Absolutely brilliant. Okay the plot line may be a tad predictable but the acting is great and the costumes etc are fab. Ii'd definitely say to watch it - it's a fantastic chick flick and one that i'll definitely be getting!
It'll also make you listen to Benny and the Jets by Elton John in a whole new light - absolutely classic! :o)
Fab chick flick to watch!
A great series, easily my favourite in the 'Law & Order' family, in fact, I actually prefer it to 'Law & Order'. 'Criminal Intent' uses the old 'Colombo' set-up as detective Bobby Goren (an excellent Vincent D'Onofrio) of the NYPD Major Case division employs a rope-a-dope combination of strong analytical skills and an innate understanding of the malleable nuances of human nature, to establish an MO from the perp's perspective. Partnered with level headed tec Alexandra Eames (Kathryn Erbe best known for her roles in 'Oz' and 'Stir Of Echoes') and kept on the straight & narrow by no nonsense DA Ron Carver (Courtney B. Vance of 'Panther' & 'The Last Supper' fame) Bobby Goren has become somewhat of an onscreen legend for crime fiction fans. There's something refreshingly old school in the way that Goren would rather mirror & regale his suspect with the finer points of stenography and word-play, than spend an hour running retina scans through a database or playing with DNA sequencers. For he uses his superior general knowledge to outwit all comers, and by the end of it, much like many a well heeled, ruthless killer would begrudgingly yield to the shabby, unassuming and always courteous Lt. Colombo, so too do most of Goren's suspects acknowledge that Bobby is indeed The Man. And yet, I don't seem to recall Peter Falk staring deep into the abyss to dredge up or use an adversary's past against them, as detective Goren does on a regular basis. Now since I didn't join this series from the beginning, a lot of these episodes were new to me, and as is the case with all TV shows; you can tell that they weren't certain that it was going to get picked up, hence there's no discernable thread or narrative continuity like in later seasons: some of the stand outs here include 'Semi-Professional', 'Faith', 'The Pardoner's Tale' and 'Phantom' (which was later used in French 'Law & Order' spin-off: 'Paris Enquêtes Criminelles'). A must see for any discerning fan of the police procedural, because if 'CSI' is a hot tub & massage, then 'Criminal Intent' is nothing less than a cold shower & slap in the face. Modern classic.
24 SEASON 1. I was recently given this as a gift. I started to watch it on friday night and finished on monday night(all 24 episodes) This is such a gripping show and leaves you at the end of each episode just wanting more. With more twists and turns and shocks throughout this rollercoaster. The lead character Jack is far from shallow while presenting all the action. The other cast keep you guessing who's side they are on, and your going to be saying "what!!!" and occassionally you'll be in complete shock. His daughter kidnapped, terrorists plotting to kill a black senator who is going to be president and rogue agents, this is a must see
24 SEASON 1.
Well, what have we got here?
We've got a 1946/7 London - rainy, smog- and fog-ridden - swarming with sweaty, sadistic small-time black marketeers, hag-faced toothless harridan prostitutes, rat faced squealers, slimy grasses, heart-of-gold cashmere-wearing Judys, squalid, smoky dockside boozers, and bobbies in mackintoshes and capes (told you it was raining) getting run over and bashed over the coconut.
Enter ex-RAF Clem Morgan (Trevor Howard). He wants a bit of action with a gang led by sharp, smoothie, sadistic, snooker-playing knuckle-duster wielding Narcy (Narcissus)(Griffith Jones) - but he baulks at their drug (sherbert!) dealing side. So he's framed into a cop murder - very heavy stuff in immediate post-war England. But this isn't The Blue Lamp - it's nearer Jules Dassin's famous Night and the City and precedes both.
As well as a crackling script by Noel Langley we've got a runaway fugitive we know is innocent, more bobbies, more rain, and a head-butting, knife-throwing, rooftop-climbing finale.
A great British noir sadly often overlooked. See it!
Enjoyable movie based on real life events surrounding a group of highly intelligent MIT students who study the art of card counting to win big at blackjack.You dont have to be interested in gambling to enjoy the film.
If Sam Peckinpah's 'The Wild Bunch' is the violent death of the western, then 'Pat Garrett and Billy the Kid' is picking over it's remains. Peckinpah is back with his legendary use of screen violence, although not as violent as 'the Wild Bunch', in this film however it could be said he goes one step further by showing live chickens being shot to bits as target practice for Billy and his gang. Legendary actors James Coburn and Kris Kristofferson both give excellent performances in this film about the end of one way of life and the path towards a decent future. The strong cast line up also sees Bob Dylan playing Billy's sidekick. One of the most emotional moments of the film is the death of Slim Pickings, dying at the side of a river bank with Bob Dylans song 'Knockin' on Heaven's door' as background music.
A genre that had dominated Hollywood for over 30 years - the Western - was coming to an end. 'The Wild Bunch' by the great Sam Peckinpah is arguably the greatest western ever made. Featuring top class acting, it is a film that represents the violent death of the western. It is a study of American society (containing references to Vietnam)and masculinity (the Bunch is the ultimate boys club), it destroyed all the frontier myths created by the likes of John Ford. With a final scene of extreme violence intercut with freeze frames. The Bunch finally decide to live up to the ideals that William Holden's character, Pike has referred to throughout the film. There is only one way I can finish this review and it is with one word.... "PIKE".
This is possibly the best interpretation of the events of Rome from Republic to Empire. Woods is fantastic as the cold and calculating Augustus, and Purefoy as the womanising Antony captures the clash of ego's that occured between the two wonderfully. HBO's Rome successfully evades the shadow of other popular adaptations on the history of Rome such as the 1963 'Cleopatra'. The storylines superbly weave the fortunes of charaters from all walks of life together, from the Jewish ex-patriots to the Imperial family, each character is dealt with sympathetically and with appropriate humour. This series is enjoyable and accesible even without any prior knowledge of Roman history, given Shill's talent for providing a drama that's full of heartache, scandal and tragedy, but his attention to factual detail makes this enjoyable by classical scholars too. Sadly, the project ran out of finance during filming, so the last few episodes are forced to cram a decade of history into two hours, but apart from this, HBO Rome is unfaultable. Bring on Series Three!
With most stories along this line, there is always the danger of the audience being subjected to two hours worth of cringing schmaltz, but Penelope succesfully avoids this classification through its great cast choices and fantastic script. Ricci plays the pig-faced aristocrat with aplomb, and her sharp wit carries the film. At times heart-breaking, her characterisation of a girl dealing with parental pressure, love-trouble and learning to live in her own skin makes this the perfect film for any teenager to relate to.
McAvoy's performance is likewise fantastic, his American accent is faultless and he delivers the character of Johnny with surprising conviction, and cameo's from British comedians Lenny Henry, Nick Frost & Russel Brand provide light relief to the more heart-breaking moments of the film. Visually, the film provides Tim-Burton-esque gothic imagery, from the family's mansion to the casting of the elfin Ricci, which fits the 'Brothers Grimm' type subject matter perfectly.
Despite the predicatable ending, the sympathetic characterisations and thoughtful storytelling ensure that the audience wouldn't want it any ther way. The perfect fairytale.
Seeing this film at the cinema, I was almost physically sick. Filmed on a hand-held camera, it is like watching a bad hangover. Having said that, hidden beneath the motion sickness is a well-scripted story of a group of friends trying to avoid being killed by a giant monster while attempting to patch up relationships along the way. The cliched monster-hits-New-York storyline is forgiven through the great cast performances and unexpected ending. Great for fans of Godzilla-type action films.
Romeo and Juliet is updated for the 21st century audience. Luhrmann's innovations succesfully create a fast-paced, colourful & humorous re-telling, that still pays homage to the talents of the bard.
The cast is unfaultable, DiCaprio & Danes' youthful charms are tempered by performances by Hollywood veterans such as Pete Postlethwaite, and the soundtrack, featuring the likes of Radiohead and Quindon Tarver, is superb. The costumes are visually stunning, and capture the essence of such familiar characters, from the white dress that captures Juliet's innocence to the sinister outfits of Tybalt.
This film is the perfect mergence of the old and the new, to be enjoyed by Shakespeare and Luhrmann fans alike. A must-see.
All in all The Bank job is an enjoyable film which works well on many levels. It is pretty much a mans film but isn't violent enough to put off women who will be attracted to the story and the scandal as it is based on a true story.
Performed live at the Royal Albert hall, the 10th Anniversary concert features the amazing performances of some of our favourite stars including; Philip Quast, Colm Wilkingson, Michael Ball and Lea Salonga. Although a concert with positioned microphone stands, the magic of the show is not lost as the story is enhanced through video clips, costumes worn by the cast and also the cast members do act when the songs require it. An excellent show. This collectors edition DVD is a must have for all musical fans.
Such a funny film I had to see it a total of three times at the cinema.
This has got to be Farrell's best film yet, he is funny, adorable and wins the sympathy and love of people who watch him act in this brilliantly funny and clever film.
For those who love rude jokes that you dont know whether to cringe or laugh at; for those who love a shoot out and those who simply want to watch a film ehich has to be one of this year's most unique and entertaining films. Seriously, grab a copy and see for yourself. Farrell is a delight!
I saw both of these films in the cinema and each time I left the building I was amazed at how confused I still was, yet at the same time how it all made sense. The National Treasure set so far have kept me on the edge of my seat at every moment. The twists and turns make for great viewing and really lets the viewer get involved, letting them make their own assumptions and then revealing the real answers. The storyline was brilliantly written allowing both films to roll along at a fast pace without leaving the viewer behind. These two films are definitely the best action/adventure films I have seen in a long time. One to watch for sure and definitely not one to miss.
The Batman is Palestinian. For our Dark Knight re-enacts three historical stages in that old, but consistently vicious, conflict between Monotheism & Zionism for control of the Holy Land: he's an Al Quds (Jerusalem) security officer circa 1919-1929, an 'Intifada' member circa 1936-46, and finally, the caped crusader turns figurative suicide bomber circa 1994-04 (in the sense that he must sacrifice one persona to be an effective force of resistance & change). For Batman faces the purest Platonic moral dilemma as challenged by Sartre in a phenomenological sense (i.e. emotions faced by an agent and the moral residue of an action) hence his retaliatory campaign against tyranny, though saddled with experiential components of regret & remorse (and not just for his own people or circumstances) is an ontological moral dilemma; which, in its proposed resolution, leans more towards Plato than Sartre. And yet its 'Sophie's Choice' at every turn; as neither outcome alleviates the agent's immediate predicament, hence his actions are judged by varying moral codes: with some lauding his decisions as selfless, visionary acts of theophilanthropic heroism, and others condemning them as senseless, and ultimately counterproductive, deeds of terror. 'The Dark Knight' is to moral dilemmas, what bread is to butter: Welcome to Gotham City. Christopher Nolan's long awaited, over hyped sequel to his excellent franchise reboot 'Batman Begins' (2003), sees our hero (Christian Bale on fine form) trying to legitimise The Batman's crime fighting legacy through clean DA Harvey Dent (an ever reliable Aaron Eckhart in a role not dissimilar to his Lee Blanchard character from 'The Black Dahlia'). Meanwhile, The Joker (the late Heath Ledger, in what's sure to become an iconic performance) whose arrival was bought to our attention by Lt. Jim Gordon (an older, wiser Gary Oldman) at the end of 'Batman Begins', has intensified his criminal activities in spite of Batman having dismantled most of the mob (see 'Batman: Gotham Knight' anime for details). Now in much the same way as 'The British Empire', on the verge of defeat in Palestine, turned to sadistic, anti-Semitic, Zionist murderers like Greenbaum, Ben Gorion, Shamir, Begun, Stern and others to do their bidding, so too does Gotham's beleaguered mafia class bring in The Joker. Not simply to kill Batman, but to kill the ideals he represents hence negating the validity of his existence. But Gotham's organised crime network, like the empire, don't seem to know the ball from the bounce; for The Joker, like his Zionist counterparts, is an unstable master terrorist with delusions of grandeur; who makes his brand of evil perversely attractive in its bullish clarity. Not only as a means of expression for the criminal elite, but for also for those who would choose to live beneath the wings of dragons, albeit in perpetual fear of being burned alive by the very creature under which they seek refuge. 'The Dark Knight's' portrayal of Batman-as-magnetised-catalyst-for-chaos, is a theory first put forward by young super-villain Anarchy in the 'Knightfall' series, but like The Joker's ever changing origins, its' not necessarily true. For "Gotham", he rasps, "deserves a better class of criminal" and Gotham is, to The Joker, a land without a villain for a villain without a land; his anarchic rationale correlating with the MO explained by Ra's al Ghul in 'Batman Begins'. 'The Dark Knight' is the best summer blockbuster of 2008; with stellar performances from an all-star cast, an entertaining, well-paced script by the director's brother Jonathan Nolan and some truly spectacular mis-en-scene from Christopher, who keeps his record in tact. And yet 'The Dark Knight' doesn't eclipse all that came before it, for this sequel is barely on a par with its predecessor, which also had its flaws: Here, we didn't need to know about Alfred's past in Burma; for that story essentially constitutes the admission of a war crime and unintentionally sours part of the character's dynamic with Bruce. Nolan's depiction of Harvey 'Two Face' Dent also proves a tad awkward; as by the time they've built him up, its time to knock him down, Cillian Murphy is wasted in a pointless cameo whilst the romantic subplot with Rachel Dawes (Katie Holmes in 'Batman Begins' now replaced by Maggie Gyllenhal) was contrived and unnecessary. In fact, were it up to me, I would've replaced her character with Arkham psychiatrist Dr. Harleen Quinzel a.k.a. Harley Quinn (Hilary Swank would've been ideal). That said, Christian Bale comfortably returns to his role and is as convincing a Bruce Wayne as Val Kilmer, whereas his incarnation of The Batman is, in the immortal words of Tina Turner: simply the best. Aaron Eckhart brings his suave but everyman quality to a difficult role, I liked the fact that Gary Oldman gets a lot of screen time as its been a while since we've seen him in a decent movie whilst the battle of wills & ethical mores between Bruce Wayne and inventor Lucius Fox (an excellent Morgan Freeman) on the morality of using a sonar spy device provides some food for thought. Look out for a few famous faces in key supporting roles as Michael Jai White plays a Gotham gangster, Tommy 'Tiny' Lister of 'Fifth Element' fame makes a memorable appearance as one of the prisoners on that ferry whilst Nolan pays homage to 'Heat' with an impressive bank robbery scene, and makes his allusion all the more apparent by casting William Fincher as a shotgun wielding, have-a-go-hero. 'The Dark Knight' isn't the most action packed superhero movie ever made (that'd be 'Spiderman 2') nor is it the best written (that'd be 'V: For Vendetta') or even the darkest for that matter (that'd be 'The Crow') but there's an air of abductive reasoning to it all; in that the film can be anything and everything depending on how one chooses to see it. 'The Dark Knight' is not 'The Beshalach', 'Burn!' or Dostoevsky and you won't find the meaning of life on the streets of Gotham City, though I imagine you'll be entertained for a couple of hours in a movie theatre. Lets hope Nolan, whose not a DVD whore to the best of my knowledge, doesn't do a Ridley Scott and faff about with multiple editions: just give us the director's cut please and, perhaps, a 'Joker' special edition if you really must. For the cuts made to secure its 12A theatrical release are so annoyingly obvious, you may as well stick a pack of band-aids on screen. And so, inevitably, we turn to Heath Ledger; whose sudden and tragic death from an accidental overdose aged just 28, shocked the world in much the same way as Brandon Lee's untimely demise gave his starring role in 'The Crow' (1994) a coat of hyper-real, coincidental irony. Heath Ledger puts in an admirably complex and memorable performance in his last role, though its not as much of a revelation as some people claim, after all, think back to how Heath's acting abilities were improving with each film: from 'Ned Kelly' to 'Candy' to 'Brokeback Mountain', we were witnessing an actor studiously hone his craft to create increasingly believable characters on screen. Ledger's Joker is part James Cagney in 'White Heat'(1949), part Daniel Day Lewis in 'Gangs Of New York' (2002) and even manages to channel Conrad Veidt in 'The Man Who Laughs' (1928), the only difference being that Raoul Walsh afforded Cody Jarrett the whole picture to run amok, here, we have a clearly defined narrative structure that no studio would allow any director to steer too far away from. And what's Ledger's secret I hear no one ask? It's the voice. The way he drops it an octave when the Joker's menacing his victims, elevates his character from thuggish madman to dangerous criminal sociopath or "agent of chaos", though if truth be told; The Joker is a social Darwinist of the highest order, prevaricator of bacchanalian idolatry through enforced secularism and Nihilistic propositions...he's also a guy in a nurse's uniform who blows stuff up. Captivating? Yes, terrifying? No, for once you've braved the Southern badlands with Rob Zombie's 'Devil's Rejects', somehow everything else just pales in comparison. Nonetheless, it's a fine performance and Heath will be sadly missed, not only for his absence from future 'Batman' films, but because he shows us the promise of how committed, intense and great an actor he would've been. Relentlessly bleak, with all the joie de vive of a Morrissey album, 'The Dark Knight' almost makes you long for the days when all it took to shoot a Batman movie were a few innuendoes and Uma Thurman parading around in a lime green PVC catsuit...almost. Somebody fix that Bat Signal, for the story's just begun.
it is excellent the set is the best it is a bit expensive but good
Series four has to be the greatest run of episodes the show has ever had.
David Tennant is fabulous and is guaranteed to earn Bafta nominations,he just runs with it and makes this show entertaining and pure fun to watch...he is the greatest doctor of them all.
and the icing on the cake is the return of the fabulous Catherine Tate as Donna Noble,the greatest companion of them all(joint with Capt Jack Harkness of course),she adds so much depth for everyone to relate to,plus she makes the character her own and Tate really shows off her acting talent through and through.
throughout this series we see the return of previous companions(Martha,Jack,Sarah-Jane,and even Rose)which only adds to the excitement of series 4.
also,we see the return of the doctors most dastardly foe to date and he really gets under his skin,which is whats needed for the show(and im not revealing anything).
the episodes-
-voyage of the Damned-4/5-a very good christmas special with Kylie Minogue as Astrid,it is both scary and explosive which makes it the greatest of all the specials to date:).
Partners In Crime-5/5-the greatest possible way to start of a series and then some,Tate returns as full time companion and there are plenty of laugh out loud scenes and its icredibly exciting from beginning to end.
Sarah Lancashire guests as the villainous Ms.Foster.
The Fires Of Pompeii-4.5/5-incredibly visual,and very hard hitting on many occaisons,it adds to the plot while remaining extremely original all the way through.
The Planet Of The Ood-5/5-the Ood return for their own episode,its explosive,jaw dropping and very,very eerie,and to top it all off is the fact that it contains one of the most grizzly scenes of the entire show.
Love It!!
The Sontaran Stratagem/Poison Sky-5/5-an exciting two parter in which both Martha Jones returns,and so do the wicked Sontarans in their first appearence in 30 years,its a really enjoyable and utterly compelling two hours that is well worth spent watching,and contains some of Donnas most infamous lines..."Oh Yes...Back Of The Neck".
The Doctors Daughter-4.5/5-very exciting and highly enjoyable all the way through,Tennant gives an fantastic performance,and there are plenty of twists throughout.
very good.
The Unicorn & The Wasp-5/5-a classy and pur original episode that demands multiple views,its a fantastic murder mystery in the style of Poirot and Ms Marple and i really love it.
Silence in The library/Forest Of The Dead-5+/5-very,very scary,funny,adrenaline pumping,and claustrophobic two parter that is packed with visual style and atmospherics that makes you both feel for the characters and pit your self in their minds as the Doctor & Donna team up with survivors on a remote library planet to take on the villainous and terrifying Veshta Nerada.
It is indefinately Stephen Moffats masterpiece,and by far is his most effective batch of episodes to date.
and what i also find amazing is that how both parts can be so very different from one another,i love that we get to see that alternate reality with Donna,and the chase scenes are simply breathtaking.
simply wow!!!
Midnight-5/5-another very scary and classy episode from Russel T Davies,which guests Lesly Sharp as the petrifying Sky,it provides plenty twists galore and some very,very effective scenes.
Turn Left-5+/5-one of the greatest episodes of the show and its really brilliant from beginning to end,a classic 'what if' episode much in the same vein of Its A Wonderful Life,where we get to see what would happen to Donna if she had indeed never met the doctor.
it is high on tour de force acting from Tate(she'll be getting a Bafta).
and to top it all Rose is back!!!
The Stolen Earth/Journey's End-5+/5-what can i say?the greatest ever episode of the entire show!!!
we see the return of the shows companions,Torchwood,and even K-9.
it is ultimate and completely shocking throughout.
i love this episode through and through.
it has the greatest plotline of all the finales put together and it is very,effective,exciting,and scary.
this alone should win many awards(at least plenty nominations).
these alone are worth the cost of buying this fab series on DVD.
overall this is the perfect series of the entire show and shows just what Russel is capable of writing...pure masterpieces.
He will be missed on the show.
i hope that this has many extras with it...but the episodes are of the best quality.
Tate and Tennant act off of each other to full effect and provides us with the greatest episodes the show has ever made.
Pre-order today!!
David Tennants third outing as the doctor(the best incarnation)and this time he is joined by the fabulous Donna Noble(last seen in 2006 special The Runaway Bride),the pair encounter Adipose,The Ood,Sontarans,Vespiforms,and The Veshta Nerada.
this series is explosive from beginning to end in 14 action packed episodes!
After mourning the loss of the television series a few years back I was looking forward to the film, and it didn't disappoint. These girls are fierce as are the outfits and one amazing Vivienne Westwood wedding dress what a sight. After hearing all sorts in the press of a disappointing ending to the film ie someone dies I can assure you they do not and like most slushy films of this kind we get our happy ending, Mr Big and Carrie live happily ever after or they do until the next installment at least.
Wow, from the start this is a full on hard core action movie.
The fact it has such a strng lead charactwer that is just as good as Mad Max or Snake Pliskin , but is a woman just makes it so much more enjoyable. Dont read all the negative rubbish. The choice is yours, dont expect an oscar winning film (when did a hard core movie ever win one , think about it)Too often you feel cheated , well you wont by this .
If there is one fault its not making enough use of Bob Hoskins , but that aside its great. Killer Virus , hard ass woman, big trucks , guns mayhem, and a fantastic car chase / race scene . This is one to own when it comes out for sure .
Mad max (road warrior) meets snake pliskin, and is female.
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