"This is our time" declares Mikey, the earnest and asthmatic leader of The Goonies, four boys who inhabit the "Goondocks". Inspired by a pirate legend and an ancient map, Mikey, Mouth, Data, and Chunk go in search of the treasure which could save their parents' homes from being bulldozed by evil developers.
The Goonies was absolute catnip to 12-year-old boys in 1985. The treasure-seeking, the mechanical gadgetry, the foolhardy flirting with danger and ghoulishness, the casual cruelty, the boundless raucous energy - all capture the explosive force and exploratory zeal of adolescence.
Mouth speaks Spanish, not only enabling him to read the all-important pirate map but also execute one of the film's more successful gags as he mischievously mistranslates instructions to a Mexican homehelp: "socks in the top drawer, underwear in the bottom" becomes "the marijuana goes in the top drawer .... always separate the drugs."
There are other comic ideas which work, such as the villains' attempted interrogation of Chunk. "Tell us everything, kid!" is all too literally interpreted by the boy, who pours forth all the misdemeanours of his life to their appalled fascination. But too often the humour does not rise above routine pratfalls, which the makers mistake for hilarious slapstick. The heroes of writers Spielberg and Columbus were clearly not the comics of the silent era.
It is not only the appearance of Jonathan Ke Quan which makes one think that this is a junior version of the second Indiana Jones film. The quest, with its treacherous tunnels, secret doorways, booby traps, bats, skeletons, and the rest suggest Harrison Ford is around every corner. If only Temple of Doom had had the odd exploding toilet.
For fans the years will not have diminished the pleasure; others may find themselves tuning out as the kids screech, scream, and squabble to their hearts' content. A little can go a long way - and in the case of Chunk a little goes quite far enough: one longs for the baddies to stick the excruciating brat in a blender. He even teams up with a pug-ugly character called Sloth, the film's outsize outsider who exists somewhere between comic-book monster and tasteless portrayal of disability.
The disc includes deleted scenes, a couple of which actually contribute to the narrative. The commentary, recorded 16 years later, has considerable curiosity value as it re-unites all the Goonies and director Donner and occasionally shows them in-vision, allowing us to see how everyone turned out. It is, however, marred by the sheer rowdiness of the guests and the fact that two of the mikes clearly do not work, causing a couple of Goonies to sound as though they are in the corridor.
Absolutely brilliant! Really clever compositions using the songs of Madness. Made me cry laughing at some of the witty one-liners and want to jump out of my chair and join in with the dancing!!
An ingenious plot with many twists and turns, you'll be stunned to see what happens. With a skilled and talented cast, there's nothing not to like about this DVD! :)
A teenager celebrates turning sixteen on a summer's evening in Camden, London by committing a crime to impress his girlfriend. When the police arrive he faces one of his first serious career choices. The story revolves around the two paths his life could take based on the decisions he makes; the path of good vs bad! Featuring the music of Madness.
This is generally considered to be the film that brought Vivien Leigh recognition in England. Her Cockney accent as the unscrupulous urchin with a small talent will make you cringe (as does her own cut-glass snooty voice, reminiscent of early broadcasts by HM The Queen), yet if you want to witness what a star-in-waiting looks like, keep watching. Her extraordinary fine-boned expressive face can twist from fragility and childlike, kittenish innocence to the sensuality of a predatory vixen in a moment. The dance she improvises, believing herself to be alone in the moonlight in an empty mansion, weaves a spell not to be forgotten. The script and story are somewhat trite and hackneyed, conventional enough fare for the period. But Ms Leigh's prescience and the strikingly modern performance given by Charles Laughton make it worth sticking with it. Laughton plays the man Libby (Leigh) leaves behind her when the West End lights beckon. She is physically repelled by him but recognises and values his kind and generous heart, attempting, when the chance arises, to repay her debt. It does not end well - and the song A Straw Hat in the Rain will have you wanting to smash the screen by the time you've heard it twice! - But on balance, it ends believably.
A rags to riches story in London's theatreland during the depression years of the 1930's, with a bittersweet flavour.
Lily clock-watches as she works her shift at Meatboy Burger restaurant. She's an awkward soul, she doesn't fit in with the other employees and when a redundancy is decided by lots all the slips of paper bear her name. Things just keep getting worse for Lily but she is an unwavering optimist and as she sails through life on a rocky sea, she's grateful, because she's on a boat and some people in the world don't even get to ride on a boat.
Jarrod is more interested in Lily's pretty workmate, but really he's made for Lily. He's a loser too, a socially inept nerd. He hosts a fancy dress party where invitees come dressed as their favourite animals. Lily is a shark, Jarrod is an eagle, but maybe he'd prefer to be a cobra, he's not sure. One thing that is for sure is that Jarrod is the video game champion. That is of course only until Lily beats everyone, in third annual knockout competition. When she has to fight Jarrod in the final she's more interested in watching him, but when she loses Jarrod hasn't even noticed that she was only concentrating on him rather than the game. "It takes more than cool moves to defeat a champion." he tells her.
Lily and Jarrod are very clumsy in their affections for one another and even clumsier is their communication with each other. Theirs is possibly the strangest relationship you've ever seen on screen. And although the deadpan humour is funny at the beginning, as we watch these absurd characters the silliness begins to wear thin. No one actually lives this way. No one except maybe Napolean Dynamite and that's what Eagle Vs Shark is; a New Zealand take on Napolean Dynamite.
The problem with original comedies such as these is that maybe they are just original for the sake of originality and in being this way are just weird; maybe a little too weird and whether audiences will enjoy this film will strictly depend on their sensibilities. Eagle Vs Shark is undeniably funny; there are plenty of laughs on offer. But will you be laughing with Lily and Jarrod or at them? Does it matter? Perhaps not.
Surprisingly good, practically unknown, horror movie from cult writer / director Eric Red ('The Hitcher') and starring the underrated Famke Janssen ('X-Men', 'Goldeneye'); '100 Feet' didn't get a theatrical release or much exposure on DVD but is definitely worth looking out for, especially if you enjoy supernatural thrillers like 'The Entity' or 'Stir Of Echoes'.
Just released from prison for killing her abusive cop husband, Marnie Watson (Janssen) is tagged and allowed to serve the remainder of her sentence under house arrest; an electronic ankle bracelet lets her move within a 100ft radius of the house (hence the awkward and somewhat cryptic title). But Marnie's got more on her mind than that, for the ghost of her late husband haunts their home and seems hell-bent on tormenting our hapless protagonist from beyond the grave. The ghosts not much of a ghost at all but reminiscent of Kevin Bacon's 'Hollow Man'; this malevolent, free roaming, full torso vaporous apparition frequently goes into full on Sam Raimi mode inflicting some serious damage by throwing Famke down a flight of stairs, into a radiator and, in a scene that's as gob smackingly OTT as it is shocking, puts the spectral smack-down on some cocky young stud who made the mistake of taking up Marnie's offer of a one-night-stand.
'100 Feet' is an atmospheric, often suspenseful, B-style horror which gets down to brass tacks in terms of creating a mood and making the most of its one location. With an excellent central performance by Famke Janssen, '100 Feet' is better than a lot of the horror movies out there and I'd rather watch this again, then face the prospect of 'Hostel 3' or 'Saw 15'.
This film follows the book much more closely than the first film did, which should go down well with true devotees. On the other hand, viewers not familiar with the books may find the film quite laboured and slow in the first half. That said, most viewers (myself included) most probably fall into the category of slightly obsessed females of various ages so this in all likelihood isn't too much a problem!
The visuals are much better in New Moon than Twilight, with the vampires appearing much more "real" and less like actors with chalk on their faces. The fight scenes are also superb, really conveying speed and strength. Similarly, the wolves/wolf to man transformations are remarkably well-done.
It isn't all roses though. A great strength of the first film was the musical score, which was stunningly good. By comparison, New Moon has taken on a real "Hollywood" feel and, I think, this results in a loss of some of the sense of romance and isolation conveyed in Twilight.
On balance, a very good adaptation of cheesy romantic teen novel that devotees of all ages will enjoy. We eagerly await the next instalment!
The much-anticipated movie adaptation of the second book in the Twilight Series.
No One Knows About Persian Cats and at first you might think why would anyone want to know? Well it's not about actually furry cats, more about the type of cool cats that sing or play music. But it is set in Iran and it's entirely subtitled. Still not that keen? I understand. It doesn't at first appear to be the most accessible film to a UK audience. However it was winner of the Special Jury Prize in Cannes last year so it must be worth a look. Mind you there have been a lot of terrible films that have done well at Cannes.
Fortunately No One Knows About Persian Cats isn't one of them. It's engaging, funny and interesting. Five Iranian teenagers (including the three main leads Negar, Ashkan and Nader) living in Tehran are trying to put together a band - an Indie band. However unlike in other countries across the world there are only 312 Indie bands in Iran and what's more music is completely banned in Iran. Apparently for 'the emotions it stirs up'. So starting up a band is a criminal act and has to be treated as such by the youngsters who hire a spy instead of a manager.
Director Bahman Ghobadi is a bit flashy with his camera work and there are some editing problems but overall this is a good film, providing an interesting look into the lives of people that are rarely captured on celluloid.
So there is lots of music, lots of rehearsing and recording and lots of talking and debate. It's difficult to follow at times due to the subtitles and the songs are obviously difficult to fully enjoy because of the language barrier but in general the film is enjoyable. It might not be a big blockbuster but if you like music and want to experience a different angle on things this film is worth a look.
A fun, exciting, heart touching animation based on a father and son relationship. But this relationship is of two clown fish that live at the bottom of the ocean. A colourful and hilarious adventure that follows the journey of Nemo and his forgetful friend Dory.
The story draws on all aspects of the imagination, especially for the young. For all ages, this Disney animation is perfect for the adults and the little ones, who will enjoy the epic journey of fun, thrill and will even occasionally frighten (the vegetarian sharks).
This film is not too long, so the kids won't get bored and the amazing scenery in every shot will keep everyone intrigued and wound up in the excitement and worry of the weak finned fish Nemo.
The whole film pretty much turns your living room into a virtual aquarium, where laughter and sympathy evolve as the story follows through with wonderful detail and superb direction by Andrew Stanton.
Overall beauty and brilliance. A must-see family fun film.
Excellent movie, almost on a par with the comic, or graphic novel if you want to be serious about it; not even Hollywood hack Zach Synder ('300') could ruin a story as profound and exciting as 'Watchmen'. And though his pathetic slow-mo to fast camera moves distract, Synder manages to stay the course in this epic, special edition director's cut which is worth owning, though diehard fans may want to wait for the three and a half hour unrated, three-disc ultimate collector's edition (try asking for that down your local HMV). Written in 1987, Alan Moore & Dave Gibbon's groundbreaking superhero saga charts the rise and fall of 'The Watchmen' vigilantes: Set in an alternative 1985 where America won the Vietnam War, Richard Millhouse Nixon is still in office and superheroes play a pivotal role in U.S. foreign policy; 'Watchmen' is less about capes and cowls than it is about conscience and consequence. Ensemble acting is amongst the best I've seen in a while, with standout performances from Jeffery Dean Morgan (think Robert Downey Jr. on steroids) as tortured sadist The Comedian, Billy Crudup as the all powerful Dr. Manhattan and some brilliant voiceover work by our embittered narrator; Rorschach (Jackie Earle Haley). I also liked some of the music montages such as the opening credits / history of the heroes played out to Bob Dylan's 'The Times They Are A changing'.
With a narrative arc sprawling over thirty years, 'Watchmen' can be quite heavy going at times and one has to pay close attention to appreciate the themes at work here. It's obvious why this movie didn't do as well as hoped commercially; for it's an introspective and murky treatise, one that shatters the superhero mythos whilst toppling an ideology conditioned into the psyche of American popular culture for over three generations.
Alan Moore's insightful take on the genre's appeal more or less encapsulates what 'Watchmen' was all about: "America has an inordinate fondness for the unfair fight. They would prefer not to get involved in a fight if they don't have superior firepower; I genuinely think it's this squeamishness that's behind the American superhero myth: It's the only country where it's really taken hold".
For when The Comedian, having conquered Vietnam for Uncle Sam, celebrates at a Saigon bar and musings: "I think if we'd lost this war, it would've driven us crazy; as a country", you know this isn't going to end with someone posing atop a building at sunset with Old Glory waving in the foreground.
Moore, of course, has completely, and not without good reason, disavowed any and all Hollywood adaptations of his work, and whilst this film isn't as immersive an experience as the book, there's still some enjoyment to be had: Who watches the Watchmen?
"Rule Number One: Cardio", you can run but you can't escape from the greatness of this zom-edy.
Zombieland, truly a great film, especially for all you zombie-movie lovers and comedy-movie lovers out there.
This film doesn't disappoint, it has it all. It's got the action, the comedy and even the cameos in the bag. "Shaun of the Dead" was fantastic, one of the best Zombie-com's of all time, but I mean it when I say that this may even be a bit better.
"Rule Number Two: Beware of Bathrooms", you won't have time for a toilet break; this movie is too good to leave your seat.
The comedy in this film is amazing, from Zombie kills of the week to the narration. "The Rules" make for some great comedy, as they often give you glimpses into certain characters back story with zombie experiences, or they show you the reasons for that specific rule being put in place. For Instance Rule Number one is Cardio, if you're unfit then you can't escape easily, ask yourself do larger people survive in these Zombie-com's?
"Rule Number Three: Seatbelts", Strap yourself in; you're in for a rollercoaster of a film.
The actors are great, from Woody Harrelson (2012) to the epic cameo by THE Bill Murray (Ghostbusters, of course). All the Actors provide some great performances, from those heartfelt moments right down to their superb stupidity and comedic timing. There is a lot of talent on display here, and Woody Harrelson's character is by far my favourite, watch it and you'll see. And this film has plenty of laugh out loud moments, especially when Jesse Eisenberg's character shows his obsessions, one of which Is tucking hair behind the ear of a girl, sounds dull as I'm saying It but on film and the way Its performed will have you in stitches.
"Rule Number Four: Double Tap", you'll be double tapping the play button; this film can be watched over and over again and never get boring.
I can't recommend this film enough, It's hilarious and you'll be wanting more, and It wouldn't surprise me If there's a sequel In the pipeline.
Rule Number Five: No Attachments", there are no strings attached, what you see is what you get, and what you get is a great Zom-edy.
Although it would be categorised in the "Drama" section of Amazon.co.uk or be filed under a similar label in a film guide, Better Things feels more like a series of observations. Set in the Cotswolds, Duane Hopkins' debut feature looks at a group of teenagers' lives as they indulge in hard drug abuse. When describing a film about drug usage amongst young people, phrases such as "battling with addiction" come into one's mind. But this sombre piece of work does not show teens "battling" against addiction. If there is a battle to be had, they are fighting on the side of the drugs. However, as a whole, Hopkins' beautifully crafted narration steers the viewer away from thoughts of something as certain and defined as "battling" or fighting against a psychological force. Instead we get a painful, and sometimes hard to watch, depiction of a group of youths steadily sinking into a dangerous way of life. Everything is presented so calmly, lulling the audience into a state where, although not ready to support the activities they are seeing, they are able to sympathise with how addictive the process of drug taking can be. The peaceful, dream-like effect the film has on the viewer feels like a drug itself, taking you into this world and making it hard to forget.
Hopkins' film manages to stay the right side of the tricky line between observing dangerous behaviour and condoning it. The injecting or smoking is never glamorised, but the viewer is not fed an "anti-drugs" message either. No morals or messages are explicitly laid out because it is not necessary to do so. The whole lifestyle is portrayed as depressing and unattractive. What's more unsettling is witnessing these young adults continue with their illegal habits even though a girl they knew or had a connection with has died of an overdose.
The reason for the drug taking is not rigorously explored, but once again, through observing the behaviour it becomes clear why it takes place. "Nothing" is the first word uttered in the film, from a young girl, Gail, reading from a novel. We get a selection of shots of the Cotswolds and surrounding area. It is debateable what is meant by "Nothing", but the voiceover of the girl continues with "This was real life. And real life was difficult". This could be a reference to the emptiness of their lives. Life as a middleclass teenager in the Cotswolds is presented as an empty, bleak and depressing world of "nothing". For them there is either nothing to do or nothing to look forward to. Although there is a valid argument that one's youth is just a difficult period in one's life that most just stumble through, Better Things has an answer to that. With a small amount of gentle, melancholy scenes, some elderly residents of the small town go through their lives in much the same state as the younger characters. They do not indulge in Class A drugs, but their lives seem to be caught up in the same hypnotic sense of uneasy, inevitable nothingness.
Better Things' lack of conventional narrative but notable beauty is reminiscent of James Bidgood's Pink Narcissus. Although regarded by some as nothing more than a work of erotica, this startling film also uses the idea of being caught up in a distorted world. Although the world in Pink Narcissus is someone's personal fantasy as opposed to a drug-fuelled haze, it toys with the idea of getting away from reality to find oneself. In either of the two, the viewer's attention and interest is not held by dramatic dialogue or action sequences. The overall effect is submergence in visual poetry; a near-hypnotic experience that leaves a strong impression long after viewing. Other more recent examples of "visual poetry" used to tell a feature film could be Steve McQueen's Hunger and Joe Lawlor & Christine Molloy's excellent 2009 feature Helen. Although these are more similar in their filming style than their stories, both let the viewer soak up the imagery, letting the plot unfold at its own pace.
Duane Hopkins' short films, which he made some years before Better Things, do not carry the same lyrical, visual quality, but do demonstrate the director's intuitive and effective skill at using little or even no sound. There are periods in Better Things when dialogue is not heard for long periods of time, and all that is coming through the speakers is either amplified ambient sound or complete silence. This is not seen so much in his first short, Field, but is effectively demonstrated in Love Me or Leave Me Alone.
It is a great shame that Better Things, after picked up by Soda Pictures, had a rather limited cinema run. For a period of time, after playing to acclaim at the Critic's Week at Cannes, it looked as though the film wasn't going to receive a screening in London at all. Luckily it finally found its home at the ICA. The novelist and journalist Richard T Kelly, writing about Better Things, claims "Talents such as his [Hopkins] are rare, and must be celebrated, with maximum passion". But limited distribution makes this hard to do, so I earnestly hope that whatever Hopkins turns his hand to next gets a larger exhibition. I feel he is a talent to watch, and lends strength and an original voice to our film industry. If the critical success of this film propels his future projects into a more prominent spotlight, I hope he doesn't lose his insightful edge. Better Things does not give the viewer a reward for their patience in the form of a happy ending, but there is a glimmer of optimism. It is the painful, bleaker sides of life Hopkins focuses on, but he always retains a core of human warmth. After all, Better Things does look at a collection of love stories, whether these are between the drug-addicted teenagers or the troubled elderly couple, and it is this humanity that makes the overall effect sobering, potent and boldly beautiful.
When a writer/director tries to pay homage to something, the end product can so often just seem like a rip-off. 'V for Vendetta' definitely does not deserve that label. It pulls off its homage to '1984' sublimely and obviously to anyone that has seen or read it. It even includes John Hurt on the other side of the fence in a "Big Brother" role. However, it pays this homage without relying on it. To understand and enjoy 'V for Vendetta' does not at all require you to have seen or read '1984'.
Intense performances of Hugo Weaving (V) and Natalie Portman (Evey Hammond) are punctuated with some dry humour, which makes this film a cinematic page-turner. It is a film that has already gathered a cult following but its acclaim should be so much wider. Vividly and veracious virtuous, it is, quite simply, amazing.
Season one and two was always going to be a hard act to follow. It was just brilliant from start to finish. Season 3 is inevitably more predictable as you get to know the characters and so on occasions I found myself going 'oh no' rather than laughing. However it is still priceless humour. The fashion show is utterly brilliant. Jay is disgusted that he hasn't been selected as a model and tries all ways of attracting attention to himself including wearing a hideous set of girl's earrings, which as I think about it now makes me laugh again. Will makes an ass of himself in his protest about the fashion objectifying people but manages to offend everyone but the funniest scene of the entire series is when Simon goes down the catwalk in Speedos. It is just hilarious and my entire family had tears in their eyes. My other favourite episode is the final one. Simons dad has no choice but to move his family to Cardiff because of layoffs and redundancies at work and Simon can't believe his dad is being so hideously selfish and ruining his life! Neil thinks that he may have got a middle aged woman from work pregnant and I won't spoil the ending of this story by going into detail - suffice to say he is a bit taken up by this concern when the four of them go on a camping trip to the country. Poor Wills entire equipment is mindlessly destroyed and he copes better with this than when Simon realises his car handbrake is not on properly and Jay has mislaid the cars keys.
I think the reason this works is that it is so real. The language is vile, the attitudes are immature, the relationships are shallow, the situations are ordinary and the stories are comic genius. Each character reminds you of someone you knew at school or college. Nostalgic and tragic all at once!
Verdict
Highly Recommended but not for the prudish! Watch it first before giving it to Grandma!
There has been a whole batch of superhero films in recent years - this is one of the best. It contains those moments that you want to watch again and again - Robert Downey is well cast as a superhero who can't keep his identity hidden. The technology is great - different to the comic book, but an essential part of the film. Great film to keep a group of boys involved.
One of the best superhero films
Although quite a few years old now we have watched this film loads of times - my wife and daughter love it and watch it several times a year. Well acted - great storyline and funny
Good film
We have to rate this as one of Disney's best. Great story and long time since we have laughed so much. Great original ideas and actually a touching storyline with a good message. We will watch this many times and recommend it to others.
Great family film
Whilst watching Avatar at the cinema in 3D I was totally bowled over by its technical prowess and believability. James Cameron obviously has an amazing imagination and helped by his £214 million pound budget (according to one estimate) he's been able to create a rich and beautiful sci-fi classic that has undoubtedly raised the bar for other directors and writers. What's amazing about this fantasy eye-candy is that it pays meticulous attention to detail; every animal, valley and flower has been given a lease of life and as a result you never question the movies realism.
Avatar is set in the future, in the topical-like paradise of Pandora where the Na'vi, a blue 10ft alien tribe, live at one with the nature surrounding them. Their world is being threatened by an ore hungry corporation who have discovered rich pickings on the flourishing planet. One of their latest recruits Jake Sully, has been drafted in to become an Avatar, where his mind will be transported into a specially constructed Na'vi body. In exchange for an operation to restore the use of his legs, he will gather useful information that will help the corporation's military team drive the Na'vi out of their homes. But as he gets to know the tribe and lives amongst them, he becomes one of them, cemented by a relationship with the Na'vi Princess, Neytiri. As the war finally breaks between the natives and the humans, Sully has to decide whether to follow his heart or his head - either way his life will change forever!
Verdict
This beautifully crafted film is a window that allows viewers to peer in a whole new world of visual wonders - Avatar could change the face of cinema as we know it!
Angels and Demons is a fast paced thrill ride and an improvement on the last Dan Brown adaptation the Da Vinci Code. I think that this is better because the race against the clock element (The fact that the cardinal gets murdered every hour until the bomb goes off) allows for some effectively pacey direction from Howard, with some decent set-pieces along the way. The script also tones down the crazier elements of the book, whilst still allowing for a glorious finale when the bomb explodes in the helicopter, which I thought was excellent.
I think that the film was one of the best, if not the best, at the time it was released. I would give this 5/5.
The Hurt Locker is a powerful and tense thriller. And to be specific, an action-thriller before it's a war drama. Maybe that's why it has struggled to find an audience outside of critics, because it really isn't what you might expect. One popular criticism I have seen repeated is the naive statement, "it doesn't know what it wants to be". Oh, it does. It knows exactly and its recent win at the Academy Awards is an encouraging sign that they can recognise something a little different and reward audacity.
It is worth noting that Kathryn Bigelow, albeit with a short C.V. in this respect, is one of the action genres most important directors, not least because of her fascination with the male psyche; her characters are usually men addicted to danger, which makes her work a nice counter-point to her ex-husband James Cameron, whose speciality is strong women. Interesting that she released Point Break in the same summer as his Terminator 2 and now defies the pundits to snatch the Oscar from Avatar. She has matured a great deal as a director since Point Break and I do think The Hurt Locker is a more important film than Avatar because it is a progression of its genre, not the technology, developing neatly from Paul Greengrass's work on Bourne and United 93 to meld hard, gritty reality with movie-world heightened-reality to make a truly perfect action film. Bigelow has shown subtleties in The Hurt Locker that can only come from an inherent understanding of action cinema and what the audience is willing to accept (she may need a bit more time on that score, sadly!) and it sets an interesting precedent. It'll be interesting to see how The Green Zone by Greengrass (that sentence is going to get annoying) measures up.
As a war film it leans more toward Apocalypse Now than Saving Private Ryan, but a better comparison is Three Kings, set during the first Gulf War, which was actually a heist film. As with that film, don't go into this expecting a war drama with requisite action set-pieces, but instead, look for an action movie that happens to be set in a very real situation. It works brilliantly well.
Much of the success is down to the superb Oscar winning screenplay by Mark Boan and Jeremy Renner's deservedly nominated role. Many action movies are ruined by trying to contrive set-pieces, but here, Renner's Sergeant James is the plot and Iraq is the perfect place for him to develop from a maverick rule-breaker to someone who accounts for and thrives in his unique environment of what is probably the most dangerous job you can have. Renner is marvellous in a role that could so easily have been 'Martin Riggs goes to war' (though more of a drama film, Colin Farrell cuts a similar figure in Joel Schumacher's Tigerland).
But you can easily over-think such a film this. Acid test: I spent most of The Hurt Locker forgetting to breathe. Or blink. Bomb disposal is as stomach churning as you could imagine! As suspense goes, there is nothing to match it right now and it is unashamedly entertaining yet sobering in how stark the reality is. Sergeant James is an absurd character who surely wouldn't be tolerated in the military, but if you can suspend disbelief just as you would for something like Lethal Weapon, you will allow him to pull you into a world that is terrifyingly real and during the clever sniper scene he finds a real place in the team and the plot takes a less obvious direction.
Cinematographer Barry Ackroyd gives the film a similar feel to his work on United 93 and keeps the realism, but it has more room to breathe as a bona fide action film so there is some fantastic, indulgent photography that never feels out of place. The handheld camera offsets any possibilities of arty manipulation and keeps it grounded, while hiding its low budget origins and it looks excellent in high-definition. The level of detail makes the dry dusty streets so tangible you might find yourself checking your shoes for dust!
If you are looking for an insightful commentary on Iraq, this is the wrong film; there is a brief scene showing Renner trying to fit in at home which does accentuate his addiction to Iraq, but that angle is better explored by the excellent BBC drama Occupation from last year and is worth looking up in any case. The Hurt Locker is an honest adrenaline rush, if you allow it. The only thing wrong with it is timing, but hopefully it will eventually find an appreciative audience on Blu-Ray.
All in all a good show. The lead guitarist switches from Gibson Les Paul to Fender Stratocaster to cover Honeyman-Scott tracks.
Back to the Les Paul for the more modern tracks and Hynde's sultry voice to take the lead vocals.
Most of the original line up is gone but these folks still rock, the old favourites are equally well received as the more modern tracks.
A word to the wise, try Find-CD for the Japanese Import, it has 14 tracks and is well worth the layout.
Back to the concert, the sound is well produced and is recorded over several nights to get it right. I watched and listened on an entry level HD TV with 5.1 computer speakers and it was a very enjoyable couple of hours.
There is some strong language, but that's Rock And Roll for you. Veteran Chrissie has the audience in the palm of her hand throughout the show and they love her.
My City Was Gone is a lament for Chrissie's hometown of Akron Ohio and Middle of the Road goes down a treat.
Only Chrissie and the drummer Martin Chambers are of the original line up as Pete Farandon and James Honeyman Scott have passed on.
The Pretenders have adopted a full time keyboardist, for a rock band that does limit the range when it comes to jamming but it pays off on the modern tracks.
A good line up and a great show.10/10
Concert footage from 2003 tour taken over several nights, skilfully laced together. Quality sound production.
10/10.
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