who has more experience at surviving the impossible than Evil Knievel; John McClane. After a simple assignment to deliver a computer wiz-kid to the FBI goes array, McClane is forced into action in order to bring the perpetrators of a massive cyber-based terrorist attack to justice; armed only with his gun, wit and a sidekick more used to videogame violence than the real thing. Whilst the film suffers from the over paced editing of director Len Wiseman, he clearly takes lessons from previous Die Hard films for the action, and manages to deliver an old school action flick. Packed full of explosions of varying sizes, and more gun fights than Andy McNab could handle, this fourth chapter gives you exactly what you’d expect from a Die Hard, it is the Ronseal of the film world. Justin Long fills the shoes as McClane’s new unwilling partner, and when you consider this was a role last taken up by Samuel L. Jackson, these aren’t exactly baby-sized shoes at all – yet he seems more content with the role then a fat man in McDonalds, with the two on screen egos playing off against each other perfectly.

Whilst this film is far from the best movie ever made, and does not steal the title of best Die Hard from the first, it is an easy to watch action movie, which provides adrenaline in such vast quantities it should come with a health warning. But when you’ve had a hard day at work, and just want to relax with a movie and a couple of beers, I can hardly think of a better film to recommend.

Damian Wrigley

Sweeney Todd

2008-01-29T23:39:00.000Z

Now i am going to admit before i even begin that i am totally in awe of Tim Burton. As shown in the most recent copy of 'Big Lens', i cannot say one bad word against him. Then, team him up with Johnny Depp and there is no doubt in my mind that something beautiful is about to happen. Then i saw Sweeney Todd. Don't get me wrong, i liked the movie, it was everything i expected. The gore was gloriously hammy, and almost Argento-like, and Johnny Depp put in a stunning performance as always. Yet as a die hard fan of Burton and Depp , i'm used to leaving the cinema feeling overwhelmed with passion and euphoria (i'm not even exaggerating), yet i found myself thinking is was just 'good.' I couldn't really get used to the singing to be honest, and i'm beginning to fear that Burton is becoming a victim of his wonderfully unique signature. It was almost too Burton if you get me, and i would hate to see him churning out films just for the sake of it- i suppose i didn't sense the passion behind it that i did in 'Edward Scissorhands' or 'The Nightmare Before Christmas'. However, being who i am i will still go and watch it a million more times, and buy the DVD. Maybe i'm asking too much of the poor guy.

The Passion of the Christ

2007-12-24T12:58:00.001Z

After watching The Gospel According to Saint Matthew (1964), an Italian film directed by Pasolini, I couldn't help but compare it constantly to Mel Gibson's The Passion of the Christ (2004). So i decided to rewatch it and see if it was as good as memory begged. And i have to admit, i was quite disappointed. I had forgotten the cheap tricks Gibson insisted on using. I found myself laughing (to my horror) at certain aspects and crying at other parts of the film. Gibson makes every attempt in disclosing the obvious, that it's painful to watch. The scene where Judas betrays Jesus for example, is an excellent example of Gibson's use of the cliche. The portrayal of the Jews is ever so trite, Gibson creates an exaggerated portrayal that is extremely mediocre. His role as a director and his skills are restricted to overstatement and exaggeration. Unlike Pasolini, there is no subtlety whatsoever which removes much of the aesthetic beauty from the film. If it is not too bold to state, the sound of whiplashing, beating and groaning exceeds that of dialogue in The Passion of the Christ, which purges any real religious, spiritual or moral meaning from the film, instead making it just another cheap hollywood blockbuster, with no convincing aim other than making the big bucks.

Half Nelson

2007-12-02T02:13:00.000Z

Half Nelson is a very good little film about a teacher who becomes disillusioned and gets swamped in drugs. At the spine of the movie is a brilliant performance by Ryan Gosling of The Notebook (shudder) fame, who perfectly captures the essence of a 'good man gone wrong' (as someone nicely put it on imdb), led astray by the temporary escape of drugs and the effects that follow. He forms an unlikely relationship with one of his 13 year old students and the story unfolds organically.

What's especially commendable about this film is the ambiguity. Not only this, but the film-maker(s) treat us, the audience, as intelligent beings who don't need every single little detail spelt out for us. It's also a deceptively dense piece: there is plenty of social and racial (amonst other -ials) commentary, none of which is entirely conclusive or insistent. There's also a great soundtrack; anything with plenty of Broken Social Scene is always a positive. Managing to be funny, touching, and real, Half Nelson is definately a rewarding watch.

The Long Good Friday

2007-11-26T23:09:00.000Z

Isn't it strange how in some films, just a single short sequence, or even a shot, can make feel so strongly about a character that you feel you can sum them up straight away without even knowing the plot? Well, when first watching the 'Long Good Friday', we see Bob Hoskins strutting along, to some, well, rather questionable 80's music, and all i can think is how totally cool he is. I can't really describe the word cool, though at a try i'd say a presence that oozes self assurance, confidence, and to my surprise i found, sex appeal.
And this short sequence pretty much sets you up for much of the same throughout the entire film. Hoskins absolutely makes the film, yet even without him, 'The Long Good Friday' offers perhaps the greatest British gangster film ever. With characters that are so striking, and scenes which make you squirm at times (meat hooks- that's my only clue) the film is definately something to be proud of. We see London, we see Brits verbally degrading Americans, and even a gay Pierce Brosnan rears his head for a scene or two.
I recently heard that the film was going to be remade by an American and to be set in San Fransisco. So here's a tip for those involved- don't waste your time, the Brits definately do this best.

Beowulf

2007-11-22T00:37:00.000Z

Directed by Zemeckis, starring Ray Winstone, who is a cockney dramatization of Beowulf, Anthony Hopkins, who plays an intoxicated King and Angelina Jolie, a smouldering yet evil temptress, this film possesses most of the Hollywood blockbuster traits you would expect. It is exciting, captivating and action-packed. Not to mention, the immense amount of CG nudity, which is slightly disturbing. There is also a subtle comicality about the film which I am not certain was intended. Perhaps this is owed to its highly cliched moments and Winstone's cocknean slips: "I am Beowulf, and I'm here to kill your monstah." I wasn't sure if a film that is wholly computer generated would work, especially since it is based on an Old English epic tale, written by an unknown Anglo-Saxon poet. Yet, Zemeckis succeeds in blending the two worlds of the sixth and twenty-first centuries, and in effect, merges them. Zemeckis brings to his audience a computer generated world that is ancient and at the same time avant-garde. It is obvious we live in a technological age, but is Zemeckis going a bit too far? Whilst I enjoyed this film for its vitality and CG combat scenes, I prefer the "old school" methods of live action. Nevertheless, I understand that the movie is computer generated purely for technical purposes, and on the whole, I can't deny that it is ultimately an entertaining film.

Requiem For A Dream

2007-11-18T17:06:00.000Z

I decided to re-watch Requiem For A Dream again earlier, and once again I was blown away by it. The film follows four people in Brooklyn (all of whom are linked to one another) who gradually get their lives torn apart by drugs. People often tell you to watch Trainspotting as an anti-drug film, but this is ten times more intense.

Aronofsky is a master of direction; he deftly allows us into the worlds of the paranoid and the addicted, often to the point where it becomes frightening. The soundtrack, too, plays a huge role, and is as atmospheric and despairing as you could with for. But what really stands out in this film are the multiple montage scenes between all the characters. There have been few examples of the montage that have created such intensity as when Aronofsky uses it, and by the end of the film you're ready to have a lie down in a darkened room. In a good way.

Death Proof

2007-11-07T00:20:00.000Z

Leaving the cinema after Death Proof, I was left with one profound question: what on earth is up with Quentin Tarantino's obsession with feet? There are feet a plenty throughout his new film, originally part of the 'Grindhouse' duo (the other film being Planet Terror) but released over here on its lonesome. Death Proof is a very strange film. It's quite entertaining, yet I couldn't quite get over the niggling facts that there was (a) no real plot and (b) no real structure...

Some weirdo stuntman likes killing girls with his car. There's your synopsis. But anyway, there are some brilliantly crafted moments, such as the epic car crash(es) and the one-take restaurant conversation scene. Tarantino loves gimmicks, and pushes them as far as he can. There are random dialogue skips and shoddy scene cuts that are a less than subtle nod to the quality of the traditional grindhouse style films. Not as good as Pulp or Dogs, but probably worth seeing. Especially if you like feet.

Battle for Haditha

2007-11-03T14:10:00.001Z

Battle for Haditha is the newest film to come from the master of documentary that is Nick Broomfield. The film is a dramatisation of real events that took place in Haditha, Iraq on the 19th November 2006. A roadside bomb explodes killing a marine and injuring two others, and the film follows this event and the repercussions that follow. Although the film sounds like a political film, it really doesn't bore you with facts and figures, and also surprisingly doesn't seem to take a political stance, which is obviously difficult to do when making a film of this nature. It is a lot less personal than some of Broomfield's earlier work, as the dramatisation doesn't allow his own voice narration, as seen in his earlier films such as Kurt and Courteney, which is in some ways a shame, but in other ways is beneficial in that the viewer can make their own opinion. There is no real 'bad guy', and whilst in the beginning you have one opinion, your view is challenged as events unfold and is you can come out feeling almost overwhelmed by the moral questions you find yourself pondering. The film is extremely emotional, with the use of real US marines as actors, and a stunning performance from the lead. It is at times hard to watch, and I often found myself feeling too scared to breath due to the powerful tension created in some of the most visually horrific scenes I've viewed in a long time. Overall, the film was absolutely remarkable, powerful and one you wont forget in a hurry. Easily the best film I've seen this year.

Nia

Munich

2007-10-31T13:36:00.001Z

It's been a good few years in the wilderness for Steven Speilberg: War Of The Worlds, The Terminal, Catch Me If You Can... With Munich, though, we finally have a return to form. It's not an easy going film, but it's absorbing viewing. Once again, Eric Bana steals the show with another virtuoso performance as the husband-come-father-come-hitman. Politically charged as you'd expect (dealing with the Israeli response to Black September: the 1972 Munich olympics killings) it feels for the first time in a while that The Beard has made a film for adults again.

What's most fascinating, though, is his use of reflections. There are frequent shots that begin as reflections in shop windows or car mirrors, not to mention the constant use of television; during the Munich attack, most of what we are shown is through TV moniters. Why? Who knows. I'm sure there's a good reason, but this is really too short a segment to postulate. (Excuses excuses.)
At any rate, you should watch this film. And if you don't like it, hey, at least you can laugh at Daniel Craig's accent.

Tom Brown

Resident Evil: Extinction

2007-10-28T13:57:00.000Z

I approached Resident Evil: Extinction with some trepidation. The first in the series was a mildly entertaining action film and the second one of the worst movies ever made. Despite Milla Jovovich agreeing to star in the third for some reason, I wasn't going to watch it. Then, rather irritatingly, a fantastic teaser trailer got my hopes up.

The trailer lied.

Jovovich is a capable actress when she has something to work with, but unfortunately the script was cobbled together by the same guy who made the last two films, and he hasn't got any better with practice. The story, dialogue and characters are clichéd to the extreme, and the standard of acting is poor. I would summarise the plot, but frankly I don't want to think about it again. Only go and see it if you're a fan of the franchise. Or of Jovovich. Or zombies.

Euan

Garden State

2007-05-24T20:03:00.000+01:00

More than just a film exulting the genius of its writer/directer/star/executive soundtrack producer Zach Braff, Garden State is a solid, wholesome and wholly impressive debut for the New Jerseyan talent. Perhaps only someone from New Jersey could make a film set there seem remotely interesting, and this is what Braff achieves. The excellent casting of Natalie Portman and Peter Sarsgaard help this film come to life as much as the carefully chosen soundtrack which features heavily in the movie. One could criticise the over emphasis on the greatness of The Shins, but in my opinion they warrant it, and their mention in a film about real life is normal enough. One of the best happy/sad films of recent years, Garden State will continue to strike a chord in countless young people, as the medically numbed children of the '90s start to find that the line between child and adult is becoming ever more blurred.

Date Movie

2007-05-24T19:55:00.000+01:00

Wow Aaron Seltzer can hit or miss. And this time it's way off. A few instances of visual humour remain a few instances and fail to transform Date Movie into anything like as funny, or even as eager to please as the Scary Movie franchise. There I was thinking I might want to give Epic Movie a try... I found the Hitch spoof the best, but honestly wished I hadn't started watching.

Sin City

2007-05-15T06:44:00.000+01:00

First billed actors' names flash over and over in a title sequence that seems to go on forever which was preceded by the perfect introduction to the work of Frank Miller. That girl on that balcony, Josh Hartnett's smooth but tragic tone, nothing fools the viewer into expecting anything less than the somewhat high-brow noir presented for the rest of the 124 minute graphic novel extravaganza. The big names give way to interesting stories that are watchable if not enjoyable. The obvious thing to comment on is the use of (or lack of rather) colour. I think a good job was done, and in my mind pressing pause at any point appears to represent the style of the novels to near perfection; to the extent that the extreme violence and "adult themes" fade into the visual treat being served. Perhaps the danger here is of style suppressing substance- but as in 300, when it looks this good, I just don't care.

Scary Movie 2

2007-05-15T06:37:00.000+01:00

Those crazy Wayans brothers at it again, but this was, in my opinion the last decent film they made. Anna Faris knows what these films are all about, stupid hilarity with nonsensical plots spliced with topical humour and gags that make you want to, well, gag. She knows it well, and hence her performance is brilliant. Faris makes this worthwhile. Little can be said of the others, I can't even remember their names, besides Tim Curry who was a creepy man then and remains so now. Being so specific to recent films and news, the jokes will age about as well as the franchise. Never mind, if you want a quiet laugh and a chance to flex your horror film knowledge, this is a movie for you, probably only you. Hell, just watch the opening scene with James Woods. Funny is an understatement.

Life in a... Metro

2007-05-09T21:43:00.000+01:00

The screening of this Indian film I saw was not the final cut and didn't have the final soundtrack, nor did it feature any background noise. Saying then that this is a review of the film is not 100% correct, but I'll give you an impression of what I did see. Hovering in a genre caught between traditional Bollywood and cinema as we know it in the West, Metro tries to appeal to a wide audience. The trouble is I can imagine it alienating Indian viewers with it's discussion of sex and lust, infidelity and corruption- while repelling western audiences because most of this serious film is laughable. It's not unknown that Bollywood and Hollywood have different ideas about what makes a good film, so at any of the many many points in the film when the three-man band come into shot and start wailing while the foreground displays a montage of characters' situations it becomes ever harder to take the film seriously. So much so that it was excruciating for occupants of the screening room to try to quell our laughter. Shilpa Shetty is this film's most well known actor outside of India, but her acting here doesn't support the fame she found through Celebrity Big Brother, and of the rest of the cast, only Sharman Joshi puts in a notable performance. Anurag Basu certainly doesn't lack ambition (this is the first Indian film to achieve a Leicester Square premier, even if it is on a Tuesday evening while the cinema is being refurbished and without any movie posters) but I have an inkling that the film will be lost on non-Asian audiences.

Beerfest

2007-04-21T21:27:00.000+01:00

How could the same group of people that wrote Club Dread be responsible for Super Troopers, and now Beerfest? I don't know, but Broken Lizard's most recent romp is a high point on the roller coaster of their portfolio. A guilty pleasure like Eurotrip, this film lacks the high quality finish of the hot Hollywood comedies from the likes of Jim Carrey and more recently Will Ferrell and his gang. You can't take a second of it seriously and you shouldn't want to. From the very first disclaimer "If you try to drink this much beer: YOU WILL DIE" to the final showdown, this is a laughfest that doesn't stop. Lizard poke fun at all sorts, including themselves and their own filmmaking. And the cameos, including Donald Sutherland, are well placed and not relied upon. Having lived many years in Germany, and England, the accents did disappoint me a little, but most of the time I was laughing too much to worry. Now I suppose I'll have to watch it sober and see if I agree with myself.

Four Weddings and a Funeral

2007-04-21T20:34:00.000+01:00

After 13 years of hype I thought I'd better give it a go. And I'm glad I did. Now whenever someone starts praising the merits of Four Weddings I can argue back instead of just sit there and shrug. Richard Curtis is a clever man. His more recent television and film work has been great, especially the wonderful Love Actually. Four Weddings, however, is a different matter. Don't get me wrong, there is nothing I find offensive about this film, well, besides Andie MacDowell's acting (happy 49th birthday Andie, by the way), I just don't find it as emotionally stimulating as I'd heard it was. The plot seemed quite airy and the comedy served not as an enchanting way to progress the story, but more as a saving grace from the story. Yes, the funeral was sad, but (without giving too much away) I feel that the character who passed on, and the subsequent loss suffered, was too remote for the audience, not well enough developed to really provoke any real emotion. Nor could I relate to the feelings of the typically bumbling Hugh Grant character. Perhaps this film, after all made in the early '90s, belongs there, in what is increasingly revealing itself as having been a very different time.

The Prestige

2007-04-21T19:54:00.000+01:00

The Prestige is a near perfect mystery thriller. And possibly one of the most difficult films to review without giving the game away. The problem is that the final few scenes reveal, to me, information that totally flattens all of the thrills of the film up until those revelations. I believe that even I could rewrite the last couple of pages of the script and make a more fulfilling story. As I said, up until the end the film is a gorgeous weave of twisting and interlocking mysteries and thrills. Both Christian Bale and Hugh Jackman bring life to their roles as I can't imagine other actors could. A lavish and clever glimpse of a time and society that fascinates me no end, the film takes you into the minds of the characters with many levels and dark depths. Overall I did really enjoy this movie, but illusion was always just that. I'll say no more.

Stranger Than Fiction

2007-04-21T19:41:00.000+01:00

Will Ferrell in shock serious film! What may have been billed as a light comedy tumbles impressively into a very well thought out philosophical mind bender. Ferrell again proves that his game extends way beyond first man of funny, and the supporting cast are also faultless. I especially enjoyed the scenes Ferrell shares with Dustin Hoffman, in which the intelligence of Zach Helm's story becomes apparent. Impressive from start to finish, Stranger Than Fiction only lacks the extra amount of quirkiness that would propel it up among the likes of Being John Malkovich and Eternal Sunshine.

Kingdom of Heaven

2007-04-14T23:47:00.000+01:00

I really don't see why so many people dislike this film. Okay, so it's nothing new, historical epics have been around for a long time and this one just happens to be about the crusades. Far more than just an excuse for big battles and bloody slaying, the attempt to draw parallels between two religions that are to this day oft pitted against each other, at a time when social acceptance is very much needed is an intelligent and timely vision. I'm in no position to speculate how much of an effect this had on viewers perception of religious relationships, but I can certainly say it made me think and struck me as an almost socially sensible piece of cinema. The acting was fine. People slate Orlando Bloom, but his performances and the those of the supporting cast were only let down by some dodgy dialogue. It is interesting to see Eva Green pre-Vesper, and accent aside she does a fine job. Although this is more than just warfare, and at times the warfare is portrayed with ludicrous overkill, the single greatest parts of this film are Ridley Scott's trademark scenes of beautiful slaughter; slow motion close combat surrounded by the baking dust in front of a glowing setting sun. There is a five minute fight scene in Kingdom that I'd say rivals those in the mightily stylised 300.

Lord of War

2007-04-14T23:25:00.000+01:00

Little more than just a light hearted, poor-man's Blood Diamond, Lord of War manages to be politely informative despite it's Hollywoodisation of a damning industry. Although the figures, the methods and the ease of the arms dealer's job may be off, the resounding message that gun-running is a bad thing gets through. Nicolas Cage walks through yet another movie playing himself, or at least the character he has become through a succession of jobs playing cynical, laid back, smug and at times miserable leads in average movies. (Picture him sighing with a smile and you've seen the extent of his acting in this one) Luckily supporting actor Jared Leto is good enough alongside Cage to save the audience from losing interest. I'd say this is worth a watch, it passes time and that women from I, Robot is slightly less moody (perhaps this is just acting next to Cage?) which is nice. Don't expect too much depth, but fun and cynicism are on the cards.

La Dolce Vita

2007-04-14T23:03:00.000+01:00

I'll admit that this is the first Fellini film I've watched, and that out of context I'm a little bewildered. I'm sure if you know a lot about high society and their exploits in the late '50s La Dolce Vita makes a little more sense. That said, I adore the surreal party scenes as well as the constant shaming of the press featured in the film. I thought the film was too long, especially after featuring Anita Ekberg close to the start (the part of the film most casual viewers knew about before pressing play) before she disappears and fails to return. The final five minutes on the beach make great cinema, but could have benefited from the exclusion of the 40 before. Still, some of the brilliant cinematography (most striking is the helicopter's shadow at the start) survives the 174 minute run-time.

Serenity

2007-04-01T09:26:00.000+01:00

Sci-Fi is quite a specific genre and Serenity is quite a specific film. In great contrast with the last CGI feast I sat through (300), this movie relied far too much on computer cut scenes which were not good enough to distract me from the wholly plausible yet equally boring and unoriginal plot. A boring plot can be saved by great dialogue, but unfortunately this was not the case here. Nothing about this film struck me as noteworthy or new, and I had trouble watching to the end. The acting and action were nearly as predictable as the storyline and plot twists. All in all, some good, yet ultimately pointless flowing space-scapes were let down by the movie they were attached to. If you liked Serenity you probably knew you would before you thought about watching it. This film had an audience before its conception, but I'm not part of it.

Fantastic Voyage

2007-03-27T09:11:00.000+01:00

This insanely educational '60s flick is entertainment as I haven't experienced it in the past. At the time the height of visual effects and cinematographical wizardry, Fantastic Voyage must have thrilled audiences forty years ago. Even today the plot makes sense and the acting is good. What makes this fun to watch, however, is a combination of Raquel Welch and the delightfully subtle sexist overtone of the film, as only films of the 1960s could have. Watch it while drinking, and point out how much the medical advances of the past forty years have debunked this altogether quite satisfying spectacle.

Harold & Kumar Go to White Castle

2007-03-26T10:31:00.000+01:00

Film can take many shapes, and obviously if I judged this against film in general these comments would not be complimentary. However, when viewed strictly as the late teen comedy it's seemingly trying to be it's not all bad. Reminding me most of movies like Dude, Where's My Car, Cho and Penn's quest for a greasy sack of arguably the States' most disgusting burgers (they're called 'sliders' for a reason) is at times genuinely funny, at times a clever satire on casual racism in suburban America and unfortunately at times as presumptuous as to make you want to punch the screen. Confidence is important in a comedy, but Harold & Kumar come across a little too demanding. When the laughs and lows are balanced, we're left with a very average comedy, and a less than great film. I hope they can improve with Harold & Kumar 2, due next year.

300

2007-03-25T07:28:00.000+01:00

This movie was everything I hoped it would be, and nothing more. Having seen Sin City, another adaptation of a Frank Miller graphic novel, I didn't expect great dialogue, great acting, or even a great plot. What I did expect was a breathtakingly stunning visual experience that pushes cinematography to the limits; and that's exactly what I got. You shouldn't see this film if you're after any sort of historical or social commentary, and certainly not if you're adverse to extreme grotesque violence. Think of 300 in the same vein as the Chinese productions Hero, House of Flying Daggers and the likes: Here we have little more than a reincarnation of an ancient myth through the eyes of a modern artist. It's also a refreshing change to see violence with a backdrop of fantasy rather than the very real violence in current social dramas. Escapist cinema at its pinnacle, 300 is stylish in the extreme with intense beauty and extended slow motion shots that are shockingly overwhelming.

I Want Candy

2007-03-20T19:48:00.000Z

American Pie meets The Girl Next Door in the middle England suburbs... Throw Carmen Electra into the mix and you arrive at this (it really shouldn't be) funny film. While marketed as decidedly British (an Ealing Studios picture) the film comes across as a carbon copy of recent colonial comedy. Electra plays the world's best porn star well, but really brings little more than another hot woman to a another comic role, as if taking on the mighty Pamela Anderson herself for the accolade of best breasts in a supporting role. Eddie Marsan, the guy who played the rich grass in last year's Miami Vice is a perfect film industry crook. His scenes really make the movie more enjoyable. The music was heading for total disaster with a Mel C. cover of 'I Want Candy' but was redeemed by Art Brut over the end credits. Candy felt like it had a bigger budget, and should do well with fans of Pie. The film does, however, lack some originality. But, I think Electra sums it up: "This could be really fun." ...and it is.

The Thin Red Line

2007-03-19T08:22:00.000Z

... which I'm told is nothing to do with Kabbalah, was, I'm afraid to say, a disappointment. I was much looking forward to this and foresaw myself typing a glowing review stating its cinematic mastery no end. Unfortunately that's what the film felt like for the final hour... no end. Quite possibly one of the most slowly progressing films I've seen, at least something happens. It's a shame it happens after nearly 30 minutes of jumping from character to surplus character establishing references which won't mean anything as they die, fecklessly, one-by-one at the hands of the Japanese, with a little help from their CO. So this film has a snail's pace, and I'm surprised no shots of snails were used, as just about all conceivable exotic jungle-dwellers got their five minutes. I understand the comparison being made between human-nature and nature-nature, but after a while this imagery gets tiring. The only things outnumbering exotic animals were Hollywood stars. I found the famous faces distracted me from the characters, and cameos such as George Clooney's were totally unnecessary.
As much as I care to criticize the 'what' of the film, the 'how' is almost untouchable. The technical execution of this film is first rate. The shots are beautifully constructed and the sound and effects are spot on. If only the same could be said for the score. Hans Zimmer's droning repetitive theme was too prevalent to be so boring. I'm sure in its original form - as a novel by James Jones - this circumstance and its subsequent lessons for humanity are inspiring and clear. But when the mess of characters, separate stories, flashbacks and grief are translated to the screen we're left with a film I really wanted to end about an hour before it did.

Memoirs of a Geisha

2007-03-18T08:07:00.000Z

My second viewing of this lush visual feast was as much a treat as my first. Focusing more on the costumes and sets that make this such a stunning spectacle I agree with AMPAS' Oscar decisions. The casting is certainly also of note: Although Chinese stars playing Japanese characters (in English) may have upset purists, the casting of the young actors makes their progression into Ziyi Zhang and Youki Kudoh seamless and believable. I wish that this had used the Japanese language with English subtitles, but I understand that the constraints of Hollywood would render such impossible. I still haven't read the book, but I'll watch the film again and again.

Pan's Labyrinth

2007-03-18T00:49:00.000Z

Ofelia, played excellently by relative unknown Ivana Baqeuro, creates a fantasy of fauns and fairies to make sense of the brutality of the Spanish civil war. This is shown masterfully by writer and director Guillermo del Toro through extreme violence and the innocence of Ofelia herself. del Toro uses the mother's pregnancy to display the devotion and kindness of the innocent girl trapped in a harsh world of conflict. Not that the fantasy is a safer place: the creatures of the make-believe are extensions of reality. Scary and dark, their power to control Ofelia is perhaps more a danger to her than her actual surroundings. Some of the imagery was overused, anyone with sixth grade biology would get annoyed at the repetitive visual references to pregnancy. Nonetheless, what ensues is an emotionally captivating tale which doesn't fail to impress in most aspects.

Bus Stop

2007-03-14T08:48:00.000Z

I was shocked to learn that this was Marilyn Monroe's 27th film appearance. Not knowing what to expect (this was my first foray into the cinema of the quintessential blonde), I sat back to take in what turned out to be nothing more than another example of the dull story that has settled in our minds as the ultimate decade defining cinema cliché. As for Monroe, I hope and pray that she was using a one-off accent for her portrayal of Cherie, the (would you believe it) orphaned and abused young 'gal' heading out west to find stardom. Her look maybe iconic, but here she looked plain ill walking around with tanned cowboys in the Arizona sun. Maybe in 1956 the whole thing was more believable, and audiences didn't mind hearing one song (that written for the film) sung over and over at every opportunity. I'm expecting better things from my next Monroe viewing. They sure don't make 'em like they used to... Good.

Seperate Lies

2007-03-14T05:46:00.000Z

Fascinating characters and an intriguing story ensure this is a thoroughly decent film. It's made a great film by stellar performances by the principle actors; Tom Wilkinson especially. The film cleverly allows the audience a deeper look beyond the veneer of nonchalance of the traditionally guarded monied English, which uncovers the characters' terrific depth and invites us to really understand James Manning (Wilkinson) from his own (somewhat unexpected) point of view. The emphasis on character does distract from the other aspects of the film, but is certainly not hiding anything. The sets are spot on, in particular the country village - 'quaint' is an understatement. This is exactly what films of the genre should be.

Flags of Our Fathers

2007-03-13T22:11:00.000Z

Being the first war film I've seen in a while, this certainly impressed me with its sensitive and atmospheric battle scenes. From a decent build up and explosive beach landing (still nothing has outdone Saving Private Ryan) the film slowed a little too dramatically into another cynical look at the commercialisation of war, and the commodification of heroes. Essentially the story of an image hijacked for the war effort, Flags does give a useful insight into the purpose and power of positive propaganda. Ryan Phillippe stood out for not standing out, playing his character as no more than a character. Clint Eastwood's decision not to make him a 'star' pays dividends as Phillippe's subtle performance brings sincerity to the whole project. I cannot fault the 1940s segments, the sets, action, acting and story were well conceived. In my mind it is a shame that these were ever so slightly let down by over-sentimentality and a pushy message towards the end.

Prime

2007-03-11T07:42:00.000Z

Billed as a romantic comedy but seriously more of a 'romdram' if there is such a thing; Prime is one of many many films of this genre about unfortunate rich Jewish families in New York being less than pleased with their kid's nonkosher choice of partner. This one's gimmick is the therapist-patient relationship between the Jewish mother and the unsuspecting, heathen, middle-aged object of her young son's Jewish affections. Although this situation makes for less laughs than you might think, it does allow Meryl Streep to bring a quality to the picture that others have lacked. Besides the 'meet the Bloombergs' scene, this film isn't very funny- So, does it make up for this in story and substance? Yes and no. The plot discovers some of the hardships of relationships with age gaps, and handles them well only to fall prey to the common 'will they-won't they' trap of every other romcom. That said, the ending is intelligent and won't leave you feeling short changed.

S.S. Doomtrooper

2007-03-06T10:28:00.000Z

What did I honestly expect with this title? From the moment I saw the war room, complete with plastic toy soldiers on the situation map, and the extra failing to figure out the typewriter, I knew I was in trouble. The premise wasn't quite enough to put me off; in a sci-fi flick an uber-human Nazi created using 'atomic radiation' destroying everything could be plausible. It could have even made a decent film. But, whereas Sky Captain turned exaggerated Nazi ingenuity into a CGI spectacular, Doomtrooper is doomed from the first glimpse of the product of mad German science. With graphics to shame a car-insurance ad, this film is awful in its most crucial aspect. The 'thing' is disjointed, discoloured and appears to float above the ground, walking as though on soap reminiscent of the fledgling CGI of old. The acting is grade 'A' TV ham, and the storyline is as good as the attention to detail - which is stupid. Bad acting/CGI/effects/music/script aside... wait, then there's nothing left. This is a true disaster movie: disastrous in every frame.

Thumbsucker

2007-02-27T11:03:00.000Z

This film isn't as bad as you'd think a movie that made back less than half of its $4 million budget at the cinema should be. What markets itself as a quirky indie flick concerning (as the title might suggest) a thumb sucker, soon reveals itself to be part 'coming-of-age' part social commentary on the over-medication of American youth. Oddly enough it works. The story is engaging and realistic, it doesn't get carried away trying to point out how cool it is, because after all: it's an indie film, and you can't get cooler than that. It's not afraid to employ big names like Keanu Reeves and Tilda Swinton because they bring talent, not tabloid. One downside is the soundtrack: performed entirely by The Polyphonic Spree. Their sickeningly light marshmallow fluff wailing chosen, I guess, because the producers had $100 left that they needed for Starbucks and The 'Pollys' accepted payment in unicorn horns or some such nonsense. Also, watch out for the suitably bizarre way half of Hollywood is thanked in the credits.

Enemy at the Gates

2007-02-26T09:55:00.000Z

Already thinking snipers are the most fascinating members of the armed forces made this an exciting watch. The first half of the film is an excellent tense thriller, a psychological game where one false move will send a rifle round through your skull. The second half follows suit only after you've stripped away the ideology and romance. The movie's weak point is that it tries a bit too hard to be both a historical epic and a love story; when all it really needed to be was a one-on-one duel between the two ace sharpshooters. The effects are gritty and feel real, as does the acting. The cast of well-known actors don't take away from the characters, with the exception of Rachel Weisz who looked a little too clean for Stalingrad in the early '40s (but I'd rather that than if she were all muddy). Watch Enemy at the Gates and feel the isolation, the confidence and the at times heart-stopping tension that snipers experience.

Freedom Writers

2007-02-25T21:30:00.000Z

This is an interesting true story about an interesting teacher who had the misfortune to change lives of LA kids in the '90s. I'm not saying anything against her, it's just the backdrop has been done and done so much that the film amounts to little more than a mixture of Boyz n the Hood and Dangerous Minds with a little Dead Poets Society thrown in. This is a shame because the acting is decent, the story warrants being told and the film making is in no way offensive. Not soft enough to be a TV movie, but not hard enough to thrill adult audiences, the film struggles to define itself. Emotion and sentiment to choke a horse appeal to a younger audience, which in turn might have trouble appreciating the politics of the school district. And I'm sure the use of the Holocaust to put the plight of LA into perspective will be misconstrued as a likening in the minds of many. This is the story of a great woman(albeit one from the O.C.), tragically let down by the myriad of similar films about similar philantrophic heroines.

The Talented Mr. Ripley

2007-02-25T10:48:00.000Z

This is an excellent film that develops an intelligently complex plot that ensures anyone must watch its entirety. Matt Damon brings to Ripley an innocence so defined that the character's Jekyll and Hyde are easy to believe. Damon is certainly not alone as far as good acting is concerned; no single member of the cast is anything less than wholly adequate in refreshingly well performed roles. Jude Law's lovable smugness suits 'Dickie Greenleaf' no end, and Philip Seymour Hoffman's snobbish and brash 'Freddie' is likable enough to make him my favourite character. The locations used effortlessly capture the dying years of a beautiful Italy before mass tourism swept in, the stunning rivieras and swinging jazz festivals take the audience to a place we can only dream of today. Ripley should have you hooked in the first ten minutes, and keeps you thinking throughout.

Children of Men

2007-02-23T10:21:00.000Z

By far the most convincing 'World's gone to hell' vision of the near future I've seen to date. Children of Men shows that finally, with the right budget and technology, broken civilisations can be portrayed in a way that isn't tacky and ridiculous. More than just chilling sets (from a fascist London to a brutal refugee camp crafted from an entire town), the film stuns with its very well executed cinematography. Impossibly long flowing shots follow the lead actor as if the camera is documenting only his encounters. Clive Owen gives another great performance and convinced me that he was the only man for the job. The story was inventive, but lacked depth. It did, however, allow for some amazing entanglements and clever dialogue. This is a glimpse of a scarily possible future; disturbing, yet extravagantly well done.

Hot Fuzz

2007-02-20T06:33:00.000Z

Simon Pegg and his team have followed up their excellent 2004 'zom-com' with this equally brilliant yet more mature action thriller. The writer's observations on typical police genre films are used with great effect on screen. The usual big guns of brit-com are rolled out in the first few minutes and joined later by a faultless cast, including the legendary Timothy Dalton whose villain is far more convincing than his Bond ever was. The build up to the highly anticipated firearm frenzy was a little too long, but from the moment Pegg's character kicks an old shotgun wielding granny in the face, I knew it was all worth it. The murders were suitably gruesome, and balanced well by the sentimental 'homage' scenes. The CGI blood could have looked better, but was luckily not over used. I was certainly looking forward to seeing Hot Fuzz, and I feel satisfied even if it took a while for the Peggedness to kick in.

The Virgin Suicides

2007-02-15T09:32:00.000Z

Watching this film in company, I was amazed at how different it felt. Without letting the film saturate my every thought and drown me in the tragically beautiful story, I noticed more of the acting and cinematography. James Woods impressed, as did Hanna Hall. Shockingly enough, this viewing also makes The Virgin Suicides the third ever novel that I want to read having watched the movie. I usually keep my preconceptions of characters and setting far away from the previously penned pages of the source material, but this retelling of the story is done so beautifully that I just have to see how much Jeffrey Eugenides' work contributed. I'd like to thank my sister for having been totally in love with Josh Hartnett; without that love I never would have watched on a whim and discovered one of my all time favourites.

Wittgenstein

2007-02-13T10:49:00.000Z

It's good to see that Wittgenstein was almost as confused by his philosophies as I am. I thought watching this might help me in my Philosophy of Law class, but presenting the great man's work must clearly not have been the intention of the film makers. Instead what we have here is an interesting look at key points in Wittgenstein's life, which fails, however, to account for why they are so important. My first foray into this 'modern theatrical' style of film (think bold colours on a totally black background), I can see how the technique can be used to emphasise the dialogue used, crucial in a biopic about a man who devoted his life to understanding language. This fine stroll through the life of the Austrian genius may entertain those with a knowledge of his work, but an introduction to Wittgenstein it is not. Still I learnt that he shared a history teacher with Adolf Hitler. At one point when he was asked how he would continue his life he remarked: "I shall start by committing suicide."

A Zed & Two Noughts

2007-02-12T11:00:00.000Z

I am getting the feeling that Peter Greenaway might have held some interesting company in the 1980s. This film, which follows two brothers mourning the loss of their wives by sleeping with the amputee driver of the car in which they died while recording the decay of various species of animals, is strange. I take that back, 8 ½ Women was strange, this is ridiculous and disturbing. Besides being an insult to thousands of people unlucky enough to have lost a spouse, the cold treatment of grief is insensitive and totally unbelievable. I'm not sure of what Greenaway was trying to achieve with this story, but if a high school student submitted it they would most certainly be sent away for psycho analysis. The frequent liberal nudity is suppressed by the footage of actual decaying animals; the prawns and alligator I could handle, but the swan, dalmatian and zebra were not as well endured. The protagonist brothers only add to the feeling that the whole thing is implausible. Their acting is dull and dry, with most of their dialogue delivered in loud short bursts, the over-indulged, self-centered characters distancing the scenario from its audience further. I'm all for bizarre cinema, some of it can be truly inspiring. This isn't, to me it's pointless; a sentiment reflected in the brothers' final action.

The Producers

2007-02-11T11:37:00.000Z

Delightfully Mel Brooks at every turn, the 2005 remake still delivers the shocking hilarity of the original. I had the pleasure of seeing the West End production with Nathan Lane and Lee Evans which I enjoyed immensely. Seeing the same as a film removes the atmosphere and rawness that made the stage show such a hit with me. Broderick was right for the film, but I feel that zany Evans better suited the stage. I have to say also that of the scenes in the movie, the staged sequences lifted from the show were the best. Brooks' lyrics may often defy taste but score much laughter nonetheless, and I will have Springtime for Hitler stuck in my head for at least a week. My recommendation is to catch the West End or Broadway shows if you can. If you can't, the film is still a fun watch not to be taken too seriously.

Casshern

2007-02-10T09:56:00.000Z

I may never fully understand the story, and I may never keep track of the allegiances of the characters, but my goodness can I enjoy this film. Visually stunning from the outset, Casshern, which employs the same look and technique as Sky Captain and the World of Tomorrow, proves that technology is no longer a limiting feature in the transcription from vast imagination to screen. The plot is revealed very slowly in a lengthy introduction that could cause some to switch off, but the promise and delivery of explosive action rewards those who aren't put off by the typically Japanese gush of sentiment. The story progresses into a whirlwind of conspiracy, genetics, mechanics, humanity and even divinity set in a dark near-future existence plagued by industrial scarring and disease following a bleak reprise of Japan's imperial intentions. This film in no way submits to classic movie formulae, and I'm sure the director (who was also writer, editor and cinematographer) was allowed an unprecedented amount of freedom to create this visual masterpiece. The final message is drawn out, and the music is in my opinion a little misplaced, but in its niche this is one of the best.

Blood Diamond

2007-02-05T07:31:00.000Z

While the 47% of my readership in the USA were most probably getting ready for their Superbowl parties, I was back at the cinema watching Blood Diamond again. Prepared for what I was seeing, the film was no easier to watch, but then it shouldn't be. The images remain as powerful the second time round. Knowing the story, I was able to focus more on the excellent cinematography which utilises Africa's natural beauty. I would like to see the film again without it's score. I find the emotional scenes a little too forced with the soft piano, and the 'action' sequences far too celebrated by the music. I feel the very real sound of the gunfire alone would have been more effective. I only hope audiences don't shrug off the disturbing scenes as 'just a movie'.

Oliver Twist

2007-02-03T10:41:00.000Z

Roman Polanski's vision of Charles Dickens' tale takes to the screen in a smooth and stylish way that so many classics have not. Leaving the story in context and creating a wholly believable world for the orphan boy's tribulations pays off, as this film feels authentic, almost a genuine glance into the pages of the book itself. Certainly no bed time story, the dark and sinister sides of some characters are amplified on celluloid by the use of silhouettes in damp mist, and gloomy rooms illuminated only with slithers of natural light. Certainly the best adaptation of Oliver Twist I've had the joy of seeing.

Team America: World Police

2007-02-03T06:51:00.000Z

It's amazing what you can do with puppets, scaled sets, talented writers and the foreign policy of the United States. Insensitive, incorrect and insulting it may be, but when a film is as ridiculous as this I really don't care. I focus on the genius: the wit of the intelligent comedy, the timing of the crude. This movie targets everyone, and garners more hilarity because of who it seems to upset the most. Funny on many levels, this is a foul-mouthed, tongue-in-cheek take on a not so removed political climate.

Deuce Bigalow: European Gigolo

2007-02-02T11:02:00.000Z

As funny as your friend's head on a spike and about as gross, Deuce fails to satisfy in this why-did-they-bother sequel. The attempts at comedy are crude and when not fully expected, stumbled and cringe-worthy. Any Englishman should hang his head in shame at the number British 'B' and 'C' list 'celebrities' that whored themselves to this mess. Far from a redeeming attribute, but nonetheless the only thing that stopped me right-click-deleting at the half way point was Hanna Verboom, the token Dutch beauty who might have been making waves in the industry had she not tragically taken a role in this film. Just don't, people. Just don't.

PS. The only thing I take away from this film (besides the knowledge to never watch it again) is the following quote:

Deuce Bigalow: Excuse me, but in America, we don't allow smoking in aquariums.
Frenchman: Excuse me, but in Europe, we don't unilaterally invade another country just to steal their oil.

Broken Flowers

2007-01-31T10:44:00.000Z

Each of the annoying fades to black had me hoping the film would cease to continue. I concede that Bill Murray fulfilled his acting duty well; he is very very good at keeping the same depressed look on his face from scene to scene, only occasionally substituting it for unenthusiastic disillusionment. The cinematography was as exciting as Murray, and the loose and thinly sprinkled soundtrack made the film feel unnecessarily slow. The existentialism didn't have me questioning why I'm here, more why I'm watching this movie.

Philadelphia

2007-01-30T10:34:00.000Z

It is little wonder Tom Hanks won the best actor Oscar for this film. Sadly as relevant 14 years on as it originally was, this story retains the emotional impact it had upon release. Choosing to expose less obvious emotional developments alongside that of the tragic protagonist, Philadelphia refrains from pushing the expected AIDS/HIV sob-story. Instead, this clever, well progressed, and thoroughly thought provoking work holds a mirror up to 1993 society, the 2007 reflection unfortunately similar.

Casino

2007-01-29T12:12:00.000Z

From explosive opening, through clever plot, to satisfying close, this is what cinema should be. Martin Scorsese keeps up his high standard of work with this brutally entertaining tale of Vegas villains and murderous mob politics. The onscreen team of De Niro and Pesci bring their own personal mafia flair to their roles, expanding on experiences in Scorsese's earlier films, notably Goodfellas. And quite a shock, Sharon Stone has been in a decent movie. At 170 minutes this mob flick is far from light entertainment, but classic Scorsese dialogue and some complex moral themes make it a stylish joy to watch.

The Brothers Grimm

2007-01-28T12:41:00.000Z

Certainly in line with other Gilliam I've seen, this is bizarre fun and in parts a little creepy. Ledger and Damon don't thrill but put in decent enough performances to keep the audience interested. Let down only by some poor graphic effects and some failed calls for laughter, all in all the film is far from offensive (except the kitten bit). Still, a good use of the dark and horrific nature of the authentic fairy tales.

Blood Diamond

2007-01-27T06:59:00.000Z

An excellent achievement. Conflict diamonds are not a vehicle for an action film, the seriousness of the situation would make any attempt ignorant and repulsive. In Blood Diamond, The subject is delicately handled and the storyline never feels like it's overly exploiting the situation. I felt sick with myself that I had gone to the cinema to view this as entertainment, and by the end assured myself that I hadn't enjoyed the film. Instead I let it make visual what I knew about African diamonds and prompt me to think more about our society. I was moved, and I'm very glad I saw it. The film making here is top notch and can nearly make me forgive Hollywood's real motives for exploiting another plight of the dark continent. I thought the acting was also solid all round, and this ought to see Djimon Hounsou move from a face to a name. I'll say it again: Please see this film.

Suzanne's Diary for Nicholas

2007-01-25T10:14:00.000Z

I hit play and instantly felt a little sick when no company credits were flashed. Based on the sort of overly dramatic story you might read at O'Hare with a three hour lay-over, this made-for-TV movie doesn't attempt to push any envelope. Christina Applegate gives the best performance, working well with what she was given. The 'baby photo montage' scene was just embarrassing and the resolution cringe-inducing. Even if this is your slice of film, just read the book instead.

Tenacious D in: The Pick of Destiny

2007-01-23T07:32:00.000Z

I started drinking my Jack Daniel's a little quicker after witnessing the introduction to this film. I will admit I was a little worried. Somewhat surreally it was Meatloaf that allowed me to sip my sipping whiskey once more. The very simple plot sees the comedy peak and plummet with some intelligent jokes being marred by petty toilet humour. But, with lyrics to rival the South Park movie, The Pick becomes a bearable romp of ridiculous rock. If you can stand the crudeness of the low points you'll be able to enjoy the genius of the high. Perhaps 'high' is a key word here... This is entertaining, but little else. And Dave Grohl is devilishly good.

In Her Shoes

2007-01-21T11:32:00.000Z

Oh my god.
Justin Timberlake must be insane.
If a film were to exist solely to make Cameron Diaz look as sexy as possible, this would be it. Slightly distracted from the narrative, I'd say that the story has just enough substance to warrant a watch. I'm sure Toni Collette is supposed to be the actor who balances the Diaz factor here, but I can't help but feel the blonde has cleared the ballpark with this picture. This may not be a great film, or maybe it is if you like romantic comedies (with an unexpected emotional scene thrown in for good measure near the end) and/or the politics of retired jewish communities. I don't actually know, my head is still full of Cameron Diaz.

Just Friends

2007-01-20T10:06:00.000Z

This charming and surprisingly comic fun film proves better than the average PG13 romcom. The surface level jokes are funny but it's the off-hand remarks and background dialogue that bring the hilarity home. Amy Smart's cutesy factor goes off the chart, and Ryan Reynolds in the chubby suit singing I Swear can even make an accountant smile. Undoubtedly the runaway star of the film is Anna Faris. Her 'rich blonde / pop singer' is spot on and the many references to Paris are no coincidence. Easy to watch and funny enough to justify.

Sympathy for Lady Vengeance

2007-01-20T07:59:00.000Z

You may have noticed I've taken quite a liking to this director. Lady Vengeance is fast becoming one of my all-time favourites. Its style never fades, and gives me the feeling in every scene that I'm watching something special. The violence in this film is handled in a very much suggested and understated way, similar to that in Mr. Vengeance. Having listened to the free soundtrack many times since my last viewing, I noticed the music far more and appreciate the role it plays in providing a dark and often amusing contrast to the visual scenes. I only hope that Hollywood doesn't see fit to ruin this with a remake also.

Empire of the Sun

2007-01-18T10:56:00.000Z

I've finally seen this epic, and I'm very happy I have. Japanese-occupied China is the refreshingly less obvious setting for this second world war tale which is as heart wrenching in parts as it is heart warming in others. The surreal sunrises and subdued majesty of the Japanese airmen contrast wonderfully with the almost jovial atmosphere of the camp, which is covered by long periods of the film but in my opinion lacks depth and meaning with so many minor characters. Perhaps a case of trying to include too much of J. G. Ballard's source novel? I can relate to Jamie Graham's fascination with flight and felt in touch with him standing on the roof watching the Mustangs scream by. This is Jamie's story, and Christian Bale in his first major role tells it perfectly. Bale makes this film great, helped along by an impressive John Malkovich. The real star for me, however, is the cinematographer under the command of director Steven Spielberg. Some of the most impacting shots in film can be found in Empire of the Sun, certainly some I shall not readily forget.

Flightplan

2007-01-17T13:11:00.000Z

The plane with the most stupidly designed over-head bins plays stage to this enticingly effective thriller. It is a shame that the quite clever story ends so abruptly as it certainly took a while to get going. Jodie Foster pulls her 'slightly insecure anxious mother' role out of the closet for this slightly better than Panic Room performance. Avoiding the obvious Arab-assault and the avionic inaccuracies of the film, filing a plan for this flight (sorry) is not the end of the world. I personally found it rather interesting, but then I like planes nearly as much as I do film.

Untitled (Almost Famous Director's Cut)

2007-01-17T09:33:00.000Z

The end of rock and roll is the backdrop for this film about emotional development, maturity, love and of course the roller coaster of touring with a 70's rock band. The naivety of protagonist William Miller (loosely based on writer/director Cameron Crowe's own experiences) comes through the uneasy acting of Patrick Fugit, whilst the perhaps too easy 'Penny Lane' is made believable by Kate Hudson. In a film like this music is going to be one of the stars, and Crowe has made sure it shines brightly, his choices echoing one of the movie's many messages; that bands should be about their music. Plainly the most manically mad and surprisingly brilliant scene is the plane incident. In this one scene we witness affirmation, confession, remorse, anger, comedy and relief in a thrill ride of emotional turbulence. What really stands out for me, however, is the gentle way the innocence of Miller is portrayed in his interactions with Penny. Something anyone who's been through adolescence can recognise and appreciate.

Doom

2007-01-16T10:42:00.000Z

The absolute best video game movie that had The Rock in of all 2005. I won't be too harsh on Doom. It's safe to say it knew what it was meant to be and delivered just that. The Rock managed to show us he's learnt a fifth facial expression, and is still the biggest lump of badass in the business. With cinematography above and beyond most previous films in the genre, and not just the clever first-person sequence, Doom is an entertaining 100 minutes of gore, guts and guns; a sci-fi zombie flick if you will. And it has Rosamund Pike, which is never a bad thing.

Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan

2007-01-16T08:25:00.000Z

I must have been so shocked the first time around that I had forgotten just how funny this is. Sacha Baron Cohen is a genius of comedy. His ability to work people to his spectacular advantage is what this film is all about. Well, that and one of the most disgusting things I've ever seen on a cinema screen. The observations on American life slap you in the face with such hilarious vivacity that you're still laughing hard way into the next gag. Ignore anyone who may be black, Jewish, Christian, Kazakh, American, straight, gay, or female who might try to to tell you that this is offensive nonsense. Anyone with half a brain and a sense of humour should love this film. Blazing Saddles for the 21st century, stunningly comical.

A Good Woman

2007-01-15T11:09:00.000Z

Maybe, but a good film? Sadly not. Sure, this will do if you've exhausted all your choices bar your comic book movie collection. And maybe some people that were around in the '30s could probably like it if they took time out from being old and grumpy and didn't spend 90 minutes pointing out every inaccuracy. This film has two things going for it, and (oddly) one of those things is not Scarlett Johansson. Neither is the other one. Tom Wilkinson makes this bearable, along with Oscar Wilde's amazingly witty dialogue lifted from the film's source material Lady Windermere's Fan. Light entertainment with intelligent observations: yes. A worthy adaptation of a great play that made full (or any) use of its potentially beautiful new setting: most certainly no.

Sympathy for Lady Vengeance

2007-01-15T09:04:00.000Z

Lady Vengeance has so much that is so magnificent. It is one of the few films that has a story that keeps up with its ultra-stylized visuals. Yeong-ae Lee is as beautiful as she is talented and does a superb job acting as the redemption-seeking tragic heroine of this piece. I found myself mesmerised at the change in a scene's feeling as a consequence of the most subtle alteration of Lee's expression. This is most noticeable in the translation scene, and anyone who watches this will know exactly what I'm talking about. The stunning use of focus and perspective add a flair to the film that constantly reminds you that this isn't everyday cinema. Neither does it have an everyday soundtrack. Shrugging off the obvious popular classical music, the creative Koreans have rearranged lesser known pieces, of which Vivaldi's point towards a parity in the appreciation of the two art forms. Chan-wook Park is three for three with this final film from his vengeance trilogy. And In Lady Vengeance the most so, he has shown us a visual style supported and entwined with lashings of depth and substance, something which Hollywood has never achieved to this level.

PS. Those of you who find yourselves aching to own the dreamy soundtrack need ache no more. Download it freely and most legally under the 'Media' tab at www.lady-vengenace.com.

All About My Mother

2007-01-13T10:37:00.000Z

I was attracted to this Penélope Cruz film, well, because it has Penélope Cruz in it. That it was written and directed by Pedro Almodóvar I saw as a bonus. Cruz herself fails to shine, but that is perhaps due to the nature of her role. On the other hand, the movie's star offers a better performance, depicting a mother with the world seemingly against her. It pains me that she was the best actor in the film, but just because I haven't seen her on the front of magazines I don't know her name. As for the film in general, I rarely get the feeling that a story I'm watching unfold just doesn't need to be told, but this was one such time. The characters are just too exaggerated to appear real to me, and the narrative I find thoroughly uninteresting, the emotion didn't make me emotional. This is a case of good acting and some interesting cinematography let down by the subject matter.

The Fisher King

2007-01-11T10:52:00.000Z

Terry Gilliam's 1991 oddity is suitably surreal, all the while retaining just enough normality to ensure it comes across as a sensible film. With scenes including Robin Williams in rags chasing a mounted 'figment of his imagination' red knight through Central Park, and Jeff Bridges indirectly inciting mass murder on his radio show, The Fisher King is quite quirky, and isn't afraid to be bold. Soon a singing transvestite and a shy woman bent on self-degradation join the troupe and add to what becomes a slightly unorthodox and rather depressing look at mental illness. That's not to say the film is all gloom; the undertones of romance and redemption lift the movie's spirit and parts will make you smile. Williams delivers one of his 'good' performances and is the stand-out actor in this work. If you can stop the overused annoying song irritating you, this film can serve as a great introduction to the former Python's topsy-turvy portfolio.

The Shawshank Redemption

2007-01-09T11:03:00.000Z

No aspect of this film is set in space (see previous six posts). Nothing in this film has anything to do with the supernatural, and there are no aliens to be found. Stephen King wrote this as a short story, and it is by far the best film I've seen based on his work. In my opinion the most credit should go to Frank Darabont; whose screenplay put the most amazing lines into the mouth of the typically brilliant and sincere Morgan Freeman. This is far removed from what I expected of a prison story, and far exceeds my expectations. I had heard that this was a good film, and write still in amazement at how much I enjoyed a film set mostly in a prison over several decades, played out in over two hours. The Shawshank Redemption is not a heavy film, but has just the right amount of substance to ensure that audiences remain focused on the main characters. All of the actors do fine jobs, and Bob Gunton's warden is pure evil.

Star Wars: Episode VI - Return of the Jedi

2007-01-08T08:52:00.000Z

And so my Lucasfest comes to an end, naturally, with Return of the Jedi. The first Star Wars film I saw, and then only the second half so many times on TV, it has taken watching it in context with the preceding five for me to appreciate it. Set mainly in only three locations, Jedi follows in the tradition of episodes IV and V in keeping the plot and pace simple. Mark Hamill gives his best performance, one that is subtle yet emotive. Even Yoda acts well, Frank Oz manipulates the green puppet in a way that out-acts many fleshy actors I could mention. More so in this film than the two before is it obvious that George Lucas already had the bulk of his story written. Many lines of dialogue in Jedi show his intention to expand on them in the prequels. That said, Episode VI is the weakest of the films in my opinion. I find the mess of the Jabba tangent lengthy and cumbersome, while the Ewoks (cute as they may be) are irritatingly strong against the apparently feckless stormtroopers. This film's saving grace is the final inevitable conflict of good and evil, and the lesson of redemption shown most recognisably in the Emperor's throne room with the battle raging in the distance. It seems the last minutes of the Empire create the finest scenes in the film, and help us forget the often drawn-out path that took us there.

Star Wars: Episode V - The Empire Strikes Back

2007-01-07T11:05:00.000Z

Empire has always been my favourite Star Wars film. From the desperation of Hoth to the stubbornness displayed on Dagobah right through to Bespin's crushing revelation, this slice of the saga successfully sets up Luke and the Alliance as the struggling underdogs. With every scene they appear knocked further away from achieving their goal of bringing down the Empire. During the battle of Hoth, for instance, the rebels score small victories but can mostly be seen frantically running around shouting and being blown up in contrast to the calm indestructible air of the Imperial commanders. The character development we see of Luke on Dagobah is the most thorough of all the films, and his youthful unwillingness to embrace Master Yoda's teachings gives Lucas the perfect platform to launch the mature triumphant Luke of Return of the Jedi. My personal favourite shot of the film is of the Millennium Falcon making its return to Cloud City to retrieve the distraught Skywalker. The combination of this, Leia's feeling of the force, Solo's imprisonment and the golden glow of the clouds at sunset are brought together perfectly by the music which tells as much of the story as the screenplay itself.

Star Wars: Episode IV - A New Hope

2007-01-06T09:15:00.000Z

I can't believe in the many times I've watched this I hadn't noticed the stormtrooper walloping his head on the door. Anyway, undoubtedly THE film of 1977 if not the decade, Star Wars is the earliest film that I relate to the pictures of today. Moving straight from Episode III to A New Hope, it is refreshing that the bigger picture is ignored to zoom in on so few characters. Technology as well as acting styles and audiences have changed so much since this film's original release that it is hard to draw a comparison with its contemporary siblings. What can be said is that I get the same feeling watching IV that I do watching Jurassic Park, I find it difficult to accept that the effects in these movies were possible when the movies were made. Admittedly, my copy was tinkered with in 1997, but even the earliest footage still wows me on each viewing. Anyone who watches this with its year of production in mind should be able to understand the vast following that Star Wars has accrued.

Star Wars: Episode III - Revenge of the Sith

2007-01-06T06:17:00.000Z

I could write a separate post just about the use of character themes in the score of the final ten minutes, but I'll put my John Williams appreciation aside and try to focus on the whole film. Although I'm not sure how much of the story George Lucas had in mind back in the '70s, I can understand why he started with Episode IV. III is by far the most complex of the narratives and the constant jumping between scenes and settings, displaying parallel plots, could not have been so effectively done 30 years ago. Episode II's great ending leads into an opening sequence that rivals the rebel blockade runner hunt that I'm looking forward to seeing in a matter of minutes. Even if the acting isn't top notch, and the dialogue in parts is nauseating, to focus on these few negative aspects overlooks what a spectacular culmination of Star Wars this is. Regarding the films as a saga, I can't think of a better way to tie it all up. Lucas has brought much needed depth and clarity to the Jedi and Republic story lines in the most mature and emotional film in the series. I lost count of the number of times my friends and I would discuss how Vader was created when we were eleven. Now I know, and I'm more happy for it.

Star Wars: Episode II - Attack of the Clones

2007-01-05T09:11:00.000Z

The black void gently gives way to a planet shrouded in candy floss cloud as a graceful silver bird glides smoothly down to a Coruscant pad surrounded by a translucent mist streaked with the pinks and oranges of the afternoon sun. This is by far the most visually pleasing of the Star Wars films, and you know it from the very first minute. The misleading grace and sophistication of pre-war Coruscant gives way to the serene lakes of Naboo, which are part real and great exaggerations of the Lake Como area of Italy, one of the most beautiful places on our planet. It is not, however, until the final 30 minutes of the film that the art of the cinematography becomes truly apparent. The battle of Geonosis is one of the best science fiction clashes you are likely to see. The documentary style camera work makes you forget you're watching CGI. Of particular note is the bringing down of the Federation ship which creates a perfect dust cloud for amazing lighting effects during the close exchange of blaster fire. Moving on into the hanger, the faces of Anakin and Dooku, duelling after slicing the electricity cable, are rife with emotion displayed in the sharp glow of their lightsabers, reminiscent of Luke vs Vader in Cloud City. The film closes with some of the most chilling images from the entire series: Palpatine and his senators arranged on a balcony surveying the deployment of troops in the sunset of sinister oranges and reds. Yes, I like this one too.

Star Wars: Episode I - The Phantom Menace

2007-01-05T06:16:00.000Z

I can only hope that I don't lose the (few) loyal readers of this blog as I possibly plummet in your estimations by posting the outcome of my Star Wars binge. And here's where it all started... Well, the series starts but not for me as I saw the fourth one first and, well you get the idea. I know everyone has an opinion on George's little project, and most of the strongest concern Episode I. I concede that this isn't a Star Wars film in the purist, gritty sense of thirty years ago, and it certainly lacks the 'wow' factor of the original trilogy. That is save for the excellent pod racing scene that employs CGI to what must have been the limits back in 1999. The high-speed disintegrations of the crashing pods look mind-numbingly realistic (or as I would imagine them to). But, we can't judge a film by FX alone, and unfortunately the characters lack the depth I would have thought the first of a six-film series necessitates. John Williams manages to achieve his best 'Lucas' score to date with this film, and the complete score on CD is great to own. After all is said and done, this is still Star Wars, and rational or not, I still love it.

PS. Got through the entire post without ranting about Jar Jar. Damn.

Dark Water

2007-01-03T10:32:00.000Z

If someone had told me this was written by the same person who penned The Ring I would not have watched it. I have yet to feel satisfied following any film of this genre, the supernatural is simply not for me. My genrely challenged acceptance of movies aside, essentially what we have here is a story, and thus subsequently a film, that would have benefited having the word 'short' in its description. The pace of this film is painfully slow and starts with much uninteresting material which serves far more to bore than make you want to endure more. Ariel Gade will be a name to look out for if she continues to put in performances as subtle yet striking as this one. Jennifer Connelly, on the other hand, just seems to mope around looking confused and a little scared. 'If I have to' acting jobs are on tap from the rest of the cast, except of course for Pete Postlethwaite who is great in everything. I'll be thinking long and hard before submitting myself to another American remake of a Japanese horror flick.

Tie Me Up! Tie Me Down!

2007-01-02T10:45:00.000Z

My first foray into the Almodóvar world of film will certainly not be my last. Billed as a black comedy, this movie is both entertaining and a good expression of one of the more strange ways a relationship can start. Naïve and determined Antonio Banderas stars alongside vulnerable and gorgeous Victoria Abril in this take on Stockholm syndrome. Away from the main story several quirky dimensions give the film a tint of the surreal, such as the paralytic dirty old director who dances his electric wheelchair in pursuit of a pretty young thing. These moments of insanity are a welcome break to the predictability of the narrative. Certainly fitting into the scope of Spanish cinema as I know it, this gives me hope that I'll appreciate more Almodóvar films in the future.

Gosford Park

2007-01-02T00:34:00.000Z

More than simply a wonderful showcase for British acting talent, Robert Altman's Gosford Park is compellingly intriguing from the start. The scene is set in the classic murder-mystery fashion: take one country manor, add a smattering of vengeful guests, and stir in the motive riddled staff for good measure. Michael Gambon's is a performance of note, along with Emily Watson's very believable maid with a secret. Comic relief is delivered in the form of the tragically underused Stephen Fry. The production wisely chose to employ the most recognisable features of 1930s aristocratic style to create an effortless backdrop for the late writer/director's tale. Although little effort is made to put the viewer off the scent of the real culprit, and the ending doesn't quite offer the closure I would have liked to have seen, this film is an interesting, stylish, and at times funny exploration into a 1930s stately home hierarchy.

Sympathy for Mr. Vengeance

2006-12-29T10:27:00.000Z

My admiration for Chan-wook Park only grows with my second viewing of this film. Introducing my sister to the revenge romp has allowed me to focus more on the use of various techniques used to convey the dire message of this masterpiece. Chan-wook's use of light and shade clearly defines good and bad more than once in this film in a way that Hollywood would condemn as obvious, the difference here is that the visual metaphors are employed in such a way that they don't slap the viewer in the face and allow him to subtly pick up on it. The director is also not afraid to leave shots lingering, even when they open a scene. The fast pace of most commercial movies is put to shame by oft 30 second plus shots that could easily be stills for the lack of movement. Chan-wook knows that moving pictures are an extension of still photography and shows clearly in this film that he's happy (and more importantly able) to evoke still imagery when its depth reaches further than that of motion.

Green Street

2006-12-28T08:29:00.000Z

In stark, stark contrast to the last film I watched, Hooligans, as it's known to Americans, is not beautiful, but viciously violently brutal. The alternate title doesn't pay enough attention to the emotion and heartfelt malice portrayed through the Green Street Elite. There's more to English football firms than hooliganism, and I think this film does a good job at showing it. Consistently good camera work and somewhat surprisingly good performances from mostly unknowns give Green Street a certain credibility. This I hope will tilt people towards watching what is essentially a movie about groups of lads beating the crap out of each other. A couple of things did niggle throughout, such as the Newcastle boy putting on an East Ham accent, but all in all this is a competent film that I will happily watch again with friends.
Americans NB: I'm not for a moment saying that this sort of thing isn't present, but please don't go thinking the whole country is like this. The sandwiches really are cucumber and not knuckle.