My family and I have recently bought this dvd as a family treat. Usally, I hate pirate films and this was one of them. Johnny Depp was not at his best acting and Orlando Bloom and Keira Knightley were not very good either. Geoffrey Rush killed this movie with his dreadful pirate voice, I was ashamed with this because Rush was excellent in Mystery Men as Casanova Frankenstein. I hate this movie!
Do not watch it as you could be ashamed. 2/10
Mel Gibson's 'Apocalypto' opens with a quote by the late American author & intellectual William H. Durant, which says: "A great civilisation is not conquered from without, until it has destroyed itself from within". And irrespective of what one may think of Gibson's personal beliefs, there's no denying that the 'Lethal Weapon' star is one of the most gifted actor/directors of his generation and 'Apocalypto', his forth go behind the camera and first film since controversial religious picture 'The Passion Of The Christ', is nothing less than a Mayan language masterpiece. Set just before the fall of the great Central American civilisation, 'Apocalypto' works as both an epic, occasionally ultraviolet, political allegory for our times, and as a straightforward action-adventure film. A cast of Native American, American Indian and Yucatan actors speaking in the Mayan mother tongue, bring Gibson and Safinia's well researched script to life in the time honoured tradition of cinéma vérité: creating an admirable level of authenticity, which is slightly undermined by the intentional use of modern, sometimes colloquial, subtitles.
'Apocalypto', from the Greek meaning to start anew, follows the journey of young Mayan warrior Jaguar Paw (a good performance by Rudy Youngblood): kidnapped from his village by a marauding, militarily powerful clan of pro-monarchist Mayans, Jaguar Paw, along with all adult males from his tribe, is put on a rendition march to the infamous temple pyramids; where he's to be ritually executed. Divine intervention helps our hero escape and, along with a handful of prisoners, make a desperate dash for home with his captors in hot pursuit. It's a simple but effective story that allows Gibson plenty of room for manoeuvre before Jaguar Paw's escape, and the film's switch from drama to action. You'll marvel at the visually impressive, breathtaking scenes on the temple pyramid; as hapless, soon-to-be-scarified Mayan youths are painted and marched up to its ceremonial alter. Gibson draws parallels between the irrational practice of human sacrifice to appease false gods, to the practice of sending indoctrinated, naïve or disadvantaged youths to invade Iraq. Hence making them human sacrifices for an inherently corrupt economic order / socio-political infrastructure built upon delusion and greed, or as a true believer like Mel might see it, sacrifice to honour the false god mammon (i.e. money): "...What's human sacrifice if not sending guys off to Iraq for no reason?" said Gibson at a post-preview junket in 2006. But for all its scope and grandeur, it's the little details and gallows humour which makes this film stand out: the proud Mayan queen tugging her dress away from an annoying kid seconds after a bloody beheading. The naturalistic depiction of Mayan village life, Soanzo leaf remedy and the shifty looking high priest, perhaps a sly dig at Zionism's evangelical TV preachers who, like the Mayan cleric, feign piety to placate the masses with Uriah Heap-esque platitudes, and nonsensical, right-wing rhetoric.
One of the most thought provoking scenes occurs around the campfire with a Mayan elder telling a story, which accurately summarises all that's wrong with the world as it was then, and as it still is today. Apocalypto's second half sees our hero on a frantic trek through the South American jungle, and its here that Gibson shows us that he's remembered a thing or two on how to film a good chase in all those years working with Richard Donner (whose car chase in 'Lethal Weapon 4' is one of the best, and most underrated, stunts in Hollywood history). And since this 'Predator'-esque sequence takes up a lot of screen time, Gibson has to ratchet up the tension and make the sudden bursts of violence look all the more flamboyant and, some may argue, over-the-top. The fluidity of Apocalypto's chase sequence is aided by Gibson's use of Spydercam in conjunction with the new and improved Geneses HD-SDI camera, which, in terms of reducing artifaction and lag, is now on a par with the Sony HD+8 Digital. I believe the evolution of digital moviemaking took as great a leap forward with this film, as it did with 'Collateral' (2004) and will have old school cynics and 35mm aficionados marvelling at the clarity, depth-of-field and versatility of this new medium, which, at long last, seems to formed a stylistic, symbiotic union with its ancestor.
Some historians claim this movie was disrespectful to Mayan culture: portraying them as maniacal savages, and to an extent, its a valid criticism, however, this picture's aim was to show the self-inflicted degradation of a once celebrated and advanced civilisation. A people, as W. Durant noted, who were destroyed from within through decadence and inequity, before they were conquered from without, though I would've liked to have seen an acknowledgement of the fact that those who ultimately conquered the Mayan 'savage' had little to offer but a new and deadlier form of savagery. Mel Gibson has always been one of my favourite actors, and now, I can say with some confidence; that he's also one of my favourite filmmakers: 'Apocalypto' is a great achievement in film, with beautiful cinematography, suspenseful, satisfying and another undisputed triumph in Gibson's directorial career. This Disc features a short making of, an interesting deleted scene and an excellent commentary by the man himself. My hats off to The Man, The Legend, The Gibson: What a guy!
How to sum up the contents of this DVD in one review?
For those who don't know, Jan Svankmajer is the Czech animator who has been creating genre-defying short films since the mid-1960's, consistantly pursuing what he calls his 'militant surrealism'. The films are a mixture of live action, marionette and puppet film, stop motion, traditonal animation, claymation and much more besides to create a truly unique collection of films, that amuse, disgust and provoke in equal measure. The only comparisons I can think of are the more surreal works of Luis Bunuel, and the work of the Quay Brothers (itself inspired by Svankmajer).
Highlights, for me, would be the claymation lovers that wind up tearing each other apart in 'Dimensions of Dialogue', the childish wonder of'Jabberwocky', and the disturbing attack on consumerism in 'Food'.
The DVD contains all 26 of Svankmajer's short films, two feature length documentaries, an in depth book with details for each film and much more besides. This is one my prized possessions, and essential for anyone remotely interested in experimental and challenging cinema.
And once you've finished with this, try his feature films, which are equally fantastic.
This live concert filmed at the Astoria in London is one of the very best examples of how to capture not only a live performance generally, but the unusual dynamics of a ferocious, nine-piece metal band. Filmed with many cameras, some even attached to the instruments and masks, you get to feel like you're part of the audience and the band. The sound recording is excellent, and Corey's famous caustic voice never sounded better. In fact, some of his vocals are astonishing. For the uninitiated, there is more than enough colourful language, although if you are a big Slipknot fan this is unlikely to worry you now. Throughout the performance there are mini-segments showing the band assemble the stage, warm up, sound-check, get dressed, put on make-up and more. The second disc contains other interesting features, including some videos and a feature that allows you to access hidden segments within the show. Personally, this is my favourite music DVD by a very long way and I've watched it many times now. Nothing beats it for an hour or two of adrenaline filled metal mayhem with great theatrics. No big Slipknot fan should be without.
James Woods in the words of Chandler from Friends "COULD not BE any more Layed back" this film has more twists than a 50's dance.OK the plot is not testing but it is a watchable film for all ages except very young children
Best film I have seen all year. Di Caprio is awesome, the story is incredulous and it hits hard!
Unique!!
Prison Break is the next epic TV series that is there on par with TV series like Lost and 24 with that said its not a season you should miss.
The series keeps you on edge of your seat from start to finish with twists and heart pounding moments throughout.
The story beigns with Michael Scofield a architectural designer who believes his brother Lincoln Burrows has been framed for a crime he did not commit. With Lincoln on deathrow Michael sees no alternative but to get himself within the walls of Fox River a high security prison where his brother is awaiting execution. With Michael having a plan for an escape with his brother he seeks help from the inside to try and make his mastermind plan a reality along the way making enemies with the prisons most famous innmates and guards. Michael is fighting against time as his brothers execution is upcoming and his plan has a schedule a one that cannot be altered. With no time for error Michael embarks on a mission to save his brother. However thats not all! on the outside Lincoln Burrows ex girlfirend and attorney is fighting against the death penalty charge as she looks for new evidence to clear the name of Lincoln with a few twists along the way time is of the essence.
I assure you that your nails are in danger whilst watching Prison Break Season 1. As you watch this every episode has nail biting moments with a fantastic conclusion. With Season 2 now on sale Iam sure I will be buying it in my next pay cheque.
I loved this film. its brilliant, it takes the mickey out of previous films such as Narnia, Charlie and the chocolate factory and pirates of the caribbean. The cast and crew have put a lot of effort in to make it a fantastic film...
Unlike 'The X-Files' (great from series 1-7, unwatchable through 8-9 before a last grasp for glory with Mulder's return in 'The Truth' finale), Sam Raimi's short lived mid nineties horror series: 'American Gothic', axed in its second season, never got a chance to wobble with comedy episodes, superfluous narrative diversions or new characters bought in too late in the day. Gary Cole is brilliant as Sheriff Lucas Buck, clearly in league with the Devil, Buck is an unsavoury municipal magnate; controlling people's lives in the small town of Trinity, South Carolina. With a bunch of oddball foils and deliciously dark storylines, Cole played Buck with just the right amount of charm, cruelty and smug Southern sarcasm, to make him one of the most memorable, complex TV characters of all time. Lucas Black ('Jarhead', 'Fast & The Furious: Tokyo Drift', 'The X-Files') is equally excellent as young Caleb Temple; haunted by the murder of his sister Merle (Sarah Paulson), yet guided by her ghost who tires to protect him from Buck's corrupting influence; it's the timeless clash of good & evil played out in endless shades of grey. 'American Gothic' also boasts a fine supporting cast which includes Brenda Bakke as sultry schoolteacher Selena Coombs, Nick Searcy as Buck's put-upon deputy Ben, Paige Turco as Caleb's cousin and intrepid reporter Gail Emory, Jake Weber as the good doctor Matt and since this is Raimi, it wouldn't be complete without the obligatory Bruce Campbell cameo, rest assured, the big chinned one makes a memorable appearance in episode 7: 'Meet The Beetles'. Hands down; one of the best television programmes ever made, creator Shaun Cassidy would later go onto write the marginally successful 'Invasion', but 'American Gothic' remains his finest work by far: A modern classic.
pumped with testosterone, georgeous man, beutiful girls that makes you want to convert to lesbianism, sex,money, what else to ask for....
exciting, interesting, the next sex & the city
Scott Peter Mullen"s film, The Magdalene Sisters, stirred up no end of controversy when it was first screened at the Venice Film Festival. At the time it was said to be the epitome of foolishness to give a film which exposes and denounces long standing Catholic practices its first screening in a country which is home to the leader of the Catholic Church. However, hindsight has shown it to be one of the most successful marketing strategies since they started selling pies at football matches. Without the media frenzy caused by its Venice entry, The Magdalene Sisters could well have, possibly deservedly, slipped below the radar of the cinema going public. The film begins in Dublin in 1963 with Margaret attending her sister"s wedding reception. As the guests watch a group of priests playing a tune unworthy even of being an Irish Euro-Vision entry, Margaret is raped by her cousin in a storeroom just yards away from help. Afterwards, she tells her sister, who tells her father, who tells his brother, who tells a priest, and so on. Although this can be seen happening, it is not possible to hear what is being said, reflecting the wall of silence surrounding the issue of rape at the time. The action then turns to Bernadette, a pretty girl who lives in a Catholic orphanage, her only friends being the weirdest set of twins since The Shining. The nuns watch with disapproval as Bernadette dares to talk through the fence with some local boys. The next day she is gone, the twins find her bed empty but aren"t particularly concerned once they discover she has left her hairbrush behind for them. The next girl to be introduced is Rose, who is in hospital having just given birth to an illegitimate son. A priest reassures her that she will be "rejected and scorned by all decent society" and then takes the baby away for adoption. As all three girls arrive at the Magdalene Laundry, the credits roll and a disturbingly long list of girls who were sent to that and other laundries throughout Ireland appears. As soon as the working conditions which the girls will have to endure are exposed, it becomes clear that the film will not be a rehash of Sister Act. The girls are informed that they have been sent there to make their peace with God but just how washing some Irish bloke"s old Y-fronts will cleanse their souls is not explained. The film then descends into every cliché and hypocrisy that has ever been attributed to the Catholic Church. The nuns make money from the girl"s work as a statue of Jesus (bizarrely positioned next to a photograph of JFK) looks on. A priest sexually abuses one of the girls with hilarious consequences for him and tragic results for her. There is even a bit of homoeroticism thrown in when the nuns make the girls exercise naked. A great effort has clearly been made to be controversial. Despite the incredibly serious nature of the story, the film does contain some wonderfully comic moments, the priest"s home movies and the anointing of the new washing machines with Holy water being good examples. It was also reassuring to note that, as one nun comments, Westerns have gone the way of the Devil, proving once and for all that other people have noticed there was something unnatural about John Wayne too. The Magdalene Sisters could have been an extremely moving film but despite all its efforts to shock and provoke, it didn"t manage to inspire any real feelings for the characters involved. The film would have been scandalous twenty years ago but perhaps due to modern cinema and recent real life scandals involving Catholic clergy, it somehow manages to make an interesting and important story feel a bit stale and even passé.
This cleverly woven film follows a gang of crooks as they try to pull off the perfect heist. The basic plot is familiar, with Gene Hackman"s ageing renegade being forced into doing "one last job" before retiring to a tropical location with his young, high-maintenance wife. Despite this lack of originality, David Mamet"s film contains plenty of wit and vigour. Hackman"s performance is typically emotional and it is his interplay with Danny DeVito"s character which provides the most memorable scenes. The supporting cast is generally strong with the only weak link being Mamet"s wife, Rebecca Pidgeon, as the young love interest. The necessity for a final scam to bankroll a new life and the preparations that the gang make before the heist are meticulously laid out. In fact, the film could almost be treated as an A to Z of "How to Commit the Perfect Theft", with particular reference to how to sneak firearms past security. The film teeters on the brink of being too clever for its own good with a vast array of bluffs, double-crosses and betrayals but just manages to retain the attention of the audience. Heist is a slick look at modern crime and criminals, with an entertaining (and possible educational) content that will enthral viewers as long as they are able to follow its plot intricacies. Not the best film of this genre in recent years but the sheer quality of the direction and the lead actors elevates what could have been a formulaic film to one which is well above average.
Following the popular Hollywood formula of a rich Beverly Hills exterior hiding an original and resourceful girl with brains, Legally Blonde was a surprise hit when it was released and it"s easy to see why. The action kicks off with Elle Woods (Reese Witherspoon) expecting to become the future Mrs Warner Huntington III, only to find herself being unceremoniously dumped for being too blonde. Deciding that the only way to win back the arrogant Warner is to prove that she can be serious, Elle enrols in the prestigious if stuffy world of Harvard Law School. At this point the pace changes as now legally minded Elle (aided by her scene stealing, handbag dwelling dog), along with Warner, his new brunette girlfriend, and a plausible new love interest for Elle (Luke Wilson), become involved in the murder trial of a wealthy fitness guru. Although it"s no surprise who ends up as the star lawyer for the defence, this film is both entertaining and absorbing. The plot is a fairly well-trodden one but is presented here to an excellent standard with fun, frivolous action and occasional moments of inspired comedy genius. It"s the performance of Witherspoon as vulnerably funny Elle that truly holds the film together but the supporting cast, including nice guy Wilson and ice queen Selma Blair, more than pull their weight. All in all, a thoroughly entertaining film, ideal for a light-hearted night in front of the television.
An excellant film that very in keeping with cynical orange and black cat of comic strip and animations. Breckin Meyer is perfect as his witless owner. However with Jennifer Love Hewitt being excellant as Liz the vet. She is just a little to good to be true as the cold humourless vet from the animation. But saying that the chemistry between Hewitt and Meyer makes you glad when they finally get it together.
Bill Murray is also the perfect voice for Garfield. I just know that ifthey do any more up to date animations of Garfiedld he would be perfect for the voice. He is garfield personified
Perfect for children with all the action and excellant for adults too. Especially with garfield's dry wit that only adults could understand.
'The Butterfly Effect', though it stems from an interesting idea, winds up in the end leaving this reviewer rather disinterested.
It asks the perennial questions: "What if...? What if I could change one moment in my past? What would be the consequences of these fatal actions?" and doing so the film proceeds to offer varying alternative answers for our luckless protagonist, Evan Treborn (Ashton Kutcher), which by degrees, become more implausible and facile.
As this film relied so heavily on the acting performances of children, the casting director ought to have been fired, as the actors in this film were at most times poor at best. Their collective performances are one dimensional, lacking any dynamics or group chemistry, not a single one has the charisma to invite sympathy from the audience leaving the crucial question any viewer must ask: "So what...?" Either they were incapable of being directed or the directing partnership of Eric Bress and J. Mackaye Gruber were incapable of directing children.
Ashton Kutcher"s performance in a pivotal and "serious" role is literally deplorable; and the presence of bohemian facial hair is not enough to give him character, or the air of a young man dealing with the psychological pressures of controlling the fate of himself and all those he loves. Judging by his performance in "The Butterfly Effect", Kutcher will most likely never shake off the character of "That 70s Show"s" goofy, bungling, dumbass "Kelso" until that particular generation has passed away - then perhaps it might be more appropriate for Kutcher to once again contemplate "serious" acting.
It wasn"t until the final credits rolled that I realized the script had been written by the same pair that brought us the turgid teen thriller sequel "Final Destination 2"; then my gnawing frustration and disappointment in the film became at once intelligible. It occurs to me that Bress and Mackaye have a preoccupation with the fictional possibilities of evading fate, or mutating one"s future by means of adulterating one"s past, but I would wholeheartedly suggest the pair comprehend the complexity of these issues in their own minds before burdening the world with their next script.
The only salient point the film actually raises is that of child abuse and childhood trauma, its aftermath, and repercussions in adulthood; but these issues are given neither the time and space nor the dignity and solemnity they demand.
Overall "The Butterfly Effect" felt less like a movie than an overly long TV episode of "The Outer Limits" or the "Twilight Zone"; indeed the film itself seems to become all too conscious of the fact that it is too long and unevenly paced to sustain itself and rushes headlong like a barrel over Niagara towards its conclusion; which is neither satisfactory nor in keeping with the film"s disordered narrative logic.
In summary "The Butterfly Effect" is an example of how an initially interesting idea with so much potential can be frittered away like the life of a seemingly insignificant butterfly, by being trampled and crushed into nothingness by clumsy and inadequate execution.
This box set contains a collection of BBC adaptations of Charles Dickens classics and is highly enjoyable.
I'm not old enough to remember all of these from the first time round, in fact there is one that I had no recollection of ever having heard of before, but there are others that I remember watching avidly when they were first screened, and I eventually gave in and paid the price for the box set after coming to the conclusion that it would be much the same price as buying the four that I specifically wanted!
As with any collection there are going to be some that are stronger than others. I admit to having no fondness for the version of A Christmas Carol which has been butchered to fit into one, one hour episode, although it does have the bonus of seeing people who later went on to take leading roles elsewhere having tiny, walk on roles in this.
My personal favourites are Great Expectations, Martin Chuzzlewit (although I find both Martin's distinctly unlikeable and care much more about minor characters), David Copperfield and Our Mutual Friend. I had never heard of the adaptation of a Tale of Two Cities before receiving this set, but I enjoyed it immensly. And both Oliver Twist and Pickwick Papers are fair adaptations.
I have to admit to being quite impressed by the presentation of the packaging, made to look like a big book with a buckle across it.
My only real complaint about the set is that the BBC have produced two superb version of Bleak House (to my mind one of Dickens best novels) and it would have been nice to see one of those included in this set, but other than that I recommend it absolutely.
An absolutely superb box set of this wonderful series!
Okay, I adore this series, and it would be very easy for me to simply repeat over and over again that I think it's great but I shall attempt to give a more useful review.
Firstly, I've the packaging, I'm a film student and own far too many DVDs, and they're slowly taking over my house, so to have this in a four disk set it superb because it takes up so much less space on my shelf.
But the content, as I've already said, I love this series, they're proper swashbuckling adventures and have the advantage of containing some of my favourite actors.
Starting, of course, with Ioan Gruffudd as Hornblower, if you have ever read the books then you will know that physically Gruffudd is perfect as Horation Hornblower, especially in the first couple as a scrawny teenager, but he manages to make the character much more likeable than his literary counterpart who I always found to be distinctly unloveable. Jamie Bamber is remarkable sweet as Archie Kennedy, a character who was given the opportunity to return later simply because he was so popular, and Paul McGann is superb as William Bush. I once head McGann described as the only man who can look sexy while shouting, whether you agree with that or not, he does shout rather well and is terrific as the slightly uptight Lieutenant. And of course, mention must be made of Robert Lindsey as Pellow, his is a yell that you can imagine truly carrying across the busy ship and his fatherly fondness of Horatio is touching.
Against, I cannot recommend this enough, if I could afford to I would buy it for all of my friends and force them to all sit and watch it!
Without A Trace just gets better and better with each series and series 3 is no exception. It keeps you hooked from start to finish and the actors/actresses are excellent too.
I have been a fan of all the Stargate series however Stargate Atlantis takes the series to the next level!
The Stargate is a device that instantly takes you across the galaxy. The mission to seek new allies and new technology to defend Earth however not this time.
As a selected team from all nations across the world step into the device they are instantly taken to a new galaxy and a new home where a new adventure begins.
The series steps up to a new level and drives you into the middle of the action when the team find a new enemy with more power than anything they have encountered in the past.
With bullets flying, adrenaline pumping action the adventure never seems to stop and keeps you on the end of your seat from start to end.
I would say a must buy for any Stargate fan or action for that matter.
'Dead Or Alive', based on a popular arcade beat em' up and produced by none other than Paul W.S. Anderson ('Mortal Kombat', 'Resident Evil') exists only to depict scantily clad women engaged in a variety of stimulating activities (i.e. fighting in super slow-mo, playing beach volleyball, taking hot showers or fighting in super slow-mo). Cheap thrills aplenty, but also a bare bones storyline and some reasonably accomplished fight scenes. The minimal plot involves our buxom beauties: former singer Holly Vallance, an expressionless Devon Akoi and 'My Names Is Earl' star Jamie Pressley, enter the 'DOA' martial arts tournament held on a remote Pacific island and run by shadowy super-villain Eric Roberts. Each girl has something to do or prove, we even get to see the island's home, though by no means homely, girl Sarah Carter in action, amazingly, Carter went onto find serious work after this and can now be seen playing a novice lawyer working for James Woods in hit legal series 'Shark'. Sexist and lowbrow it may be, but for those who regard 'Maxim' as the finest literary periodical since Yale's 'Spectator', its a dream come true. Some of the highlights include a well edited 'Crouching Tiger, Hidden Dragon' homage with Akoi taking on pretty Natassia Malthe (last seen crossing swords with Jennifer Garner in 'Elektra'), a beach brawl in the rain between Valance and Carter, and though it was good to see legendary 'Mortal Kombat' star and former martial arts world champion Robin Shou, its a bittersweet cameo, as he's reduced to comedic bad guy status, fortunately the one time Lui Kang only suffers three minutes of onscreen humiliation at the hands of Jamie Pressley. Coming in at a super-trim 65 minutes, 'DOA' is practically a short film, and moves at such a pace that you won't have time to notice how it fails on almost every conceivable level. Mildly enjoyable trash, add an extra star if you're a fan of the game.
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