As I guy I've sat through many rom-coms - I'm a sucker for the good ones (Notting Hill etc) but have seen plenty of duffers to compensate (The Rebound for example!)
However, as a lover of foreign film and all things French (well, perhaps not the people) this came as a really pleasant surprise. Very funny from the start with a nice sort of "Hustle" feel to it, and a real romance as well. Certain scenes stand out such as Duris and Paradis' homage to Dirty Dancing and Andrew Lincoln does a good job as the third wheel.
A really superior rom-com - don't be put off by the subtitles - get it now and watch it forever!
Movie Man Dan
When trickster Alex meets the beautiful Juliette on the premise he's been paid by her father to split her and her snobby fiance up, sparks fly and the pair fall in love. How does the con-man react though when hit by love?
Even though you would not believe Blu-ray to be a medium for best representing animation from the 1940s, Disney have painstakingly restored a number of 'classic' animated films from their vault over the past few years and proved us all wrong. Fantasia and its sequel were placed in the Disney vault back in 2004, following the normal procedure of limited edition releases, so fans have been waiting impatiently since then to see one of the most famous and renowned films in Disney's 70+ year history of theatrical releases.
Fantastia, known as 'Disney's 3rd full-length animated film,' is a vastly different entity from any other Disney film release. While Disney are known for heartfelt storylines and memorable songs, Fantasia takes a different route, mixing some of the most well-known classical musical from history accompanied by visuals featuring a number of characters. Primarily the focus was on Mickey Mouse, the staple of Disney, and trying to put a new spin on him to rejuvinate his popularity with the masses. It's hard to believe but at one point Donald Duck was taking over, yet due to Walt Disney's love for his favourite mouse, he never gave up on him.
It's hard to comprehend the leap of faith that Walt Disney took with this film. Originally intended as a short, simply entitled The Sorcerer's Apprentice, his worries about profitability led to a full-length concert of sorts resulting in Fantasia. What these Disney releases provide is historical context and understanding, which turn a simple musical symphony with animation into a minor miracle in the film world. In the end, eight shorts were produced to create one of the most famous films Disney would ever create. The Sorcerer's Apprentice short, even though not enough to carry profits by itself, led to one of the iconic images in Disney's history - Mickey Mouse with his robe and hat. You only need to go on vacation to one of the numerous Disney parks around the world to see the influence - from Mickey's Philharmagic to Hollywood Studios.
Led by renowned conductor Leopold Stokowski, working with a number of high profile ochestras at the time, the team created the 9 minute short featuring Mickey Mouse based on a poem by Goethe. The story is simple at heart - the apprentice plays with magic before he knows what he's doing, A broom comes to life, and everything spirals out of control from there. The music itself is as much the story as the visuals are, presenting an eerie trepidation mixed with a playful whim. It is animated as perfectly to the music as I have ever seen any film manage. This multi-track soundtrack was a vast step in technology at the time, and stands up to any score to this day. It is certainly one soundtrack you want to have a high quality sound system at home for.
The other seven shorts, while not quite as memorable as The Sorcerer's Apprentice, still provide a stunning sense of creativity that reminds the viewer why Walt Disney will probably always be the most acclaimed talent in the history of animation. 'Toccata and Fugue in D Minor' and 'Nutcracker Suite' will be familiar to many regardless of any lack of love for the classics, while 'The Rite of Spring' brings dinosaurs to life many years before the 2000 CGI movie by the same company. 'Intermission/Meet the Soundtrack' really speaks for itself, and leads into a fascinating look into Greek mythology with 'The Pastoral Symphony.' The final two segments could not be more different, with 'Dance of the Hours' featuring numerous dancing animals, and 'Night on Bald Mountain/Ave Maria' wrapping up Fantasia with the horrors of witches and demons.
This Blu-ray release is by far the best I have ever seen Fantasia look and sound, which is extraordinary considering its age. The supplementary features provide a fascinating look into the time period and what effort went into the film then and now. An audio commentary with Brian Sibley, a Disney historian, is extensive to the point of over-informing, and we also get an interactive art gallery and Disney Family Museum. If there's something Disney do well, it's preserving and respecting their history, and with each Blu-ray release we learn more about the love and passion they have had for animation right from the beginning.
It would be a crime not to mention the sequel also available in this pack - Fantasia 2000. In amongst the mire of 'direct to video' Disney sequels, Fantasia 2000 was created as the 'thirty-eighth full-length animated film,' thus elevating it beyond the other cash-in sequels. The original Fantasia sadly failed at the box office, even though it has become successful in image alone since, and so it took many years for Disney to finally return to the idea of a sequel. Released in IMAX, Disney once again managed to use aural technology to its fullest, and Fantasia 2000 was received far more positively than the original ever was at the time. It is certainly one of the only Disney sequels (along with the Toy Story series amongst others) that is worth anyone's time.
This two-pack is a worthy addition to anyone's collection, and presents a high point in Disney's creativity and a reminder of the best they have to offer.
A superb blend of visual and musical majesty.
What an amazing film, i could not help but cry. It is the sort of film you cannot take your eyes off. Amazing story of an 18 month old little girl, What amazing support she had not only from people in her community but in the world. If you have not yet seen it, Watch it!! TOTALY BRILL TRUE STORY
By 1954, the gangster film in Hollywood was as dead as a doornail. It had prospered in the decade prior to World War II, but post-war, had evolved into a more stylized form of crime drama coined by the French, Film Noir. In Noir, the gangster is not undone by the astute and relentless crime solving techniques of the police, but by his own weakness of character. The underworld of organized crime is a murky universe with a diverse array of flawed individuals, who must fight constantly to retain their status amongst their brotherhood of brigands. Just as in real life, with time, comes wisdom and respect. A successful criminal who has survived into their fifties, is revered by his friends and envied by his enemies. But always, there are young and ambitious newcomers who are impatient with the status quo, and who will upset the apple cart by using force to unseat what they perceive as an easy, aging target.
In Touchez pas au grisbi (Hands Off the Loot), Jean Gabin plays Max, a longtime mover and shaker in the Parisian underworld. Max is respected throughout the underworld as a man of principle. A brethren soul who honors his partners and friends with undying loyalty. When tensions arise between rivaling factions, Max is always brought in to mediate the problem and keep the streets free from bloodshed. But Max has tired of the burdens that are associated with being a wizened aristocrat of the underworld, and as we learn in the beginning of the film, eight gold bars have been stolen from a shipment at Orly airport. Of course, Max is behind the theft, and he sees this as his final job, his last 'big score'. All he needs to do is fence the gold bars into cash and then he retires to a more docile life, most likely on the Côte d'Azur. But as I mentioned earlier, Max is completely loyal to his associates, and this code of honor will set forth in motion, a series of events that will pull Max back into the dangerous world he is trying to escape from.
Riton (René Dary) has been Max's partner for years. They have been two of the most successful operators in the Parisian crime world for the last twenty years. But Riton has a weakness, the same weakness as most Frenchmen; Women. Unlike Max, who is gliding effortlessly towards old age, Riton feels that he no longer has the staying power of his youth. And to that end, to impress a much younger girl whom he has been dating, he lets slip his knowledge of Max's last great score. The girl, named Josy (Jeanne Moreau, in one of her first roles) has now told that little bit of information to Angelo (Lino Ventura, also in one of his first roles), an up and coming gangster who is always looking to increase his wallet and his prestige amongst the criminal community. And by relinquishing Max's greatest heist and getting away with it, he will become known to others as a man to be feared. Angelo kidnaps Riton in hopes of getting the gold bars as a ransom payment from Max, knowing that Max's loyalty to his partner is unshakeable. But Max is not going to take this expropriation of not only his money, but his rank, lying down.
He agrees to make the ransom payment for his friend, but with a little twist added to the proceedings. Through his guile and audacity, he has learned that the world of crime is the ultimate example of survival of the fittest. To make it as far as he has in the underworld, Max has had to stay one step ahead of his adversaries. Max knows that once Angelo receives the money and returns Riton, the young usurper will have to kill the both of them, out of fear of reprisal for his actions. When the transfer is to be made on a dark and deserted country road, in the waning hours of the evening, Angelo will have another car waiting in the shadows with assassins ready to eliminate Max after Angelo leaves. When Max arrives at the transfer spot, everything goes as according to plan. Max hands the gold bars to Angelo, who in return, sets Riton free. Both groups start to make their way back to their respective vehicles, with Angelo reaching his car and departing first. As Angelo passes his accomplices down the road, he signals that the transfer has been made, and the assassins start off down the road, back towards Max's group. Knowing what's about to transpire, Max and his cohorts crouch down at the side of the road, just behind their car. Soon, the assassins appear and machine gun Max's car. As they get out, to make sure their job is complete by tossing a surplus German hand grenade into the car, Max and his men open fire. The grenade destroys Max's car, but Max and Riton survive. The assassins are killed, and now, Max gives chase with the assassin's car. Angelo, whom Max knows is waiting somewhere down the road, awaits the news of Max's demise. It is here, in my synopsis of the story, where I will stop. To go any further would spoil the great ending to a remarkable film. But as all crime films go, in the end, the mantra of 'crime doesn't pay' still holds true. Max will have to wait if he wants to retire, maybe, just maybe, after the next 'big score'.
Jean Gabin and Lino Ventura give outstanding performances as the protagonist and antagonist respectively. For Gabin, it would be his greatest acting performance since his heyday in the thirties. The suave nuances he brings to his character reminded me of Cary Grant in To Catch a Thief or North by Northwest. There is something to be said about a respected actor, realizing his time as a youthful heartthrob, will not last forever. Gabin understands this, and his sophistication and paternal charm add weight to what is for me, his greatest achievement in film. On the other side of the coin, Ventura exudes a coolness that portends the talent that would propel him to the lofty position once occupied by Gabin in his younger days. For the next twenty years, Ventura would be one of France's most successful leading men, attaining a stature comparable to Spencer Tracy in Hollywood. With each new film I see, with him as the lead, my fondness and admiration increase twofold. And finally, one of the hallmarks of great Noir is the sultry and seductive nature of the women who populate the seedy underworld inhabited by the protagonists. Well, you can't get any more seductive or sultry as the women who appear in this film. Jeanne Moreau, Delia Scala and Lucilla Solivani are three femme fatales that could easily be used to test the blood pressure of any male still breathing. Just to view their seductive beauty is worth the effort of seeking out these great French 'Noir' films.
Jean Gabin plays Max, an aging gangster who has seen the glory days of his youth pass him by. He wants to make that last great score and retire. He does make that score, but a partners weakness and slip of the tongue, will put his retirement on hiatus for a while.
Disillusioned professional killer Martin Blank (John Cusack) attends his 10-year high school reunion en route to a hit, imposed as penance for a job that didn't quite go to plan. Cusack is beyond brilliant as a man in the midst of it all: struggling to make sense of his life whilst avoiding the FBI, rival assassin Grocer (Dan Ackroyd on fine form) and coming to terms with the life he left behind. Director George Armitage gets the tone just right; as John Woo style violence blends in with poignant humour and pathos. Scenes in which Blank attempts to salvage his relationship with first love Minnie Driver (the girl he stood up on prom night, and hasn't seen since), explain his decade long absence to best friend Jeremy Piven, make it through the reunion and ".discover a newfound respect for life" are played with tongue planted firmly in cheek but retain an honesty that makes the movie stand out from its peers. An Excellent script, great performances all round and a classic retro '80s soundtrack made 'Grosse Point Blank' one of my favourite films in 1997. And now, when the film with a retro theme has eclipsed its own narrative time span, 'GPB' is still as good as it ever was. Comedy-drama at its best: A must own.
Surreal, dark comedy from part time actor and full time oddball Spike Jonze; which sees wannabe puppeteer John Cusack forced into a day job only to discover a hidden portal into the mind of actor John Malkovich. Cusack soon joins forces with colleague / enterprising superbitch Catherine Keener ('Living In Oblivion') and charges hapless patrons a couple of $100 a head to 'Be' John Malkovich. Everyone gets their fifteen minutes inside Malkovich's mind, with Cusack using it as a sinister ploy to win over Keener, leave his wife (Cameron Diaz in frumpy mode) and control Malkovich to further his own ambitions. Of course it's only a matter of time before the man himself catches on, and goes "up his own portal" for an unforgettable visual satire on the banal, introspective and ludicrously self-obsessive nature of celebrity. A great movie with loads of ideas, not to mention hilarious cameos from Ben Orson (as Cusack's boss) and Charlie Sheen (as Charlie Sheen). All together now: "Malkovich Malkovich Malkovich...MALKOVICH!...Malkovich Malkovich".
The Collector (2010)
This film plays out like a sub-Saw film, the main screen time being taken up with gory scenes of sadistic torture and bloody traps. It's a modern film and the effects and psychological progress follows the same thread as any graphic horror film of the last decade.
However, this film is fatally flawed and when I watched it, I thought I had missed the first twenty minutes of it or that this was a sequel to a previous film. The tortured family are mere cyphers and there is no reason or motive of why they are the Collector's targets.
As for the Collector himself - why kill the family? Who is he? Is it sadistic pleasure or is it personal revenge? Will he kill again? Is he indiscriminate and random or organised and calculated?
Arkin is the key lead character, at first robbing the family and then trying to help them escape but he is fairly non-descript and bland. As for the mum, dad and little girl and even the Collector himself, there is no any character definition and I found I couldn't connect with anyone.
Overall, I can't recommend this film other than for a gory hour or so of entertainment. There have been many films with unanswered questions, leading to exceptional sequels (such as The Matrix, Back to the Future, and Saw). However, all those films had one thing in common - they could stand up on their own as a self-contained work. The Collector falls down badly in this respect.
The Collector (2010)
From the writers of Saw IV, Saw V and Saw VI, comes The Collector. The film follows Arkin (Josh Stewart), an odd-job man who has recently done some work for an affluent family. When he finds his girlfriend is in debt, he decides to pay it off by robbing the family's house whilst they go on holiday. However, a masked character has also broken in and has set up horrific booby traps. Arkin also discovers the killer has captured the family and is setting out to slowly torture them...
Let's get it straight - this film is nowhere near as good as the first Predator film. Keeping it straight - it's nowhere near as much fun as the second Predator film (my guilty secret favourite, especially the old woman moment).
What it is however, is an undiluted Predator film, fiercely proud of it's original source material and gleefully ignorant of the wasted opportunity that was the AvP films.
We get a nice new playground for the Predators to use their wonderful toys in; we get a broad cross-section of stereotypical 'bad-ass' protagonists; we get an unwarranted and unnecessary cameo from Morpheus himself; and we even get some Predator class-wars thrown in.
If it sounds like I'm putting the film down, I'm really not - I've been waiting ages for a new Predator (only) film and this doesn't disappoint. Predator films are guilty pleasures (Arnie chewing up the scenery; Danny being too old for this.., etc) and so is this - and very glad I am too!
So far as 'third films in a franchise' go, I cant think of too many that are as reverential as this or as much fun to watch and get consumed by.
I sincerely hope it's not another 20 years until the next one though..
It's not Arnie. It's not even Danny. I can't help myself though!
Road To Perdition has recently been transferred to Blu-ray and it looks fantastic. The image is sharp, the colours are vivid and there is very little grain at all. Despite probably not needing too much work it's clearly been treated to an excellent restoration job. Professional film critics love this film and having never seen it before, despite it being released in 2002, I was eager to buy it to find out if it lived up to the hype. I was really looking forward to it and I was hoping to be amazed. Unfortunately, despite everything being in place, such as a well respected and world renowned composer (Thomas Newman), award winning director (Sam Mendes) and an exceptionally talented cinematography (Conrad Hall), to make this film a sure-fire success, in my humble opinion, it fails as entertainment. It does however succeed as a piece of cinematic art.
Plot wise it's fairly simple, which is the biggest problem. Mike Sullivan (Tom Hanks) works as a hit man for crime boss John Rooney (Paul Newman). Rooney is like a father to Sullivan. But when Sullivan's own son sees something he shouldn't he is forced to go on the run from Rooney in order to protect his son while also seeking vengeance. Harlen Maguire (Jude Law) is the man sent to track down and kill Sullivan. It's not exactly convoluted. Put simply: it's not the Odyssey. Yet it could have been far more rewarding if there had been more attention to detail in writing the characters and in the plotting. It's sure a shame.
Before directing Road To Perdition (2002), Berkshire born, Sam Mendes had already proved himself to be an extremely competent director having been at the helm of American Beauty (1999), however working with David Self's rather one-dimensional screenplay on Road To Perdition, he is short of his own high standards. Since then Mendes has directed the beautifully photographed, but emotionally unsatisfying Jarhead (2005) and the award winning, but equally unconvincing, Revolutionary Road (2008). It seems that Mendes is fated to direct films that look and sound wonderful but have very little in the way of heart. It appears that he has a tendency to go for style over substance.
There is a lot of acting talent on display in Road To Perdition. Tom Hanks takes the part of the central character but sadly I didn't find him particularly convincing as a somewhat reluctant mobster turned vengeful killer. Jude Law, although putting in a decent performance, doesn't turn up until almost the hour mark, while the late, great, screen legend Paul Newman is also criminally under-used. It's strange that he would play so little a part in the film as at almost two hours the film feels stretched. The pacing is pedestrian and there is also a disturbing lack of action for a gangster film.
Road To Perdition is however, unarguably, visually and aurally stunning and the production valves are very high. Yet this simply highlights the insubstantiality of the script. This was reflected in the box office takings that failed to ignite, not getting much past the $100m mark, despite an estimated production budget of $80m.
Fortunately as so many critics have praised Road To Perdition endlessly it did well in the home entertainment market hence it's release on Blu-ray. Therefore should you buy it, or receive it as a present there is no need to worry. It will still make an excellent trophy DVD. It will, superficially, at least give almost any collection enhanced respectability. So if your not-so-film-savvy-friends see Road To Perdition on your DVD shelf, you should quite simply nod and knowingly make mention of Conrad Hall's stunning cinematography or Thomas Newman's superb score. Speak confidently as if you were Danny Leigh, the film critic for the Guardian newspaper and tell them it's the new Godfather. As long as you don't accidentally let them watch it, you'll be fine.
When a film like Paranormal Activity comes along, the reputation that precedes it can be damaging. Often the result will be a letdown. It's rare for a film to live up to the hype that's stirred up on its release - fortunately this is one of those films. A critic quoted in the film's trailer calls it "one of the scariest movies of all time". They weren't far off the mark.
The story of Paranormal Activity is simple. A young American couple, Micah and Katie, have lately been experiencing some kind of presence in their home. A haunting. It's difficult for them to describe and to begin with it's all very vague - Katie likens it to as though she's being watched when she sleeps. The movie opens with Micah having bought a high-definition video camera to try to catch this thing on film. Good for us - maybe not so good for them.
The film presents itself as found footage - many comparisons will be drawn here with The Blair Witch Project. The difference here is that the action is restricted to the confines of a small family home. Where in Blair Witch, the vast unknown and sense of being lost in the middle of nowhere was what got to us, here it's the claustrophobia of the house and its presence that can't be seen. It's tremendously unnerving.
The power of the film lies in the mind of the viewer. Very little is presented to us for the majority of the duration of the film, and still it manages to be powerful and at times, really quite frightening. The home being filmed is, on the surface, completely ordinary. But when night falls and the lights go out, this innocent family home suddenly feels far more sinister.
For a film presented as documentary footage, its plot develops at a good pace. As the presence makes itself known more clearly, the couple's desperation quickly grows. Looking to flush it out of their home, they resort to desperate measures. Consulting a Ouija board provides a tensely gripping scene, and later Katie even resorts to contacting a demonologist for help.
It takes a bold filmmaker to have many of their film's scenes consist of, largely, nothing. Fortunately, here, it works. Long stretches of the film will have you watching Katie and Micah sleep. Nothing else. At night, Micah positions the video camera in the master bedroom. The bed is on one side of the frame - the open door on the other. There's nothing special about the setting. The timer on the video camera ticks along at high-speed, and then occasionally slows to real-time. And it's a strange thing. As the timer slows, you know that something is going to happen. It brings you to the edge of your seat. You'll hold your breath, and watch. Scanning the screen for the slightest of movement. More often than not, there's nothing. In one instance, a door will twitch. Maybe it was a draft . maybe it was something else. And then it's morning again, and an immense sense of relief will wash over you. I wonder how many other films can claim to captivate an audience so intently with so little happening on screen. It's bizarre, and it's very clever.
As the film edges forward, the scares pile on. The occasional loud bang to deliver a jolt to the viewer never feels out of place or exploitative - it's the work of some thing trying to frighten the characters, not us. Forgiving a couple of dodgy judgements, including the decision to go into the attic to investigate in the early hours of the morning (one of the most tense scenes in the film, typically), the couple's reactions are largely believable. The ante is upped as the film moves forward, culminating in an ending that will divide a lot of audiences, but providing a frightening climax to the film's events.
After a long line of gory slasher movies being pumped out to make a quick buck lately, it's refreshing to see this movie trump the latest 'Saw' entry at the box office. There is no blood, no gore and no violence here. The horror all takes place in the mind and it's considerably more effective than anything that could be shown on screen.
The pacing is tight, the acting authentic and the growing sense of unease and dread that develops throughout is quite harrowing. The film brews such a thick atmosphere in its quietest scenes that in a packed cinema you could hear a pin drop. With a little suspension of disbelief, Paranormal Activity becomes a disquieting, chilling and surprisingly affecting film. Don't watch it alone. It'll stay with you long after the credits roll.
If you are a fan of any sci-fi, one of the elements you will like about this film is the universe that the story is set. Unlike Pitch Black where you are on one planet, in Chronicles, you travel to numerous planets and locations. This really puts across a sense of scale and involvement across that will attract and will you to want to know more about the worlds and characters. Now all of that scale would be terrible if the visuals effects weren't up to scratch. Thankfully even now the visual effects stand up well against the advancements in tech we have had in the last few years. In the role of Riddick, Vin Diesel is surprisingly strong as a mostly silent killer. When playing this character Diesel gives off a presence on screen thats says that you shouldn't really mess with Riddick if you want to see the end of the day. Even if Diesel lets you down, the supporting cast is strong with actors such as Thandie Newton and Judi Dench. For those who haven't seen Pitch Black, you can easily pick up on the plot of the previous as it does re-encounter certain events through flashbacks, so you will be able to get the jist of the story. One thing you will miss out on is the appearance of a familiar character, of which the connection will only be vaguely clear.
Overall, if you are looking for a strong-scripted, visual stunning, well acted science fiction film set in a vast universe, than you should definitely stick with The Chronicles of Riddick.
5 years on from the events of Pitch Black, anti-hero Richard B. Riddick (Vin Diesel) returns to battle an evil race called the Necromongers who want to convert all to their faith or kill those who resist.
When you think of iconic horror movie characters, the same names always crop up - from the old school monsters like Dracula and Frankenstein in the 1930s, to Michael Myers and Jason Voorhees in the late 1970s. One thing that these roles share is that they are not tied down to one particular actor - Myers and Voorhees hide behind masks, and there have been many incarnations of Dracula and Frankenstein. However, when it came down to another horror icon - the dream stalker Freddy Krueger - the fans were always solidly behind Robert Englund in the role. He brought the character to life with expression, both facially and vocally, for eight separate movies and was synonymous with the role.
So, in amidst all the remakes of recent times, when a new 'Nightmare On Elm Street' movie was suggested, no one thought for a second that anyone but Englund would be in that role. Everyone was in support of the plan to return Freddy to his roots - as a cold, calculating killer with minimal humour - but the most important thing was he was played by the one actor they knew would put his heart and sould into the performance. In the end, while Englund himself gave his blessing and enthusiasm for this remake, it was confirmed he would not be taking the lead role. Instead Jackie Earle Haley, most recently known for his performance as Rorschach in 'Watchmen,' was chosen to bring his own interpretation to the much-loved character.
This Blu-ray pack provides the best of both worlds - the 1984 original AND the 2010 remake. Personally, I much prefer the original due to Robert Englund's performance and the low-budget feel of the movie. There is something strangely unnerving about horror movies from that era, where nothing is glossy or perfect, but more grainy and realistic. Movies like 'The Texas Chain Saw Massacre' are gritty and somewhat like old home movies rather than big budget productions, and that's a feeling that many studios have tried to replicate in recent times with varying results. And of course, Blu-ray means that 'A Nightmare On Elm Street' looks better than it ever has done, pleasing old fans and first-timers alike.
That's not to discount Haley's performance, as he brings something special to the table as a very talented actor, and you cannot fault his efforts. He was fighting a losing battle from day one though, and in the eyes of many he was always destined to fail. It doesn't help that he is the star of the show surrounded by a mediocre supporting cast of familiar teen faces pulled straight from TV shows like 'Gossip Girl' and tweeny movies like 'Twilight' as there wasn't a single character I cared about, nor wished to escape from Freddy. The fantastic thing about the original was that, even though Englund was the standout performance, he had a number of talented cast members to work with. Heather Langenkamp as the heroine Nancy is someone you really get behind, as are her on-screen father Lieutenant Don (John Saxon) and mother Marge (Marge Thompson). They are a family who aren't perfect by any means, but that almost makes you sympathise with them more because of the realism.
To be fair to the remake, it's one of the best of a bad bunch, but it still leaves you asking 'what was the point?' like 99% of them. It tries to be a little different, changing the look and feel of Freddy to bring him into a modern era, but as a huge fan of the original I can't help but believe I'll rewatch that one over and over rather than ever see the remake again. The 2010 version may well beat some of the sub-par 'Nightmare' sequels, but it never reaches the heights of the 1984 version, nor 'Wes Craven's New Nightmare.' I really think that whoever watches this double pack will see just why Robert Englund will go down as one of the all time greats in horror history, and that his character should never have gone to anyone else.
A horror icon survives the test of time.
Based on the best selling novel Push by author Sapphire, Precious takes you into the very troubled world of Claireece Precious Jones superbly played by first time actress Gabourey Sidibe. Aged 17, weighing in at 25 stone and unable to read Precious does not have the best starts in life. Her home life details the reasons for her situation and here enters her sadistic mother Mary Lee Johnston, wonderfully played by comedieene Mo'Nique and fully deserving her Golden Globe award.
Precious goes into her own world to deal with the pain she suffers at home at the hands of her jobless mother who physically and sexually abuses her and claims child benefit for the child Precious had by her own father. The film starts with Precious pregnant a second time by her father. She gets kicked out of school and has to join a special school where she starts to deal with her tumultuous life helped by her lesbian teacher.
Although not autobiographical the books' author Sapphire, who describes herself as bisexual, included aspects of her own personal experiences such as being abused by her father and abandoned by her mother in the story. One of her students when she was an adult education teacher had a Down's syndrome daughter by her own father at the age of 12.
Leaving embarrassing acting roles in the past, a stripped down Mariah Carey shows she can be more than a high note hitting song bird who can pull the rabbit out of the hat and act. Although she still has some way to go which is evident in the final scene between her Social Worker character and Mary Lee Johnson, she shines in the role. A must see film that is not for those of you who prefer a fairy tale view of the world. The story is raw, gritty and hits the bone from the very first scene. Precious is undoubtedly the best films around and if it does not make you appreciate your life more, nothing else will.
I really enjoyed watching Inception at the cinema. I felt it had a little bit of everything in the film, for me that included scenes that were both sad and happy but throughout the film you were left constantly thinking about a different type of world and existence. I watched this film a fair while ago and can still happily sit here and think about the film and the meaning attached to it. I think it is a film that many people from many different backgrounds can enjoy. Leonardo Dicaprio is also perfect in it for the girls. It is certainly one of my favourite films and is on my christmas wish list as I type this review.
If you like the other Step Ups then without a doubt you'll like this it might not be as good as the 1st film but it has a great story even if one of the supposed plot twists can be seen a mile off! The acting is good all around with no one slacking or letting the side down & most importantly the dancing is amazing. All types of dancing are thrown in to stop you getting bored & the 3D just adds that little extra a dvd for anyone who loves dance flicks
A group of dancers have to win a competition to save their home & dance space.
Everyone has an opinion on what the greatest film ever made is, but I always say there is no way to know. How can you possibly begin to compare Citizen Kane with The Godfather or Jaws? It's absurd! So why is it, every time I see It's A Wonderful Life, am I absolutely convinced that it is The Greatest Film Ever Made? If you're currently rolling your eyes at the idea because of years of indifference, it would be worth your time reconsidering it, especially on this fantastic Blu-Ray release.
It is truly a film everyone can love and no-one has to think of it as a guilty pleasure. The modern equivalent seems to be The Shawshank Redemption, but even that has violence enough to shock your granny. It's A Wonderful Life should be cloyingly sentimental, but it was always Capra's skill to offset his films with enough irony and honesty so it was easy to identify with. In this case everyone remembers Clarence the befuddled angel, rescuing George from a suicide attempt which does sound twee, but actually, that is the last act. The story is about how he gets to that point, so if you have it in your head that it is a fairy-story for fairies, well it's not. It's a good solid drama that soars with a fantasy element we should embrace.
It is possibly the perfect Capra film and I do think it is his best work. He and the cast, working from as sharp and witty a screenplay as they come, play their roles with such deft subtlety that the pacing is utterly perfect. There isn't a note out of place. As an example, consider the scene where George returns home on Christmas Eve, at the end of his tether and hiding his shame by lashing out at his family. It is a sublime scene of pacing, acting and direction. The film as a whole has the rhythm of a musical minus the actual songs.
Arguably, James Stewart was never better than here as George Bailey, convincing utterly as both the ambitious young man, desperate to leave the town, through to middle-age acceptance and the heartbreaking despair that needs divine intervention. As with his roles in Vertigo or another Capra, Mr. Smith Goes to Washington, there are layers to George you may not expect to find, especially in a film so often taken for granted. Lionel Barrymore (the manipulative Mr. Potter) and Thomas Mitchell (Uncle Billy) are both excellent too; especially in the awful moment that Uncle Billy makes an innocent mistake. Even the bit-parts like Ward Bond have their moments and all make a mark. Donna Reed may be the most inspired casting of all. She is wonderful and who wouldn't consider spending their whole lives in the same place if she was there too? She is George's and the stories anchor. And finally there is Clarence of course, played by Henry Travers. A relatively small part, but ubiquitous to the story.
The film looks astonishing on Blu-Ray with a striking image that puts many modern releases to shame. It also includes a colourised version. Although no self-respecting film fan would give it the time of day, there is no denying they have done an incredible job and it makes for an interesting curiosity, so long as its quality doesn't cause more to be given the same treatment.
This Christmas, don't rely on the predictable TV broadcast. Get the Blu-Ray and watch it properly. It deserves respect and you won't regret a moment of it. In any form, it isn't the greatest film ever made of course. Such a notion is absurd. Or is it?
Japanese high schoolers fall victim to deadly domestic policy designed to curb a growing underclass of unruly malcontents. Put on an island, armed and fitted with explosive dog collars in a death match to the bitter end: 'Battle Royale' was an ultra violent, uncompromising and unforgettable film. Its sequel; subtitled 'Survival Programme' in Asia and 'Requiem' in Europe, ratchets up the satire to present a scathing indictment of U.S. foreign policy and Japan's political subservience, in the cinematic equivalent of a thousand Molotov cocktails.
Father and son directors Kinji & Kenta Fukasaku's 'Battle Royale II' cleverly enhances creator Koshun Takami's narrative scope to address the so-called 'war on terror'; in which a new class of troubled teens are conscripted into the programme: paired up, dog collared and dispatched to kill the game's last survivor turned international freedom fighter or terrorist; Shuya Nanahara (another excellent, subtly powerful performance by Tatsuya Fujiwara).
'BRII' is on a par with, and at times better than, its predecessor; with an excellent flashback sequence featuring real footage from Afghanistan and the poignant juxtaposition of a list of all the countries bombed in the name of Zionism in the last fifty years. This film certainly doesn't pull any punches when it comes to addressing the pertinent issues of our time. Extreme, thought provoking, and, as yet, without equal; a must see for fans and newcomers alike. A modern classic.
The Sixth and Final season of 'Lost' went down in history as one of the most polarising seasons of any television show ever created. What started as a network phenomenon slowly turned into a mixture of love, frustration, and downright anger, but there's no denying that whichever side of the fence you fell on, you had an opinion on 'Lost.'
Way back in 2004, 'Lost' launched to high scores all across the board. No show had ever presented a weekly 'movie' in the way this show's budget could, with 18.6million viewers for the 'Pilot' episode in the US. Six years later, and the show ended on 13.567m yet this hardly tells the tale. The viewing figures fluctuated between highs of over 23m down to just under 9m - a shocking drop off for a show once considered the biggest on television in recent memory. The struggle to keep audiences interested in a show that presented more questions than answers, combined with the problematic Writers Guild Strike in 2007-2008, meant that 'Lost' fell from a sure-fire hit to another show that was at the mercy of a network.
But where 'Lost' may have faltered in ratings, it flourished in creativity. Announcing an end date for the entire series mid-way enabled Damon Lindelof and Carlton Cuse to finally build towards something, and start introducing answers to the audience that had stood by them. And that's why, in my opinion, they were able to produce a stunning final season for the loyal fans. It's a bittersweet emotional farewell to a show that proved that television could stand toe to toe with Hollywood, and often beat it in terms of character development and gripping weekly stories. The Sixth season is by no means one that any casual viewer could jump into and understand; this is absolutely a love letter to the fans and 18 rewarding episodes made for every person that watched right from the 'Pilot' episode.
That's not to say it was greeted by unanimous joy and adulation - after all, it wouldn't be 'Lost' if it didn't divide opinion - but on the whole, it succeeds where it should do, and that's on the level of a hardcore 'Lost' fan. There is love, tragedy, comedy, and some of the best direction and writing you will ever see in any visual medium. Right up until the final scene of 'Lost' they manage to maintain that 'movie a week' feel, and I'm not sure anything else will ever come close to maintaining such a high quality of production. Bringing back previously seen characters enabled the writers to revisit the magic that captured the hearts of those right at the beginning, and take us back to what we felt from the moment we hit that beach in Oceanic flight 815. The whole season feels like a family reunion, where you finally get to catch up and see what's happening.
As with every season, there are 'flashes' alongside the present day happenings, yet they are dealt with in a very different way. After the highly emotional drama in the Fifth season finale, we're thrown a curveball and never quite know what's happening right up until the final episode. It's the kind of gripping confusion that 'Lost' became famous for, yet this time you know there'll be an end and many answers. Of course, not every last detail is explained nor accounted for, but what matters is the heart of the show - the characters and their relationships. Without them, nothing would have ever succeeded. No random statues or noises or other mysteries would have ever held the show together. It was always Jack, Kate, Sawyer and all the survivors that made us come back week after week, and to that end they are the ones that drive this final season.
To me, a die-hard 'Lost' fan from day 1, the finale is perfect in every way possible. From the opening bars of Michael Giacchino's score, the emotion swept over me. It genuinely felt like I was losing a part of my life - as sad as that sounds for a television show - but it was monumental in a way that other shows could only ever dream of. I completely understand why some didn't like the ending, but for me it's everything I wanted and more. It was the end of a journey, not only for the fans but for every character on the show and everyone involved. And it stands up to repeat viewings too - in fact, I'd argue that watching this set after the initial shock factor proves just how good the final season is. Everything has a big time feel to it, and it's far easier to digest the second time around, or the third, or however many times you watch it.
And that's what 'Lost' is - a show worth of rewatching, and experiencing again. Even when you know the answers, the important things stand the test of time. From Jack Shephard and Kate Austen, through to Benjamin Linus and Juliet Burke, we see some of the truest and most fascinating characters ever written. We started with the mysteries of John Locke, and transcended into a science fiction genre with Desmond Hume. This show was never scared to take leaps of faith because the writers knew their talent would shine through, and it always did. 'Lost' may not be for everyone, but to some it will always be the best show to ever be shown on television, and I find it hard to argue with that. The Final season may not be for everyone, but it's an essential part of a whole series that deserves to be watched at least once by everyone. And if it's something you're watching for the first time, then Blu-ray is a fantastic way of doing it - clear visuals, stunning sound, and absolutely no frustrating wait for answers.
The final season of a network phenomenon.
Shutter Island and Inception are like two sides of the same cinematic coin and it's interesting that Leonardo DiCaprio should star in both. The stories bear some comparison, not least with the lead character being a widower still dealing with grief and letting it dictate his perception of an otherwise unrelated mystery. Perhaps the only really important, fundamental difference is in the telling of the story. While Inception is very much the modern film-making style, especially prevalent since The Matrix making the viewer gasp at spectacular set-pieces while leaving intriguing questions unanswered, Shutter Island is a decidedly old fashioned, unashamed b-movie. It is structured in a meticulous manner, as you would expect from Martin Scorcese. He turns the screws on the suspense, leading up to a stunning reveal. You won't be left asking what happened, but you'll race to see it again to learn exactly how! And because it is very much an actor's film, you'll be treated to consummate performances that reward being watched again.
DiCaprio delivers a fantastic, intense performance you can't ignore in what is after all a genre role that he could have easily got away with phoning in. As he so often does, he works potential out of every scene and finds subtleties to hook you with time and time again as Teddy finds the awful atmosphere of the asylum forcing him to face up to his grief. But as I said, this is an actor's film anyway and all the cast are superb. Mark Ruffalo as Teddy's partner is especially impressive, as is the hard to read Dr. Cawley, played by Ben Kingsley. Another worth noting is Jackie Earl Hayley, who has the briefest of moments as one of the unhinged inmates, but leaves a mark.
The story of US Marshalls investigating a missing patient and uncovering a potential conspiracy of medical experimentation, was adapted from Dennis Lehane's novel, so it should be no surprise that there is such depth to the characters. His skill is in taking rather straightforward thriller plots and making them relevant and substantial (Mystic River, Gone Baby Gone), without losing the pace. Martin Scorcese compliments the story perfectly and this is probably his most playful film since Cape Fear, with some moments bordering on fantasy, like Teddy's nightmares achieved with just the right amount of CGI. He was somewhat inspired by Val Lewton's work of the 1940s (Cat People, Bedlam, etc), a producer he has championed in the past, and one who worked fast and cheap with b-movie plots, yet always had a very strong human element that made them an invaluable step in developing the Thriller genre. It positively drips with atmosphere from that era. The opening shots are especially reminiscent of Lewton's Ghost Ship, as the ferry carrying the Marshall's emerges from the mist. Scorcese with Director of Photography Robert Richardson (Inglourious Basterds) has created a film that defines sumptuous, despite the muted palette. It looks great on Blu-Ray and the extras have some real value as they delve into the actors' approach.
It seems the aim in modern filmmaking to make the audience question what they see. People are still talking about Inception, trying to interpret how the story unfolds, trying to work out Nolan the Magician. Shutter Island is reassuringly old-fashioned with a rigid. Don't try and second guess it, just enjoy it. The work going on between the cast and their director is superb, with them adding so many grace-notes that a second viewing is essential. While not as grand as Inception, I'd argue this is may be the better film.
Hard to believe it's been almost a decade since this film was released. A cult classic in every sense of the word; 'Donnie Darko', set in 1988, is the teen movie for people who don't like teen movies; a genre bending journey towards the meaning of life, as seen through the eyes of introverted loner Donnie Darko (a career defining performance from Jake Gyllenhaal).
Donnie's prophetic visions, often revealed by a man in a somewhat unnerving bunny rabbit costume, find him hurtling towards a troubling destiny. One that involves exposing an evangelical charlatan (the late/great Patrick Swayze successfully playing against type), dating the new girl in class (Jena Malone), making amends with his family, getting off the Prozac and clarifying the origins of Smurfette in the Smurf village!
Writer/director Richard Kelly keeps the narrative focused and balances out both the surreal and serious with the skill of an auteur far beyond his years. This theatrical version is better than the overegged director's cut, as it leaves enough room for the viewer to draw their own conclusions about what happened and how, though fans may want both editions; as the latter features more classic '80s songs. Kelly has yet to surpass Donnie Darko, and is a movie with unlimited repeat viewing potential. Worth buying.
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