A veritable smorgasbord of Jewish comedians step up to the plate in the year's most blatant case of false advertising: 'Funny People'.
Adam Sandler does the Robin Williams 'I'm a funny guy who can be serious as well' routine, as an Adam Sandler-esque comedian / actor whose fighting a losing battle with some mysterious form of Leukaemia. Seth Rogan plays an up and coming writer / stand-up comic who befriends the jaded, burnt out star.
At two and a half hours, 'Funny People' demands a lot from its audience; neither funny enough to be considered a comedy nor serious enough to be a drama, it goes for the Robert Altman approach but lacks the measured momentum, humour and satirical insight of Altman movies like 'The Player' or 'Cookie's Fortune'. They're some good lines such as: "Paul Rudd wants to do a Bromance...with you" and "North Korea: those people would blow you for a 'Wii Fit'" A couple of mildly amusing asides such as the doctor who looks like one of the henchmen from 'Die Hard', Ray Romano wondering if cancer is contagious and extended cameos from Eric Bana, Jonah Hill, Jason Schwartzman and Emimem.
But I'm making it sound much better than it actually is; for jokes that may've worked on paper die a death on screen whilst the highs come off looking like below par, latter-day Woody Allen skits that probably wouldn't even make the final cut in a below par, latter-day Woody Allen film. Irritating, overlong, schmaltzy and self indulgent 'Funny People' puts paid to writer/ director Judd Apatow's winning streak, will try your patience and leave you waiting on an unwritten punch line.
Entertaining subversion of the vampire movie with vampirism as a metaphor for Globalization. Sometime in the near future: the last vestige of humanity is hunted down in a world where vampires have imposed a ruthless new order built around Crowley-esque edicts, shock n' awe militarism and a blood sucking police state apparatus that farms and harvests humans like cattle.
Uncle Sam beckons all patriotic Americans to join the Vampire army as a shortage of human blood slowly devolves the decadent Nosferatu into primitive, subterranean mutants disdainfully dubbed 'Scavengers'. Meanwhile, teetotal vampire haematologist Edward Dalton (Ethan Hawke in sparkling form) tires in vain to develop a blood substitute as sneering corporate villain (the brilliant Sam Neil) deepens the vampire occupation in an attempt to turn his daughter (Aussie newcomer Isabel Lucas) to the dark side.
But when our jaded hero accidentally encounters the beleaguered human resistance and oddball slayer Elvis (the ever reliable Willem Dafoe) Dalton realises that he may hold the key to stemming the vampire epidemic.
Australian auteurs the Spierig brothers handle pace and SFX well whilst their cast clearly have fun with the premise, even managing to turn the film's satirical ire onto Big Pharmaceuticals with Sam Neil's line: "It was never about a cure, just repeat business".
The only drawbacks being that 'Daybreakers', though a reasonably original variation on the vampire narrative template, will, at times, seem very familiar to fans of the genre e.g. mise-en-scene in the winery hideout is similar to the cabins in John Carpenter's 'Vampires', futuristic layout of the blood farm isn't a million miles away from 'Ultraviolet' whilst much of its brutal vampire action is a lot like 'Blade'. A breezy, but blood soaked and often suspenseful movie, 'Daybreakers' will appeal to viewers looking for something a little different from those creatures of the night, and if nothing else, makes for an enjoyable 90 minutes of monster mayhem.
Prison break is the best show to ever come to our television. It is hard to prison break into a particular genre, as each series differs from the last. The story is brilliant and it leaves you wanting more after each episode. If you like gripping shows this is the one for you. This compared with the amazing acting makes this the best DVD to buy and has the best quality for your money. Better than anything on T.V so far.
Worth watching just for the heists and trickery, 'The Thomas Crown Affair' is an entertaining way to spend a couple of hours.
A remake of an old film, it holds together with stylish and classic ideas with a twist of the contemporary. Thankfully, this contemporary edge did not overwhelm the genius of the schemes employed by Mr. Crown, but merely brings it into the present.
Some good performances and certainly a part well suited to Brosnan. However, I think the casting team dropped the ball somewhat in their choice for the leading lady... The part required someone with more finesse and, dare I say it, sex appeal. Some would disagree but I feel that the film would have not only grossed much more but would have appealed to many more people if the leading lady, who uses her feminine wiles often, had been the kind of girl who isn't cringeworthy in such a role.
This problem aside, the film is good and maybe deserved more acclaim than it received.
When Prince Dastan (Gyllenhaal), the adopted Prince of Persia, is accused of murdering his father he flees into the desert along with a magical glass dagger which can turn back time. Faced against his brothers and his evil, scheming uncle he sets upon a journey to clear his name and prove that he has the heart to become a true Prince of Persia.
Great film, I could watch it twice and still be amazed. Contains comical scenes as well as some cool stunts and some pure action scenes.
Brilliantly shot in Black & White, Lu Chuan's 'City Of Life And Death' is set during the Japanese invasion of China in 1937, focused on the infamous occupation of Nanking, known in history as 'The Rape Of Nanking'. Anyone expecting a simple good vs. evil shoot em' up or hand wringing, Spielberg-esue sophistry will be sorely disappointed. For this is a serious picture that attempts to tell an honest story about a series of horrific events in a pointless war between two great cultures. A masterpiece.
An excellent film suitable for all the family, which fans of the book will embrace and love. The movie follows the book in every possible way, and is perfectly cast. I find myself quoting the movie everywhere I go, with memorable characters and scenes. There are quite a few principle characters as the movie has three separate stories of different times that come together at the end, and you find yourself loving every one of them.
It is a movie of adventure, mystery and friendship and appeals to everyone who sees it. It is a beautiful tale of love and friendship that concludes in a brilliant twist. The main character Stanley Yelnats played by Shia Labeouf is so relatable to, as he is from a struggling family and struggles to find friends, which almost everyone has gone through at some part of their life. There are three stories in the movie that reveal themselves as the movie progresses and eventually all link together.
I recommend this movie to any age as it is not only suitable but would appeal to everyone. Directed, written and acted as I would have imagined when reading the book and they have managed to pull off making the movie of Holes brilliantly.
Favourite Quote:
"He's a mole, I think he eats the dirt" Squid/Alan
Very dry humour which is unusual for an American programme. Both leads play well, this is one of my favourite DVDs.
A 3 hour plus Japanese arthouse film may not sound like everyone's first choice for a night on the sofa but that would be a mistake because Seven Samurai is perhaps the greatest and most entertaining action movie ever made. It is also among the most influential of all films - after watching it the first time you'll find yourself remembering dozens of famous American movies and thinking 'that's where they got the idea for introducing a character in that way' or 'that's where they nicked that plot device from'!
The basic plot will be familiar to nearly everyone from the cartoonish remake as The Magnificent Seven. In 18th century rural Japan a village of poor farmers gains advance warning that come harvest time they will be raided again by a band of ruthless bandits. In a last desperate attempt to survive they hire seven masterless samurai (ronin) to protect them. The film divides into three sections. First the set-up and the trip to the city to find each of the motley group of samurai and the struggle to convince them to take on the task. Second is the preparation of the village and villagers for battle - we learn about life in the village and watch the developing relationships. Finally, after the tension has built to almost unbearable levels we get the dramatic and compelling battle that will decide the fate of the village. Taking place in a violent storm these are some of the most exciting and thrilling fight scenes ever filmed. By this point we have come to care deeply about each of the dozen or so main characters and as one after another is slain the emotion is gut-wrenching - we remain in doubt until the very end who, if anyone, will be left standing.
At times the film might seem less than subtle. From the opening shots of the nameless, faceless bandits swarming over the horizon and swooping down towards the village below this is 'in your face' film-making. But it is complex, compelling, funny and entertaining. The acting is superb - you won't forget Toshira Mifune's performance in a hurry - and the masterful storytelling is supported by vivid camerawork and editing and a powerful score.
The most entertaining, compelling action movie ever?
Tim Burton has created his iconic style through his use of colour, macabre images and his dark humour. Sleepy Hollow has all these things and more. However, where previous Tim Burton films were made great through striking images and colours, Sleepy Hollow is made great by its subtleness.
In terms of performance the film offers a chance to see Johnny Depp in a very different performance compared to, for example, Edward Scissorhands. Both performances are uniquely excellent but for different reasons. Sleepy Hollow allows the viewer to see the subtleness in Depp's performance as he is free from such distractions as scissor hands. No two Johnny Depp performances are the same and Sleepy Hollow is no exception. His movements, the signs of discomfort at the sight of blood and the emphasis he places on words highlight his remarkable acting ability in bringing a character to life. The film also features a fantastic collection of talented British actors such as Ian McDiarmid, Sir Micheal Gambon, Miranda Richardson and Micheal Gough, some of whom only feature in a few scenes but still create authentic, entertaining characters.
The film is full of many different styles and themes. At times it is a straight horror, a detective crime film or an epic romance. It occasionally feels like a hammer horror film, strengthened by a cameo from Christopher Lee. It could be argued that a film under two hours could become over stuffed with so many different themes and styles but Sleepy Hollow paces itself in a way that allows the film to easily change from romantic period piece to horror. The film could be described as the mixture of the rational with the spiritual.
However, the most successful aspect of Sleepy Hollow is the visuals. Sleepy Hollow shows the entire spectrum of the colour black. From the hints of green and brown in the black tree of the dead to the hints of blues in the black velvet jackets. As an example of the use of colour in films Sleepy Hollow shows many possibilities. The interior of a church painted in pure white and red is an eerie and disturbing image. The colour of clothes are often faded yellows and greens and this highlights the deep blacks or the flashes of red blood.
The film is principally a horror film and is terrifying in explicit ways such as the blood and beheadings and a few jump out scares. But the scenes that will scare the most are more subtle, such as the smiles of the mute horseman and the nightmares that haunt Crane. Burton excels in creating an atmosphere of horror. The town of Sleepy Hollow, bathed in dark colours and surrounded by a thick mist reflects the towns' name. However, Burton's imagery combined with Danny Elfman's atmospheric score creates the inescapable feeling that beneath the sleepy town true terror is always lurking.
If you like films bursting with colour, emotions and visual treats then any Tim Burton will more than please you. However, if you wish to see a film that reveals more subtle moments with every repeat viewing then Sleepy Hollow is the film for you.
Philip Ridley is always an exciting filmmaking name to see alongside a film's title. His films arrive on our cinema screens in small surreal doses often taking large hiatuses of years between each feature. When Philip Ridley's films are lucky enough to reach a cinema screen, they are often unseen by a great mass of people. A crying shame as his films are always thought provoking at a bare minimum. He may not be as proficient as certain other filmmaking Ridley's but his films are more than capable of burrowing into your subconscious. And leaving a lasting impression on someone takes a special talent and Philip Ridley certainly has raw talent in abundance.
Instead of consulting a magic 8 ball, if you see the words The Passion of Darkly Noon underneath this paragraph then I have indeed decided to do a little review on it before the main Heartless review.
Now The Passion of Darkly Noon hasn't got an official DVD release, but it needs to be brought to your attention, which is precisely why I have commandeered this Heartless review. Now I am well aware I am spoiling my own review here, but I am going to admit now that I preferred The Passion of Darkly Noon. Feel free to abandon the review ship now, but if you stick along - I thank you...
Released in 1995, The Passion of Darkly Noon has been seen by about 53 people in total. And of those 53 people about 26.5 probably did not like it. They probably found it to be far too slow and incomprehensible a film to be enjoyed. But for those willing to stick with it they will be rewarded with a fine performance from Brendan Fraser. Treasure that phrase as it is not one that is often heard, similar to the sight of total solar eclipse. Not only has the film got a staggering performance from Brendan Fraser it also stars the always wonderful Viggo Mortensen. But Brendan Fraser steals the show with his role of Darkly Noon. I would be taking up too much time by going into the finer details of the plot, but I will warn any potential viewers that they are in for an otherworldly experience.
This brings me nicely on to Heartless. Like The Passion of Darkly Noon before it, Heartless breaks from conventions. Philip Ridley loves to bathe in the surreal and unnatural. Similar to a David Lynch movie, one must invest time in a Philip Ridley to fully see the exposed picture. And the picture you want to see may not be the one you are granted permission to see. Apologises, that was borderline pretentious, but it is a line that will make sense having seen one of Lynch's or Ridley's works.
The film follows Jim Sturgess' character Jamie Morgan as he deals with a series of troubles that have arrived on his doorstep; quite literally at times. Born with red birth marks covering a significant part of his body, he longs for happiness and 'normality'. And for the most part, this story is developed very nicely indeed. However, like The Passion of Darkly Noon, Philip Ridley does lose sight of the path on a few occasions. I used the words 'raw talent' in my introduction and you will see why when watching the films. Perhaps it was the 15 or so years of cinematic filmmaking rust that is to blame for the few niggles in Heartless. A couple of awkward lines of dialogue here, and few slight off performances there pull Heartless down just a little. The ideas and dark execution of many of these ideas however keep the film firmly a float. One scene in particular involves a lot of burnt skin, a dark room and some peeling. There are a few more nit-picks that could be talked about in Heartless, but overall there are more good points than bad. The siren like Clémence Poésy being one of the good ones. Clémence Poésy's character of Tia adds an extra bit of both beauty and alarm into an already macabre story.
Heartless may not be better Than a Passion of Darkly Noon, but is certainly on the same levels of darkness and visual prowess.
Two movie reviews for the price of one. Unfortunately there isn't a similar DVD or Blu-ray deal. It may be a journey in itself finding a copy of The Passion of Darkly Noon but it is worth an adventure. Heartless, although easier to find is also worth checking out. Hopefully if you spend the time and money searching for each film they do their job and entertain. If not, they will at least have treated you to a deep and lingering cinematic experience. Plus you will always have an anecdote about a floating shoe to keep a captivated audience satisfied having watched A Passion of Darkly Noon.
Did I watch High Fidelity because I love films? Or do I love films because I watched High Fidelity?
Few films can be described as being better than their source novel (and some would say it's impossible) but High Fidelity is that rare film. Based on Nick Hornby's novel of the same name, it changes the setting from London to Chicago. Yet it exceeds the novel by doing what most adaptations fail to do. You do not have to follow the novel exactly, merely translate the main themes and characters to the screen and this is High Fidelity's secret.
High Fidelity is a film for people who have ever been in love. For people who truly love music, and for people who understand the connection between the two.
As Rob, John Cusack delivers a believable, tragic and unique performance, breaking the fourth wall successfully. Listing his top five breakups, his top five records and his top five dream jobs, this allows the viewer to understand how his mind works.
The film truly captures the complexity and importance of relationships by surrounding Rob with a variety of diverse characters. The director, Stephen Frears, breaks the fourth wall, shows flashbacks, thoughts and fantasies yet the film always feels realistic and believable. This is due to the film tackling problems that everyone can relate to.
This links to High Fidelity's unique feature. It makes you think that John Cusack and the film are speaking directly to you. Without being patronizing or preaching, it pulls you in and doesn't let you go till the credits roll.
The entire cast is great. Jack Black gives one of his best performances in one of his first films. Highlighted by the contrasting performance given by Todd Louiso as Dick. The film also has excellent performances from Tim Robbins and Lisa Bonet.
The all time top five reasons why High Fidelity is the best film ever.
- John Cusack is amazing
- The music rocks
- Every performance is brilliant
- Lisa Bonet sings a great cover of Baby I Love Your Way
- Bruce Springsteen has a cameo
I tried to find a flaw in this film but simply couldn't. It is, in my opinion, a perfect film. All the pieces of the film fit perfectly. Every performance is perfect from the leads to the cameos. Every shot is perfect and never self-indulgent. The music is varied and impossible to not like. But most of all, it achieves perfection by never pretending to be more than it is, by never losing sight of what the film is about.
Love and music.
Rob (John Cusack) works and in a record shop. He makes mixtapes and lists. After a messy break up with Laura (Iben Hjejle) he decides to meet up with the girls on his top five worst break ups of all time list. Through these meetings and with the help of those around him he tires to figure out what to do with his life.
For a character first published over a hundred years ago and appearing in many film and television series, it seemed unlikely that Guy Ritchie could create a Sherlock Holmes film that has anything new to say and that would appeal to a younger generation? However, he has.
He has done this by putting much more focus on the relationship between Holmes and Watson. The film creates a fantastic, previously unseen, relationship between Holmes and Watson. In previous Sherlock Holmes films Holmes was portrayed as a genius and Watson as a bumbling idiot. The film changes this by making the two protagonists more equal in terms of physical fitness and intelligence. There constant arguments and bickering echo Butch Cassidy and The Sundance Kid and Martin Riggs and Roger Murtaugh in Lethal Weapon. This focus on the relationship between the two characters is what drives the story forward and creates the best scenes.
However, where the film disappoints is in the plot. The Sherlock Holmes novels, and some of the earlier film and television adaptations, had complex and intriguing plots and it is therefore disappointing that the plot is not very interesting. All the actors deliver fantastic performances and Robert Downey Jr clearly deserves the Golden Globe he won for the role. Jude Law also deserves credit for helping to create a new and unique interpretation of Watson.
The epic action scenes set in many iconic London locations and filmed in the director's signature style help the film appeal to a wider audience. Especially those who are not Sherlock Holmes fans. The best scenes in the film are the ones where Guy Ritchie does what he is most recognized for; creating witty dialogue scenes and stylish action set pieces.
Another area where the film excels is in Hans Zimmer score. It is dramatic, intense and playful when necessary and suits the film perfectly. The use of banjos, violins and piano help create a score unlike most blockbuster films. Best played loud.
This is not Sherlock Holmes the crime film, or Sherlock Holmes the detective thriller. This is Sherlock Holmes the blockbuster. It offers a new interpretation of Holmes for fans and is a great introduction to those who have yet to experience the fantastic world of Sherlock Holmes.
Having not listened to The Ricky Gervais Podcasts religiously; listening only to odd bits and bobs from the show on a popular video sharing website. What a treat it was to discover the one's I had missed had been recreated in animated form.
The show is pretty simple to explain. It features Ricky Gervais, his comedy writing partner Stephen Merchant and finally the third member of the team Karl Pilkington, who is kindly referred to as a 'round headed bafoon' by Gervais. The three men sit down in a recording studio at the start of the show. They are swiftly turned into cartoons and then proceed to start talking about everything from monkeys to mandibles.
Now, The Ricky Gervais Show is a very misleading title as Ricky Gervais isn't really the 'star'. He may have shone brightly in The Office and Extras, but in The Ricky Gervais show he takes a backseat to the mind and star of the show Karl Pilkington.
Without Karl Pilkington there quite simply wouldn't be a show. His anecdotes, thoughts and oblivious quips are where the humour most definitely lies in the show. In the thirteen episodes that fill the series a number of interesting topics are discussed, personally highlights being - Monkey News, Karl's Diary, paranormal activity and charity donations to name but a few. This favoured list could be a least a good few lines long, but I would not only be boring you with words but hindering you from making a purchase for the fantastic series.
The animation quality also deserves a mention. The series could have easily have gotten away with some shaky animation spliced together with some poor and feeble drawings of Gervais and company. But what is actually presented on screen for us all to see is very good indeed. Karl's thoughts are brought to life in gloriously vibrant Technicolor, with each man also be drawn to cartoon perfection; with Ricky being very reminiscent of a 21st Century Fred Flintstone.
The Ricky Gervais Show is good company for twenty minutes. Filled with infectious laughter and chaotic ramblings of amusement it should definitely be given a small taste from your fine self...
Zombie killing, classic comedy and Simon Pegg; what more could be wanted from a film. This amazing film promises to make you laugh. The duo of Simon Pegg and Nick Frost is comedy genius, much like classic Laurel and Hardy or Fry and Laurie. It's a dry but awesome humour.
Following Shaun's character through this relentless tale of friendship, family and love (which is quite unsuspecting from the synopsis) is a barrel of fun. Short one liners such as "you've got red on you" for-shadows in a hilarious way, what will become.
Also the use of the song 'Don't Stop Me Now' by the legendary Queen, is comedy at its best. Such a film has not had me fits of laughter like this in a very very long time. It's quite refreshing to have such original comedy brought to our Cinemas and TV screens at home.
This film gets a 10 out of 10 for every aspect and would recommend to anyone that has a sense of humour.
As far as I have been able to see so far, this film has been completely misjudged and misrepresented in the official film-critic reviews I have read of it, and also the film's trailer. It seems to have been sold as a romantic drama, or a love film with a twist; however I think either of these statements massively undersell the telling of, what I believe, is a very important and worthwhile story.
Robert Pattinson is described as playing a brooding young man, struggling to deal with what life has thrown at him. I would have to disagree. It appears to me that the character of Tyler Hawkins is actually extremely well developed to the point that perhaps he is the most sorted out/well adjusted character in the whole film. He is, however, idealistic, but in a very genuine, humble and slightly frustrated/desperate way. He has a clear view of the world and the respective roles he believes people should play as part of their contribution to this life - be that son, brother, boyfriend; or cop, father, sister, best friend, mother etc. He is emotionally savvy - and this creates an excellent polarity with Pierce Brosnan's deft portrayal of an emotionally removed/distant character. Their relationship perfectly demonstrates the wide differences between people's personal battles with grief - and life.
All the relationships portrayed in this film are utterly genuine, and the characters are incredibly easy to buy-in to as regular people. This is perhaps one of the most magical aspects of the film and down to a combination of the beautiful and sensitive direction, script and acting. This film, essentially, manages to capture real life - in that it is funny, passionate, scary, mundane and, at times, shocking. This is a story about real people and real lives - in that isn't the real magic in life from the most ordinary stories?
In addition to the people mentioned above, particular mention also has to be given to the stunning chemistry between Robert Pattinson and his on screen sister, the mesmerising and astute, Ruby Jerins. Also, the development of a very natural and warm relationship that exudes between Emilie de Ravin and Robert Pattinson; and the portrayal of the best friend character by Tate Ellington. Robert Pattinson delivers an impressive performance throughout, that shows a great depth of understanding and identification with his characters life story.
Finally the story itself is important. It is a story that needs to be told - because it is about ordinary, everyday people dealing with ordinary, everyday problems. And the impact of dealing with what life throws at us - even when it is extraordinary to the extreme.
If you buy-in to the characters, let yourself be taken along with their story in the same way that you let your life unfold for itself - without second guessing who the baddy is, or what connections you can see coming - the true messages this film has to offer on a great many levels, will undoubtedly resonate strongly with you. This story offers an important social commentary, with a key message that life is beautiful - and that the most difficult challenges we face serve to show us the true beauty of life and to offer us hope.
But, take the film on face value and you'll probably be left with more unanswered questions that pearls of wisdom. As Tyler's friend says in the film, I think this film is about "what people put into people" - and that is ultimately what life is about.
Alan Moore's graphic novel masterpiece has always been considered unfilmable and perversely, Zack Snyder has proved it! It is an excellent film though. Bright and vibrant, it marks a step forward for the genre and Snyder's reputation. At its best, it's the sort of film Scorcese would make if he did comic book movies (and no, that isn't just because of Travis Bickle-esque Rorschach).
The book has been adapted very well, except it misses a defining voice. The comic teases out the plot in only the way a comic can, with a sort of "third person" perspective and it just doesn't lend itself to a film narrative which has to keep switching. The plot comes across as confused and the Rorschach's Journal device sits awkwardly with the other strands. The comic had a story-within-a-story idea with The Tales of The Black Freighter and this really helped pace it. Apparently the Ultimate Cut of the film puts the animated version of this, but that would make it even longer! So at its worst, it's bloated and unfocused, but at least it's a good advert for just how progressive and brilliant comic writing can be.
But we should focus on the film, because despite this fundamental issue, it still works. It's a character piece rather than action so casting was paramount. Patrick Wilson as Nite Owl, Billy Crudup as Dr. Manhattan and especially Jackie Earle Haley as Rorschach are superb, but there isn't a duff note from any of the cast. After the success he had with 300, I'd thought Zack Snyder would have similarly treated this with digital style over substance, so it's impressive that it feels very solid, with old fashioned photography at times which comes alive on the Blu-Ray transfer, and the actors are given room even in the action scenes, which are largely bone-crunching, gravity defying fights. In fact, I should take a step back: this is far superior in all respects to 300, and that was great fun! I loved the soundtrack and the frequent juxtaposition that the film found within the plot. It's evocative of the 80s and the emphasis is on quality film composition, not set-pieces, with cool effects taking the background more often than not. The detail is on a massive scale, especially with press cuttings and in the flashback sequences.
It is very much a film designed for cinema, and not just a knock-off rerun of the book; the changed ending demonstrates this, as it feels organic. I prefer the comic, but kudos for making such a bold move. If I was being really picky, I'd have preferred less slow-mo. Heck, Snyder could have shaved 20 minutes off the running time, just by using normal speed! But slow-mo or "normal-mo", the effects are fantastic, particularly on the big blue Doctor (plus no cheesy attempts to hide his nudity, which is essential to the character) and it's commendable that the cast are not swallowed up.
Snyder obviously loves and respects the source material and treats it with confidence more than reverence, but his film is just too long. Yet, parts still feel rushed and I can't think what could have been easily lost. That's why it would never have worked perfectly, but be in no doubt that Zack Snyder has done a marvellous job that I doubt others could have even matched.
It will be forever compared with the book and so Zack Snyder's very fine and adult film, which marks him out as a serious talent, is merely an also-ran when put next to Nolan's Batman films or even Kick-Ass. A real shame, because Watchmen makes Mark Millar's story look positively naive and juvenile. Still, it does rank very high, certainly above the Spider-Man and X-Men movies. All its problems come from trying to adapt the Citizen Kane of comics and Snyder has done a Peter Jackson level of work to produce as good a film as possible.
Elijah Wood has had a pretty diverse career thus far. He has played many h's in his life. From football hooligan; a casting decision that leaves you more confused than a dubbed Febreze advert, all the way to hobbit. And now with Everything is Illuminated, a human being.
The film follows Jonathan Foer (Elijah Wood) in his journey to find the woman who saved his grandfather during the Holocaust. He must venture out of his comfortable surroundings in the States and journey forth into Eastern Europe; the Ukraine more specifically, a small town in the Ukraine to yet be even more specific. Unaware of his new surroundings Jonathan seeks the guidance of you guessed it - a guide. And he is rewarded in kind with an Ukranian eccentric and pop-culture enthusiast in his guide Alex. An irritable grandfather and border collie also come along for the ride.
Released in 2005 I am unaware if this film received any sort of publicity or promotion in the United Kingdom. If it did it was probably modest at best and marketed as an out-and-out comedy rather than a thoughtful drama. Although Everything is Illuminated has some funny moments peppered throughout it, it really is not your traditional humour filled road movie. The humour when present is often subtle and understated. It is the visuals and emotion filled plot that really are the shining lights of Everything is Illuminated.
Debuting director Liev Schreiber manages to craft a lovely path through the movie. We begin in the shaking and worn streets of Ukraine; an uninspired landscape that really would be best suited being viewed in black and white and from a distance. But slowly we move away from that and by the end of the movie we end up in the beautiful and vibrant field of sunflowers. In a scene that is worth the price of the film alone, we see Jonathan slowly amble up a path to an isolated house within a moat of sunflowers. Slightly entering the area of gushing here I shall stop there with the scene description.
Liev Schreiber is best known for his acting roles; he has featured prominently in the Scream trilogy and has recently starred as Sabretooth in X-Men Origins: Wolverine. But as previously mentioned, Everything is Illuminated is his directorial debut. I will admit that I wasn't expecting such a confident debut, but as like many directorial debuts there are a few creases that do need ironing out. There are a few scenes that could do with a bit of a trimming here and there, but for the most part the film is a strong promising piece of work. Hopefully, Liev Schreiber has the opportunity to continue with his directorial career as he certainly shows glimpses of being more than secure with both style and substance. His acting career may take first billing, but it would be shame if Schreiber wasn't allowed at least one more film to allow his directing talent to develop.
The film easily surpasses its price tag and for such a small investment, Everything is Illuminated is worth a venture. It has more than enough unusual sights and sounds to please even the most avid cinematic traveller, or regular traveller for that matter...
The eagerly awaited film of Stieg Larsson's book will not disappoint, Noomi Rapace very aptly portrays Lisbeth Salander and I doubt anyone could better her performance as the heroine of the book. The plot moves quickly along and does not deviate from the book to any great degree. I can't wait for the second and third instalments of the Millennium trilogy.
Investigative journalist turns sleuth to uncover a cold case murder with the help of socially inept Lisbeth Salander, a highly competent female hacker.
As the protagonist, Lelouch, seeks revenge against the Holy Britannian Empire, and gather his allies, the viewer is presented with a set of plot twists, plenty of action, interesting military strategies, besides distinguishable, and well drawn characters (one of the finest out there).
Unlike most mecha anime, Code Geass has a unique mecha design, in addition to unique weapon systems, and manoeuvres, including sounds and visuals.
The anime's pace is fantastic. Viewers won't be let down or get bored, because more and more interesting fragments of the story will be revealed as the episodes move on, increasing the number of characters, foes and allies, and giving them colours by providing excellent character development and interaction.
This DVD set contains the first half of one of the best, and most popular anime series of all time.
Original character designs by Clamp (X/1999, XXXHOLiC, Tsubasa), directed by Goro Taniguchi (s-CRY-ed, Planetes, Infinite Ryvius), and original story by Ichiro Okouchi.
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