This is an amazing and sumptuous multi-BAFTA award winning drama series made for ITV in 1975 by Lew Grade"s ATV network.
Being an old television drama, I was not expecting much, but in fact I was astonished at just how compelling the series was to watch - that applies to all 13 episodes! The studio set designs are lavish (the quality and attention to detail is incredible and this is reflected in a well deserved BAFTA award in 1976 for "Best Design"), the colour is sumptuous, the script is historically accurate and sharply written. The performances from Annette Crosbie (she rightly won a "Best Actress" BAFTA in 1976 for her performance), Robert Hardy, Helen Ryan and Timothy West (as Edward VII) are all faultless. You will find it hard to resist viewing at least 2 or 3 episodes an evening!
The camera work is gentle and does not intrude on the scenes (unlike the fast twitchy camera work of today)
If you listen to the commentary (available on some episodes) you will hear interesting and amusing comments/anecdotes from Annette Crosby, Timothy West and the Director.
This is television drama at its best and, yes, it also won a BAFTA in 1976 for "Best Drama Series".
"Didn't you used to be Dannii Minogue?", I thought, as Dannii Minogue, or at least a facsimile of the artist formally known as Dannii was chosen to judge stale, ITV talent competition 'The X-Factor'. For it wasn't just her physical appearance that'd changed, there was something amiss that I couldn't quite pin down, who was Dannii Minogue: model, singer, actress or just a pouting has-been, a bitter never-was, the poor man's Kylie? Now I've always preferred Dannii to Kylie; she's a better actress, has a stronger voice and, back in the day (the 'day' being 1993-2000) was better looking too. Its just her image that's proved a problem, and what an image: there was the time our hapless Antipodean hellraiser was caught in a lesbian tryst with some drunk floozy in 'The Hippodrome', strangely enough, and for reasons as yet unexplained; her girl-on-girl action was a major turn-off, for even the sleaziest dregs & degenerates of the tabloid media weren't too impressed. But dizzy Sheila Minogue wasn't done yet, and almost stumbled off the lad's mag circuit into becoming a Neo-Nazi pinup, when she was quoted complaining that all street signs in Australia were "written in Asian" (sic), of course the natural response to that is: 'they would've been written in an Aboriginal language if only you hadn't murdered them all'. Damage control soon followed, and in a manner not unlike the classic 'Father Ted' Chinaman episode, Dannii reassured us she wasn"t racist, got that? Not a racist. Good.
A DJ friend of mine had this DVD on loop, hence a combination of curiosity, nostalgia and not being able to find the remote all played a part in revisiting the stop-start career of my favourite Aussie after Kim Davis...and Rolf Harris, of course. Now we may as well just face up to the fact that most people regard Danni as, and I hesitate to use the word skank, but lets just say she's often discussed in a rather disparaging manner. Sexy shoots and big gay following aside, its kind of hard to admit to liking Dannii without being prejudged as either an avid 'Maxim' reader, diehard clubber or feather boa draped drag queen, and since Australia has, in theory anyway, always been the land of the fair go, that's exactly what I'm going to give Dannii's DVD: 'The Ultimate Dannii Minogue Collection' opens with her 1991 hit 'Love & Kisses' and continues in a similar vein with 'Jump To The Beat' and 'Success' though legendary 80's DJ Steve Silk Hurley's critically acclaimed re-mixes are conspicuous by their absence. As the 90s draw to a close, Dr Doom's ex doesn"t let up for a second, and the tempo changes with video 11 'All I Wanna Do' (1997)' taken off her 'Girl' album, this song marked the start of Dannii's successful foray into the club scene. 'Everything I Wanted' and 'Disrememberance' act as decent fillers leading up to her most dramatic reinvention to date: And fair play to her, for Dannii cut a classic dance track with Riva and Pete Tong, as 'Who Do You Love Now?' (2000) is an old-school crowd pleaser with a snazzy video that's aged well and still gets played today. Dannii, no longer an epigonec ecdysiast but a credible trendsetter in her own right, follows up with song-as-sexual-euphemism 'Put The Needle On It' (memorable music video, well directed) and 'I Begin To Wonder' (good track, technically sound video) both taken off her 'Neon Nights' album (2003). The last four videos are more of the same though not as fresh or funky, and whilst it all goes a bit 'Pete Tong' post 'Neon Nights', 'The Ultimate Dannii Minogue Collection' is a comprehensive music video anthology which spans over a decade of sights & sounds: from teen pop sensation to club land diva, Dannii Mingoue's career has been nothing if interesting. Extras include Dannii"s video diary filmed over the last year and a half, a short making of 'Neon Nights', a look at her sterling work on stage in 'Notre Dame De Paris' and a cache of bonus music videos; the highlight of which is a Kylie & Dannii live performance. Not one for my collection, but a must have for fans.
This is a dynamic, colourful video will introduce young children to the early concepts of 123 and ABC. This is done very cleverly using fruit and combines the concept of healthy eating and the beginnings of learning.
The discussion which can be started with adults and children while watching the video is to engage children in Phonic sounds, letter shapes, number shapes and number concepts.
The video will also help encourage children to concentrate, to listen and to think. This will sustain a multi sensory experience and leads children to be introduced to the beginnings of letter blending and help children create new words.
I feel that both adults and children will find this a useful and pleasant learning experience.
This superb ending to the trilogy follows up on captain Jack Sparrow (Johny Depp), Will Turner(Orlando Bloom) and Elizabeth Swan(Keira Knightley) as they rebel against the ruthless East India Trading Company as it starts rounding up pirates to face the hangman's noose in this hilarious ship-rocking, cannon blasting adventure!
A masterpiece of scripting and screenplay. Despite the strangeness of the setting which could be described as a western in space, Firefly has the best dialogue and character development of any sci-fi show, or perhaps in any TV series for years. No; probably the best EVER. It is top telly entertainment. Unbeatable. You really get a sense of excitement of the big plot arcs being set up from the start... If ever there was a series they should NOT have cancelled, this was it. Watch it and enjoy. Then watch it again to spot all the subtle hints of things to come. Then watch it again weep for all the fun you might have had, watching the episodes never made because the studio cancelled Firefly in favour of Dark Angel.
Buy it for your friends too. You will make them happy.
Intriguing series with some good twists, and likeable characters. Whilst it may not be in the top-notch league of, for example 'Heroes' this sci-fi mystery is a great deal better than the recent rash of series like 'Invasion' or 'Lost' that give the feeling that there will never be any resolution, and that deceiving the viewers is the only point. (I suppose a trend in sci-fi started with the X-files or maybe all the way back with The Invaders)
Worth a look. I'll certainly be bothering to watch season 2 in due course.
A very good film. Particularly family friendly without being boring. Would strongly recomend this older film to a wide range of audiences.
This was a lot of fun to watch. I watched in the cinema and thought the silver surfer was amazing. Would definately recommend buying especially if you enjoyed the first film. Also headed with an excellent cast including Julian McMahon returning as the villain Victor Von Doom.
I loved the snowman story when i was a child its such a delightful story. So when i saw this special edition i just had to buy it for my two year old daughter to get her to understand that christmas is on its way. Well she has be watching the snowman story constantly its not very long but long enough for her consentration. Shes hasn't watched the father christmas story much but maybe after he has been and given her lots of presents she will do. Overall i think its just as fantastic as when it first came out.
Al Andalus Islamic Spain gets short changed in Anthony Mann's cinematically impressive, though historically inaccurate and often tedious epic; "El Cid" (Arabic for 'Sir' or 'Mister') The 1490s saw the Iberian Peninsula in a state of decline, so this is like making an entire movie about an obese Elvis Presley on drugs, whilst completely ignoring all the preceding years of greatness, 'Cid' also conveniently chooses to avoid the fact that Trinitarian (i.e. Christian) extermists slaughtered or forcibly converted Muslim, Unitarian Christian and Jewish Spaniards, looted their homes, gave rise to the Spanish Inquisition who went onto torture & kill thousands of "heretics" throughout the next century whilst sending their armada to lead an imperial, and particularly gruesome, conquest of Central America.
The historical Rodrigo 'El Cid' Diaz was, like all Spaniard-Christian kings (and latter-day Spaniard-Muslim sultans) of his time; a mercenary, who would serve the highest bidder and reign terror upon Christian, Muslim or Jew. The simple fact being that most of the latter-day Spanish leaders (Muslim & Christian alike) were fanatical ideologues so intent on deposing each other in mixed and interfaith warfare, that the often repeated apocryphal of "Reconquista", was forged from the convoluted machinations of protracted regicidal intrigues, and numerous civil wars.
Charlton Heston is cast in his element, though Chuck's loud overacting and exasperated delivery of Phillip Yorden's stilted dialogue makes this one of his worst epic performances, when compared with classics like 'Ben Hur', 'The Ten Commandments' or even 'The Agony And The Ecstasy'. Sophia Loren is good as Diaz's wife Jimena, though she got a much better role three years later in Mann's underrated 'The Fall Of The Roman Empire'. 'El Cid' is worth watching to see where Ridley Scott got tips on how to stage the liberation of Jerusalem in 'Kingdom Of Heaven' and makes for decent enough entertainment, though its limited grasp of history and slow pace make it one of the weaker 1960s epics. Legend has it, that his widow strapped the real Rodrigo Diaz's corpse to a horse and sent it into battle to rally troops and surprise the enemy (a scene recreated here in an unintentionally hilarious manner). El of a way to go.
In 480 B.C. A cadre of 300 Spartan soldiers, led by King Leonidas (Gerard Butler), formed the vanguard of a Greek resistance army which held back an invasion by The Persian Empire, and led to a Pyrrhic victory for it's Zoroastrian ruler King Xeres (Rodrigo Santoro). Not that any of the aforementioned really comes across in Zack Snyder's '300': an intermittently engaging, but poorly written and overacted adaptation of Frank Miller & Lyn Varley's equally absurd 1998 graphic novel. Now I loved Robert Rodriguez's 'Sin City' for all its scuzzy artistic flair and nihilistic nods to 1940s film noir, but have never warmed to Frank Miller's overrated, occasionally Gobellian, output. Preferring instead the unpretentious and infinitely more accomplished work of Joe Sacco, Andy & Larry Wachowski, Neil Gaimen or the fun, colourful creativity of old masters like Stan Lee and John Romita.
A voice-over by Spartan Dilios (played by 'Lord Of The Rings' veteran David Wenham) is, I presume, an attempt at Kurosawa-esque subtly; highlighting the personal interpretations of truth (i.e. in Sparta's case: morale boosting hyperbole & propaganda to rally her forces) but this is pure guesswork on my part, and leads me to confirm Snyder's stunning inability to comprehend or translate any semblance of irony whatsoever; he did the same thing in 'Dawn Of The Dead' (a remake I quite enjoyed in spite of its flaws) where the mall became a safe-haven, unlike in Romero's original where it was used in conjunction with the zombie epidemic as a means to satirize consumerism. History tells us the real narrator's name was Aristodemus, both he and his comrade-in-arms Eurytus picked up eye infections during the battle; both were sent home but Eurytus disobeyed and returned to embrace "Spartan glory". For this reason, Aristodemus was shunned upon his return, and despite showing great courage in the Battle of Plataea, was ostracized by his countrymen for the rest of his life. Harsh. Now exposition or panelled narration is all well and good on the page, but having some husky voiced orator give us a blow-by-blow account of scenes we can actually see becomes tiresome and unintentionally hilarious, robbing '300' of some much needed flair & excitement, Wai Keung Lau's 'A Man Called Hero' had similar narrative issues, though at least it didn't resort to describing on screen action.
An erotic dancer / oracle (very authentic, I'm sure) advises King Leonidas against going on the warpath during their holy month. But low & behold, her keepers; an irredeemably repulsive quartet of revered priests, memorably described as "pompous inbred swine", are lewd old men on the Persian payroll, and thus Leonidas gathers 300 partisans to meet the aggressors head on. Their first skirmish is pretty intense, the second less so and by the time the third, forth, fifth and sixth occur you're beyond caring. I'd say there were too many battle sequences, but scenes of political intrigue back home in Sparta are so dull, they almost make you wish for a return to the battlefield for yet another OTT, super slo-mo scuffle. Lena Headly (playing Queen Gorgo) struggles with Miller's stilted, cringe worthy dialogue; a prose style that may work in its original medium but grates when read aloud, and all credit to her, Lena manages to turn what could've easily been an intensely annoying, 1950s style speecifying wartime filly, into a reasonably well rounded character, albeit one who only speaks in clichés. Her political adversary is smarmy Spartan Theron; an absolute cad who has a better tan than his compatriots hence confirming this picture's abhorrent visual racism against the darker hued peoples of the Earth. Miller's pedestrian script also tends to gloss over the fact that our heroes were an inspiration to many a latter-day tyrant their societal structure exalted, perverted & implemented by the likes of Hitler, Jobitinsky, Bush, Rhodes, Mussolini, Mayer, Mao and Stalin; incorporated into such inane and venal polices like eugenics, pederasty, incinerating weak or disabled newborns and the dehumanisation of society though endless conflict & war. The entire polytheistic world (and its occidental mirror image in our time) was, in spite of some scientific and artistic achievements, seeped in total darkness; shackled to arcane and irrational habits derived from the antediluvian period of pre & post-flood idolatry. If truth be told, the Persian Empire, though far more civilised an entity than Sparta, was just as cruel, just as backwards and idolatrous as her Greek adversaries. Briefly seized by Alexander The Great in 330 B.C., the mighty empire recovered to its full strength before it was finally toppled by Islamic monotheism, after a long, hard campaign led by Caliph Umar The Great and his fellow Muslim Arabs in 23.A.H. Sparta meanwhile, wasn't blessed with as famous a demise as old Persia, and was rather unceremoniously overcome by Epaminondas and his Theban Sacred Band in 337 B.C.
Now its alleged that the Iranian Arts & Culture secretariat were none too pleased by Snyder's depiction of Persia's pre-Islamic past, though how anyone could be offended by such an intentionally gratuitous, and frankly nonsensical movie is beyond me, after all, its hardly 'The Battle Of Algiers' (banned in France upon its release), 'Lion Of The Desert' (banned in Italy), 'Hidden Agenda' (heavily suppressed in Britain upon its release), 'Army of Shadows' (banned in the U.S. for a staggering 37 years) or 'Valley Of The Wolves: Iraq' (censored in the U.S. and unreleased in Britain). '300' is about a bunch of buff, well dressed warriors who fight in a big battle and then go home...or die. Indeed, if 'The Battle Of Thermopylae' serves as a modern day analogy for anything, it's most likely for Mujahadeen warriors taking on the massive Anglo-American-Israeli-NATO coalition in Afghanistan. For Leonidas, like a Taliban leader in Helmand Province, conceives convoluted, near suicidal yet ingenious guerrilla strategies to negate Xeres armies in Sparta's mountainous corridor: 'The Hot Gates'. In much the same way as the Afghanis, outgunned and outnumbered, are said to use knowledge of their lands to thwart invasion after invasion; humiliating militarily superior aggressors from the British Empire (trounced on three separate occasions) to the Soviet Union, the Mongol Horde and now North America too. And perhaps the best evidence for the above is '300's' perennial conflict between ariel bombardment and hand-to-hand-combat: "cowards" snarls Leonidas in response to an incoming wave of Persian arrows. For Xeres, like the U.S., is supremely confident in his air superiority whilst Leonidas, like the Afghanis, prefers to look his enemy in the eye; and for all his bombastic pronouncements about glory and martyrdom, it should come as no surprise to learn that Leonidas is the Greek equivalent of the Arabic name Osama. And yet, at the end of the day, '300' is a graphic novel, a comic, and not a very good one at that, for as Sigmund Freud once said: "Sometimes a cigar is simply a cigar". Though I did learn that Xeres was a giant Latino drag queen, Leonidas couldn't quite keep the Glasgow out of his Greek accent, Persian harems look a lot like Moroccan-themed cafes whilst Spartans bypassed the whole concept of Hades and jumped forward a few centuries with talk of Hell. Clever.
One could argue that this self-important soufflé of uncircumcised, dick swinging bravado displayed a modicum of authority blasting out on IMAX but shrivelled up on the small screen '300' is exposed as nothing more than dumbed down history for bozos. Snyder's insistence on having his cast overact isn't hyper-real, but simply highlights the fakery of battle scenes CGI'ed to kingdom come. Half the time he comes across as an incompetent fan boy who can't quite decide whether he wants to make 'Der Sieg des Glaubens' or cut promos for the WWE, and perhaps that's less an indictment of the director, then it is the writer Snyder so slavishly dotes over. On a more positive note: I liked the impressive CG work conveying the scale of a burning Spartan village, the first clash at 'The Hot Gates', Gerard Butler's commanding performance, David Wenham's closing speech, Spartans deflecting Persian bombs whilst Snyder's penultimate, post battle, shot was beautifully done (even Dilios's voice over worked here), and reminds me of Jacque Louis David's painting "Leonidas an den Thermopylen" (1814) now if only the rest of the film had matched up. As a ludicrous, mildly entertaining action movie, you could do worse than '300' and perhaps in a world without 'Braveheart', 'Gladiator', 'Lord Of The Rings', 'Kingdom Of Heaven', 'Troy', 'Alexander' & 'The 13th Warrior', this would've been hailed as a landmark picture. '300' is ultimately undone by a terrible script which promotes the anachronistic, tragic myths of race, war & nationalism; an embarrassing set of costly delusions best consigned to the footnotes of history. So if its ancient Greece and war you"re after; I'd recommend revisiting Wolfgang Peterson's masterly take on Homer's 'The Iliad' in 'Troy': An epic film that, unlike '300', depicts conflict in all its illusory allure and banal, horrific reality.
Despite the fact that the original Hairspray launched "My skin may have melded to my sofa but I still love a bout of midget wrestling" talk show diva Ricki Lake onto TV and into the living room of a student house near you, not to mention the much publicised chubby John Travolta in even chubbier drag factor, this remake is not the horror show that it might have been. In what is essentially a musical with a message, director Adam Shankman has taken inspiration for character and tone from the 2002 version of the Hairspray musical and so has succeeded in creating a far more joyous and energetic film than the still highly entertaining original version directed by John Waters. Nikki Blonsky plays large and lovely Tracy Turnblad, owner of the biggest beehive on the block, a girl who loves nothing more than dancing away to the Corny Collins Show. When the chance comes to audition for the show, Tracy ignores the shape-related warnings of her mother (Travolta) and sets out to pursue her dream of being a dancer. Success doesn"t come easy for Tracy, in the battle for dance floor supremacy she has to face station manager Velma von Tussle (Michelle Pfeiffer) and her acid-tongued daughter Amber (Brittany Snow), the reigning "Miss Teenage Hairspray". Tracy"s perseverance pays off as she catches the eye of teen heartthrob Link Larkin (Zac Efron) and, along with her friends Motormouth Maybelle (Queen Latifah) and Seaweed (Elijah Kelly), uses her television appearances to help fight racial segregation in Baltimore. Admittedly Hairspray is somewhat of a cheese-fest and certain aspects of the film do make the mind boggle; after all, who would have thought that a love scene set amongst drying laundry between Christopher Walken and John Travolta could be so touching? However, the film has an energy and vibrancy that draws in and gets the toes tapping of even the most doubtful viewer. A hugely entertaining film.
As always with the Harry Potter films, you get a different feel for each one. This one is definitely on the darker side! Good plot, excellent special effects, but one point to note. It looks as though they have been doing a little cutting on the film released on DVD. I saw this film at the cinema and one glaring absence was the scene right at the beginning of the film, where they are on the train to Hogwarts. The scene that is missing is where Harry falls asleep and in his dream there are Dementors on the train. Maybe its just short changing on the part of Warners, in order to squeeze all the subtitle options etc on the one disc, but to anyone who has seen the film, it's absence sticks out like a sore thumb!
Apart from that one gripe (whch is minor) a really good film!
Me and my dad watched it on the telly on a sunday and found it hilarious and we never stop singing the song, so we bought the dvd and it was even more funny, he says alot of people at his work watch it aswell (grown - ups)!!!! that's how good it is :D
If Ken Loach did glossy, then 'Breaking & Entering' could've easily been a film from the socialist director's neo-realist stable, though rotund, amiable auteur Anthony Minghella ('The English Patien't') is usually a safe bet when it comes to quality cinema. It's been well over a decade since Minghella directed his own work (1991"' 'Truly Madly Deeply') having turned in some excellent adaptations (i.e. 'Play', 'The Talented Mr Ripley' & 'Cold Mountain') since filming Michael Onjante's much loved, Oscar winning romance. 'Breaking & Entering' is an engaging and serious minded look at London in a time of change; where cultures don't so much clash as accidentally bump into each other; an instantly recognisable arena of multicultural, metropolitan life; where class, race and religion travel on a sometimes uncomfortable, sometimes chaotic conveyer belt; almost completely detached from the corrupt machinations of the state, but increasingly distant from one another as well. It's a film that uses intimacy and strong character development as a way to address the wider issues of human interaction & modernity, though its scope and ambition is occasionally limited by problems with format, genre & marketability.
Now I've got absolutely nothing against Jude Law, I quite like him as an actor and he seems to be a nice enough guy, its just that most of his movies make me want to punch his smug, smirking lights out. Law is always better when he's paired with London based directors, having done some of his best work with Sam Mendes (in the excellent 'Road To Perdition') and Anthony Minghella (in 'The Talented Mr Ripley' & 'Cold Mountain') 'Breaking & Entering' marks their third collaboration to date,, and Jude seems to have raised his game once again. Law gives an affecting, believable performance as an increasingly disillusioned architect whose plan to catch a thrifty young thief goes awry. As with most Minghella pictures, the story is just a means to an end; a way for us to spend time with his characters and watch as Law is forced to leave the plush surroundings of his office space to interact with those caught up in the maelstrom of gentrification he and his colleagues have instigated. Its also no coincidence that Juliet Binoche's character is a seamstress, for Minghella makes the point that society doesn't change for the better by putting up a few new buildings as a means with which to sweep our problems under the carpet, but by attempting to sew up the very fabric of society itself; a moral fibre that lies torn and tattered through years of neglect, socio-political and economic injustice.
I was quite sceptical about how an issue as complicated as the Bosnian war would play out in a small scale London set drama, and even now, I'm not entirely convinced some of the characters worked as well as they could have, nonetheless, there are some genuine scenes of raw emotion / poignant symbolism. And even the love scene between Law and Binoche provides a subtle allusion to the infamous rape camps (e.g. Partizan) run by criminal militias in Belgrade during the war, for when she says "I've giving myself to you, I want it to be worth something", we get the impression that this isn't the first time she's had to use her body as a bargaining tool, hence what begins as a passionate, albeit illicit, liaison between consenting adults, is soon tainted by the wounds of history and deceit. We're in the land of funny accents again; and though Robin Wright Penn is my favourite actress and a fearless artist who gets better with every role ('She's So Lovely', 'State Of Grace', 'Sorry, Haters' and 'The Pledge' being standouts for me) making her character Swedish isn't particularly relevant to the story besides the 'ABBA' 'Beatles' conversation. The same goes for Sophie Marceau look-alike Vera Farmiga (last seen in 'The Departed') who sparkles as an oddball prostitute, though her accent practically takes us on a trek around Eastern Europe from Poland, Ukraine all the way to Georgia and back again. 'Breaking & Enterings' supporting cast also deserve a mention: teenage non-actor Nicky Gavron (cast on the strength of his parkour skills, parkour being a form of free-running where thrill seekers jump from rooftop to rooftop) actually does well to hold his own with industry heavyweights like Binoche, Law and Ray Winstone. Martin Freeman is quite funny as usual, but you can feel the weight of typecasting on his shoulders whilst Ray Winstone's honest copper is a good, albeit somewhat unrealistic, character. 'Breaking & Entering' is an expertly directed, well acted drama, let down slightly by unrealised ambitions and a few scenes of clichéd melodrama.
What can be said? Stephen Fry has the comedic equivalent of the Midas touch. However, this is to take nothing away from the witty writing and plots as cunning as a fox who's just been appointed Professor of Cunning at Oxford University. The dialogue is masterful in its creation and is perfect for Fry's naturally glib but ingenious delivery.
Mr. Fry is by no means the only star of the show. His partner in crime, John Bird, is also very well-suited to his role as the understated but never-the-less generally wise one and the other characters all have their place and have been created for a purpose, balancing different personalities and perspectives superbly within one industry, that of Public Relations.
It's funny, fresh and clever but certainly not for everyone. It's not your typical sit-com by any stretch of the imagination. There's no love story and no regular social rendezvous for a start!
'Absolute Power' does not need any of the conventional mouldings. It would merely break them anyway.
Ok, so it wasn't full of special effects and was obvioulsy filmed on a shoestring budget, but The Tomorrow People was way ahead of its time for a children's sci-fi series. It veered from excellent stories (The Blue and The Green) to dire (A Man for Emily), but overall it was a fantastic series devised by Roger Price. And it had one of the most memorable title sequences ever! Buy it!!
The most original horror film that has been released in years it's alot much more smarter than 'Scream' could have ever pictured.
The plot is about the next to be iconic slasher named Leslie Vernon who is played by the talented, brilliant and funny actor Nathan Baesel (Invasion), he could full you into believing that he's just your average mr nice guy but you'll be dead sooner than you think, he will attempt to be just like his role models Myers, Voorhees and Krueger...an unstoppable psycho killer. He allows a documentary filmmaker named Taylor Gentry(Angela Goethals) and her two camera men to exclusive information about how he will attempt his reign of sadistic butchery on the teenagers of Glen Echo and like his heroes to strike fear in the hearts of the residents of Glen Echo just by hearing that leslie Vernon his here to slay.
Some say thta this is the greatest film ever made - I would not dispute that. Ever since I first saw it over 20 years ago (when I was a teenager) that has not changed.
There is something about Kurosawa's films that other directors try to emulate and you see it appearing in their films. But he was a master film maker and Seven Samurai is the crown of his achievements. It is a great film to just sit there on your own and soak up. Hihly recommended.
Roaaaaaaaar, that is the sound my son now makes whenever he sees a dinosaur and to be honest it is mostly down to this film. (The noise was made I understand from a mixture of various creature noises such as a crocodile, lion etc.) Produced before we had the likes of walking with dinosaurs etc. it was an enlightenment into the probable lives of dinosaurs combined with an edge-of-the-seat gripping story line that we have come to expect from Steven Spielberg. Having enjoyed this film immensely myself when it came out and hearing that Mr. Spielberg had himself said he wouldn't let his kids watch it, I was fascinated to see what my kids would make of it considering their love of all thing prehistoric. They LOVED it, and positively leapt with joy whilst watching it from the lawyer being eaten on the toilet to the 'making them jump' velociraptors it was a big hit. The realism of the dinosaurs was and still is a benchmark by which other movies with prehistoric creatures quite often find themselves marked against. Visually it was a feast and to be honest Mr. Spielberg didn't really need to add much of a storyline to make this a fantastic film but the storyline is there, if a little basic in structure, and is certainly watchable over and over again. We may never truly know what dinosaurs were but this film has gone some way into searing into the minds of almost everyone who watched it the reality of dinosaurs and unveiled some of the mystery behind what would really happen if these great creatures and our own selves ever did meet.
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