Contrary to my initial viewing some 20 odd years ago I realised that McMurphy is not a nice guy.McMurphy shows borderline psychosis and is very competently portrayed by Nicholson.However the lead character's disdain of the other patients is ill concealed on learning of their informal status as opposed to McMurphy's mandatory situation.Ensemble supporting cast are exceptional and this movie stands above most of it's competitors as both insightful and disturbing at the same time McMurphy disrupts the Day Room from the moment he steps into the ward,resultantly a battle of wits develops between McMurphy and the Ward Sister.
The outcome is not surprising,yet remains full of power three decades after release.
Deserving board-sweeper at this year"s Oscars, the Coen Brothers" latest offering has been widely touted as their greatest yet. No Country for Old Men sets sparse, deadpan dialogue under the wide-open skies of 1980s Texas, where a collection of doomed, Stetsoned characters stalk the motels and scrubland hunting cash, blood and justice. Thick with pitch-black humour and laced with callous violence, this is a film as bleak as it is tense. Based on Cormack McCarthy"s fine novel, the film is driven by a simple, compelling plot. Josh Brolin plays Llewelyn Moss, a man who steals a suitcase full of dollars from the bloody desert scene of a drug deal gone wrong, and is pursued for his riches by Anton Chigurh (Javier Barden), a clinical killer armed with a gas-powered device designed to slaughter cattle.
The Coen"s deft, minimalist treatment gives plenty of room for the actors to explore their quiet characters. Barden"s laconic performance is uniquely menacing as a callous, deliberate murderer. Similarly Brolin gives a beautifully restrained performance as the man on the run, and the film refuses to offer any release, any safety valve, for the mounting tension, built pace by pace in one scene by the measured creak and tap of approaching boots on motel floorboards. The tale"s early, tragic climax is sudden and resonates throughout the film"s extended, melancholic closing section in which the economic dialogue of the previous hour is replaced with philosophizing on the part of Sherriff Bell (Tommy Lee Jones) who is numbed and bewildered by the events around him.
Scored by a soundtrack featuring nothing but the desert wind, No Country For Old Men is a brilliantly sophisticated thriller that oozes style and masculinity, and would stand alone as a tough-talking, modern-day western even without the broader, more sensitive themes it subtly introduces. Age is considered, as implied by the title, and it is the adjustment of the rural south itself, personified in Tommy Lee Jone"s ageing, sagacious Sheriff, that is analysed. The Coens neatly juxtapose old and new, telling the story of a hunt in which the quarry is tracked through motel land in a jeep, showing us the machinegun strewn site of a shoot out walked over by a sheriff on a horse, and a man running for his life through an open desert, then talking his way through a border control. Fate too is subject close to the film"s heart, there throughout Chigurh"s relentless pursuit of Moss and in his straight-faced question to a potential victim, "what"s the most you"ve ever lost on a coin toss?"
Throughout though, masculinity carries a premium and this is a story of men acting on their instincts, however psychopathic. But the film draws back and develops a broader perspective, in keeping with the vast landscapes and widescreen skies that frame the action, and elevating No Country For Old Men from a work of fiction to a work of art.
Ferrell stars as Jackie Moon; or Jackie Mooooon!, you must have seen the trailers; the one-hit wonder who now owns a lacklustre basketball team, the Flint Tropics. Their future is threatened with an impending league merger, and your typical "underdogs trying to come out on top" caper ensues.
I am a big Ferrell fan, but even I have to admit to disappointment. It"s one of those films where the best bits are all in the trailer; there are very funny, laugh out loud moments here, but mostly in that Jackie Mooooon! trailer. I really wish this wasn"t the case. Ferrell just has to look down the camera lens to make me laugh (a special mention for THAT HAIR; he grew his OWN hair, I love it!), it"s just that the film doesn"t have enough of Ferrell at his rip-roaring best.
Will Arnett, another similar comedic talent to Ferrell, is underused here, as much as Woody Harrelson is perhaps overused; Harrelson is just from a different genre of comedy acting, and maybe this is where the film starts to go wrong. Just my theory; but to be honest, it does all seem slightly lazy in general, relying too much on too little from Ferrell. Much as I hate to say it, disappointing; but if you"re a fellow Ferrell fan, worth it for some classic moments.
Acted out against the colourful backdrop of dreamy Yorkshire, My Summer of Love is nothing less than a British gem. Even though the plot centres around a sexual relationship between two girls, Mona and Tamsin, the film manages not to carry the "gay movie" label, nor does it exploit or patronise the topic of same sex relationships.
Mona is a working class school girl living in her brother's pub. Since being released from prison, her brother Phil adopted born-again Christianity, realising he would rather spend his time teaching the love of God than selling booze at a bar. Frustrated and uncomfortable with the way her life is going, Mona strikes up an unlikely friendship with upper middle class, privately educated Tamsin (Emily Blunt). Their friendship develops into romance, with Tamsin introducing Mona to the joys of being oneself.
Throughout the film Paddy Considine helps further his reputation as one of the best British actors currently on screen, mixing his religion-obsessed role with gritty belief and an underlying menace that proves even more disturbing than Emily Blunt's manipulative Tamsin. However, this is not to shout down the performances of both Blunt and newcomer Natalie Press. Honest, vulnorable pain courses through Press's performance as her character, Mona, slowly realises how her summer of love has blinded her from the not-so-rosy reality.
Director Pavlikovsky films his sharp-edged love story with a fluent, mesmerising style that leaves an impression on you even more than the superb acting talent. The film could be accused of loosing it's way in mid flow, making the narrative route all the more uncertain. After watching the final scene, however, this path is revealed. You realise this is not a simple, passionate love story. It is a calculated study of cruelty, human nature and cold, hard-nosed desire.
A good selection of matches from TNA from late 2004 to 2005. Infamous bouts such as Monsters Ball from the first Bound for Glory, the first barbwire massacre invovling the homicidal, suicidal, genocidal Sabu, and a match considered the greatest steel cage match in wrestling involving the team of Christopher Daniels and Elix Skipper taking on rivals America's Most Wanted form Turning Point. In my opinion, there can be no substitute for hardcore wrestling that the original ECW, but this DVD does the trick as many of the matches involve former stars from the ground-breaking Philladelphia promotion such as Raven, Rhino, Team 3D (formely the Dudley Boyz) and Sabu. This DVD is a must for the more blood-thirsty wrestling fan, and one that should be kept for years to come.
Wouldn't reccommend this at all. The fact that someone is recording the entire event on a video-recorder doesnt quite seem plausible, there are so many times where you thought: RUN MAN, RUN!! Why you would go back for your camcorder i have no idea?! And without ruining the movie for those who do choose to see it, there is no ending...The film just stops halfway through the action. The monster is terrorising the city, everyone's scared, the army are bombing the monster, two characters share an almost romantic moment and the credits appear leaving you wondering: is this the end? There are so many things in the film that just aren't explained and that frustrated both me, and the person I watched it with.
"The Dish" is that rare thing - a movie that"s as near to perfect as it is possible to get. Distinctly Australian, it has much the same appeal as the better known, "Strictly Ballroom", with both movies placing a magnifying glass over a bunch of quirky characters. It"s safe to say that if you liked "Strictly Ballroom", you"ll enjoy "The Dish", although the latter is perhaps not quite as grotesque as the former and has a softer edge to it.
Unlike "Strictly Ballroom" though, "The Dish" is actually based, albeit loosely, on true events. In 1969, the unremarkable and remote town of Parkes in New South Wales took centre stage as part of NASA"s first mission to the Moon. Home to a large radio telescope - the "Dish" of the title - Parkes was nominated as a communication relay station for the southern hemisphere and was instrumental in broadcasting television pictures of the Moon landing to the world. With the eyes of NASA, the Australian Prime Minister and the world upon them, the people of Parkes scramble to make the most of their town"s new found celebrity status. Meanwhile, at the dish itself, the pressure is on for the small team of scientists and their NASA liaison. Needless to say, not all goes according to plan.
Sam Neill stars and delivers a beautifully understated performance as the calm and recently bereaved, chief scientist, Cliff Buxton. Neill"s solid performance provides a credible base which successfully prevents the story from becoming too ludicrous in some of the more comedic moments. And of those moments there are plenty, most of them involving Roy Billing, as the endearingly ignorant Mayor of Parkes, and his family who suddenly find themselves welcoming the US Ambassador and the Australian premiere to their little town. The most unforgettable, laugh-out-loud moment involves the American National Anthem, but to say any more would spoil the fun.
Very much a feel-good-movie, it"s hard to imagine that anyone could find fault with "The Dish". The performances are pitch-perfect from Sam Neill down to the most minor supporting characters - all of whom have their own distinct personalities and quirks and are well served by the sharply written script. This movie should be on everyone"s "must-see" list. And if you"ve already seen it, maybe it"s time to see it again!
Olivia Newton John's first picture after 'Grease' and all eyes were on the Australian beauty to equal what is, arguably, still the best movie musical ever made, needless to say...she didn't. For Olivia Neutron Bombed her movie career back into the Stone Age with Robert Greenwald's much maligned romantic fantasy; trashed upon release, though nursed back to health over time and now cherished as somewhat of a guilty pleasure by queens young & old, hopelessly devoted nostalgia fans and Olivia Newton John aficionados. Truth is, 'Xanadu' is such an unrelenting audio-visual onslaught, that you may just make it to the 93-minute mark without ever dwelling upon its resounding stupidity & lack of anything vaguely resembling a coherent storyline. Olivia plays Kira; an ethereal, all singing, all dancing, roller-skating muse caught up in an implausible love triangle with sensitive artiste Sonny (Edward Fox look-alike Michael Beck) and old-timer Danny Maguire (legendary dancing man Gene Kelly in his last role). Both guys seek to create a quasi 1940s-1970s club called 'Xanadu', and just like Kublai Khan's Mongolian Empire (who built the original, mystical ancient city of Xanadu) this movie's determined to take its audience by force, brute force; exercised in the form of one musical number after another, a dizzying array of neon SFX, ELO swing and bitter hatred of pace, character or story. That said, Olivia Newton John looks absolutely stunning and it's a bit of a shame that the period in which John Travolta and Olivia were in peak physical condition, both were saddled with making some of the worst movies ever committed to celluloid. Receives an extra star for Olivia Newton John's sparkling radiance / powerful singing voice, for being Gene Kelly's last throw of the dice and the presumed catalyst which expedited director Robert Greenwald's unexpected transformation from Hollywood hack to respected documentarian, whose work includes 'Outfoxed', three documentaries about Iraq, one on the 'Enron' scandal and a number of programmes dedicated to the preservation of civil liberties and freedom in America today. 'Xanadu' is a psychedelic episode that's impossible to hate, but so middle-of-the-road that I was almost run over. Camp classic.
I first read 'Silver Surfer' aged 7, it was an unusual comic with an unusually complex main character; I'd joined as the Kree-Skrull war was coming to an end, and Kree femme fatal / deep cover operative turned double agent; Nenora, was masquerading as blue Skrull supreme empress, her cunning ruse undetected and unintentionally legitimised by Silver Surfer's victory over 'The Supreme Intelligence' hence destroying an ineffective democracy, but paving the way for a totalitarian dictatorship. Needless to say, this wasn't your standard good vs. evil story, for 'Silver Surfer' is essentially about creation's struggle for equilibrium and justice, in an unpredictable and often cruel universe. 'Marvel' revived some of their most popular characters from 1992-99, other cartoons syndicated by 'Fox Kids' included 'Spiderman' (in numerous incarnations), 'X-Men', 'Hulk', 'Iron Man' and 'The Fantastic Four'. Thankfully, 'Silver Surfer' retained its unique narrative drive as an interstellar apologue with convoluted, sometimes didactic yet profound & philosophical storylines, bought to life in a surprisingly seamless blend of traditional & CG animation. Episodes 1-3 explain Silver Surfer's origin, beginning with life on his home planet of Zen La. Zen La's depiction on screen is markedly different to how it was in the comics, here; Zen-Laavian culture seems to mirror Al-Andalus circa 700 A.D. with Silver Surfer's alter ego; Norrin Rad as an otherworldly Abdu'r-Rahman. For just as the aforementioned civilisation was once a beacon of hope for all the world, so too is Zen La; an enlightened, mediating presence which even manages to broker a tenuous peace deal between warring intergalactic empires the Kree & the Skrull. But just as Islamic Spain fell, so too does most of Zen La; when the invading, god-like devourer of worlds: Galactus (an excellent, painstakingly detailed CG colossus) arrives. Norrin, in a panic, agrees to satisfy Galactus's insatiable hunger for energy if he spares Zen-La, Rad promises to lead the giant to planets devoid of sentient life (a bit of a dubious, somewhat presumptuous stance explored in later episodes). His desperate plea is accepted, but the purple and blue trousered, self-styled Tetragrammaton (clearly based on Yahweh Sabaoth --'He Who Musters Armies') strikes a fateful bargain; erases Norrin"s memory, changes him with the Power Cosmic and thus Norrin Rad is reborn as Silver Surfer: Herald of Galactus. An unstoppable, slender noumenon; one as feared and almost as powerful as his owner, charged to seek out new worlds for his master to consume: and so begins an epic saga which sees our alien hero encounter all manner of life whilst struggling with his own fragmented memories, moral & metaphysical dilemmas. 'Silver Surfer' is an absolute legend, and this series, imbued with the Power Cosmic, is simply a must have for fans and newcomers alike: "To me, my board!".
"I felt a great disturbance in the Force, as if millions of voices suddenly cried out in terror, and were suddenly silenced"... but enough about that mass suicide at the Avril Lavigne gig (it usually happens when she does her 'Girlfriend' encore) and back to 'Robot Chicken'. Now 'Star Wars' spoofs have been an Internet staple since 1997 and Kevin Rubio's 'Troops', some of the stand outs since then include re-dubbed movie mash-ups, the 'Chad Vader' series on 'You Tube' and, of course, Seth McFarlene's send up in 'Family Guy: Blue Harvest'. 'Robot Chicken: Star Wars', made with stop motion toys and figures that hark back to 'The Adam & Joe Show', is one of the best skits about 'A Galaxy Far, Far Away' since 'Vader Sessions'. Actors Seth Green ('Austin Powers', Chris Griffin on 'Family Guy') and Breckin Meyer ('Go', 'Road Trip') get their light sabres wet, dipped, as they are in the comedic whirlpool of 'Adult Swim' ('Cartoon Network' for students, insomniacs and the long term unemployed) our dynamic duo run riot with a (rebel) fleet of quality gags, before being well & truly seduced by the dark side. Any sketch featuring Emperor Palpatine (voiced by Seth McFarlene) is a winner; my personal favourite is where Palpatine receives a call from Vader, informing him about the destruction of the Death Star: "What? Oh, oh, "just rebuild it"? Oh, real f***ing original. And who's going to give me a loan, you?...You got an ATM on that torso Lite-Brite? Now get your seven-foot-two asthmatic ass back here, or I'm going to tell everyone what a whiny bitch you were about Padama-may or Panda Bear or whatever the hell her name is!..." Other classics include the 'Star Wars' musical: 'Empire On Ice', the dancing Could City operative and Ahmed Best's vocal return as a fan favourite; this time having Anakin do to Jar-Jar Binks what Lucas should've done to begin with. There's also some hilarious character reinvention with imperial bounty hunter Bobba Fett, who finally reveals how he passed the time whilst ferrying Han Solo to Jabba, an excellent take on the Death Star rescue: "Lets build this reactor!" (look out for Chewie's side-splitting assault roll) whilst the Mos Eisely confrontation is revealed as one giant, booze addled misunderstanding which culminates with Ponda's laugh out loud line: "Look...I'm ambidextrous, see?". All this, and a long overdue tribute to Tattooine's finest lounge act: Max Reebo a.k.a. The Guy Who Looks Like A Blue Elephant, makes 'Robot Chicken: Star Wars' an inspired work of twisted genius that'll leave 'Star Wars' fans and haters alike, in stitches. Now I'm off to watch it again with a bowl of Admiral Ackbar cereal: "Your tongue can't repel flavour of that magnitude!".
Definitely, Maybe
A strange one; on paper this looks fabulous: a cast of wonderful actresses; Abigail Breslin (the little girl who wants to hear about how her Dad and Mum got together), and the three women in the life of Ryan Reynolds, (as Will, her Dad): Isla Fisher, Rachel Weisz, and Elizabeth Banks; plus an unusual set up. Using flashback means that as we see Reynolds" character Will"s life unfold, in retrospect, we aren"t sure which of the three is mother to Breslin"s character, Maya.
Cleverly executed, you"re just beginning to get drawn into each relationship scenario, when the film pulls back to present day. There"s a great cameo midway through from Kevin Kline as well, which in fact injects some much needed pace into the film.
That"s where I think the problem lies; great idea, but not particularly well thought through; I found it quite a slow film, without enough reason to like or be interested in any of the characters" fates. With insufficient depth to any of the three women"s characters, and not enough comedy to move the film along, it does tend to drag. Interesting but flawed.
Dan in Real Life
There"s something about Steve Carrell; casting wise, he"s turning into the next Everyman a la John Cusack; no bad thing; but he also has that "new comedy" (Frat Pack, for want of a better description) pedigree; pretty much a perfect combination. He deserves to be a big star; I don"t think any film he"s in could be a complete wash out, he adds real believability to every role, above and beyond his exceptional comedy skills.
Dan in Real Life is a great feel good film; the story of widower and columnist Dan (Carrell), who can"t even imagine meeting a new partner. Until he hits that wonderful cliche: he meets someone (Juliette Binoche) when he"s least expecting it.
Without spoiling things, this is heartfelt stuff; indeed he pours his heart out as their first conversation gets quickly intense. You can really feel Dan instantly brightening, and his absolute relief, and hope; great acting from Carrell. In another"s hands this would have been missed completely, Carrell does so much more than just set the scene for the comedy to come. As the film then really gets going comedy wise, he finds out that the girl in question is his brother"s much talked about, "she"s the one" girlfriend.
Carrell plays the comedy and tragedy quite brilliantly; the film may be built around him, but the characters in the family are also very well drawn; we can all identify with, and laugh at, the family get-together scenarios here.
Nice cameo from (probable future superstar) Emily Blunt, a good few laugh out loud moments, and a near perfect combination of comedy and sentiment; this is a great buy, and one to watch again.
This is an excellent film and well done to the actors and actresses because they did a very good job!
You should buy this film!
Series 4 of the popular ITV series, is my favourite series. Though this DVD has no special features, it does contain the 'Christmas Duty' episode. This rare episode, wasn't released on any previous video release.
I had seen this film years ago, but was amazed at the pace and general excellence of the Film. Most enjoyable - with Olivier quite brilliant.
OK - not exactly what the Bard wrote, but great entertainment.
The second disc was "The Trial of Richard III" - a 1984 Television Programme. This was also very well done and most enjoyable.
An adaptation of Shakespeare's famous Play, with the Wicked Hunchback Richard III up to no good and disposing of the Princes in the Tower............
This lavishly beautiful adaptation from the BBC is based on the first two books of the highly acclaimed Gormenghast trilogy by Mervyn Peake (Titus Groan and Gormenghast). This is the story of a gloriously gothic, musty castle city called Gormenghast, ruled by the ancient family of Groan, it"s population held captive in the relentless, pointless rituals that have governed every aspect and moment of their lives for a thousand years, aristocrat and peasant alike. Lord Sepulchrave, 76th Earl of Gormenghast, is a man dredged down by the weight of never ending rituals, his wife, Lady Gertrude, is an uncaring woman who spends most of her time locked away with her many birds and cats, and their teenage daughter Fuchsia is spoilt, immature and living in a world of her own, wishing for adventure and romance. The story begins when Gertrude gives birth to a son, Titus, now heir to the house of Groan. And on this same day a kitchen boy called Steerpike escapes from his disgusting residence amongst Swelter the head chef"s vile kitchens and, ruthlessly ambitious despite his most humble start, begins his ascent to power by any means necessary.
The cast list contains more critically acclaimed actors than you could shake an award at, including Christopher Lee as Flay, the decrepit and somewhat dusty servant of the Earl, Zoë Wanamaker as one of Gertrude"s creepy, somewhat insane twin sisters and John Sessions as the gloriously eccentric Doctor Prunesquallor. Jonathan Rhys Meyers, a relatively unknown actor at the time, shines as the charming but ruthless Steerpike, perfectly capturing the inner bile along with the outward charm and the ambiguity of some of his actions. He is rather handsome unlike in the books where he is described as quite ugly, but this has very little effect on the portrayal of the character, though he is somewhat less sinister than in the books.
The sets are exquisitely gothic, the dark and dusty old castle has many lonely decrepit corners, neglected things are covered with a hundred years of grime and walls are quite literally falling down. The backdrop of the castle seems to go on forever, disappearing into the foggy distance as mangy birds swoop overhead. You really get the feeling of the size of the castle that the book portrayed and just how far it has fallen into disrepair and dirt. The costumes are equally beautiful in their unique and somewhat bizarre, often flamboyant designs, full of colour and yet somewhat dulled, very appropriate for the dank world their wearers inhabit.
Fans of the books might have reason to complain, quite a few things are changed or left out but this is to be expected when you condense two huge novels into four hours. The books are much darker, Steerpike much more sinister, far less likable and obviously the antagonist. While these differences are very real it does not make this adaptation bad, just a bit different. I still personally adored this production in all it"s surrealist eccentricity. The most important thing was that it captured the essence of the books even if it didn"t follow them word for word. If you like your book to movie translations to be completely one hundred percent faithful then you will probably be a bit disappointed but anyone else who is a fan of the genre should enjoy it.
"Its not where you're from, its where you're at" brags 'Step Up 2 The Streets' "sik" (which, in case you didn't know, is street vernacular for extremely good) tagline. Now its been a year since 'Step Up' changed the world...apparently (I must've been out that day), and director John Chu takes the reigns from Anne Fletcher to shoot a remarkably decent, eminently watchable and superbly choreographed sequel. 'Step Up 2 The Streets' is but a distant relation to its predecessor, though original, body popping rude boy (which, in case you didn't know, is street vernacular for...rude boy) Channing Tatum makes a brief cameo before taking his Abs off to star in 'GI Joe' as new girl Andie, played by Briana Evigan (her father being Greg Evigan of 'My Two Dads' fame) takes on the mantle of feisty troubled teen / dancing queen (though Channing Tatum was, in no way; a queen) forced to enrol into an oppressive, conformist dance academy. Her crew on the street feel Andie's imposed transfer is "dred" (which, in case you didn't know, is street vernacular for a monumental injustice) and consequently drop her from 'The Streets' a.k.a. '410', alas, street dance gang members don't have Trade Unions for this kind of thing, so its up to our rebellious young heroine to "bounce" (which, in case you didn't know, is street vernacular for promptly leaving an abode, room, area or institution) and blaze her own path to dance glory. An obligatory romantic sub plot ensues with Andie and one of the school's students, as does the now standard narrative convention where a group of outsiders, talented hood rats, sensitive artistes and n'er do wells band together to form a new and revolutionary troupe, one which outclasses both the establishment and 'The Streets'. Chock full of clichés and overacting, 'Step Up 2 The Streets' closely follows the tried & tested formula of movies like '8-Mile', 'Fame', and 'Save The Last Dance', for though its not Middle America, I can't see Kevin Bacon anywhere and John Lithgow isn't the local pastor, but 'Step Up To 2 The Streets' and all modern dance movies for that matter, still pay subliminal homage to 'Footloose' and, whether they care to admit it or not, are simply reinventing classic Michael Jackson circa 1984 'Motown' era, moves. Moves redressed and rolled out in an off the shoulder, Justin Timberlake style jacket or Christina Aguilera-esque crop top. Briana Evigan does well in the lead; her convincing pre credits voiceover gives us an insight into the street dancing underworld, as she recalls some maternal advice which pretty much sums up the entire film: "don't give up, just be you; because life's too short to be anybody else". Fine, if somewhat ironic, words coming as they do from an actor, nonetheless, Evigan reminds me of her fellow starlets Jordana Brewster or Amanda Byes, though not quite as intense as the former but a better actress than the latter. And though I've never been a big fan of musicals, 'Step Up 2 The Streets' makes the grade thanks to its well-choreographed dance sequences, fair to decent performances, verve, sass and infectious energy.
This is good family fun movie, National Treasure is a kind of new generation nerdy Indiana Jones. Although entertaining this is to be watched as entertainment only.
They are a predictable trio of characters, chased by a more predictable money grabbing bad guy, where they have to chase historical clues to find the hidden treasure. Nicholas Cage solves all the clues in two seconds with his advanced historical knowledge of everything, although there are numerous historical inaccuracies throughout the movie. This movie is nothing surprising but an enjoyable night in.
Worth a watch. This I would say is a cross between Blair Witch Project and Godzilla. The introduction to the character during the party gets you involved with them, without this you would not care about the movie. The camera work although shaky amateur style adds realism but at times can be annoying. The camera work does add to the mystery of the monster, which films like Jeepers Creepers destroy by fully showing the creature. The creature is never explained and the film ends abruptly which leaves the view with a 'OH is that it ending'.
Fantastic film. Keeps you guessing until the end. Great action scenes if a little far fetched. Gets a bit irritating when they repeat the same start 8 times but all worth it for a really good film. Different from anything I had seen before and I loved seeing the film shot from all the characters prospetives. Great acting from all the cast. 5 stars.
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