"Sleep all day. Party all night. Never die...it's fun to be a Vampire."
Classic 80s comedy-horror starring Jason Patric, the late / great Corey Haim, Corey Feldman and Kiefer Sutherland; directed by Joel Schumacher 'The Lost Boys' is one my favourite movies of the 1980s and an influential landmark in post-modern cinema.
Mild mannered widower Dianne Wiest moves in with her father along with sons Michael (cool and brooding Jason Patric) and Sam (wisecracking and jovial Corey Haim). Strangers in a strange land, the trio struggle to adjust to life in the coastal town of Santa Cruz, their transition isn't made any easier by the town's reputation for being 'The Murder Capital Of The World'. An ominous sobriquet that proves all too accurate, since Santa Cruz is Vampire country!
Michael soon falls for stunning gypsy; Star (Jamie Gertz), unfortunately, she's in with a gang of the grateful undead, led by the unsavoury but enigmatic David (Kiefer Sutherland on top form). On the bright side, Sutherland doesn't want to sodomize or torture Michael for information (Jack Bauer was a good 15 years away) but sees in him the potential to be a vampire, or "One of us" as the line goes. Needless to say, our heroes aren't too keen on the whole businesses of bloodsucking so it's not long before David's clan begin "vamping out" and others adopt the use of garlic, stakes, silver and stereos in a desperate bid to stay alive.
'Zombieland', 'Buffy The Vampire Slayer' and 'True Blood' all took their cues from 'The Lost Boys' and its one of those pictures saved by time: derided upon its release in 1987, the film soon won favour with young fans and now, decades later, we've elevated this movie to its rightful place as a genuine cult classic. I dread to think that someday those 'Team Edward' losers may do the same for 'Twilight'. It's inevitable, I suppose.
And speaking of the young, one can't forget a stellar performance by the late Corey Haim. Haim plays Michael's younger brother Sam with excellent comic timing. And I'm not just saying that because he's no longer with us but because Haim created a great character here, some of his most memorable one liners include: "Are you freebasing, Michael? Inquiring minds want to know" or when faced with the prospect of fraternal fangs to the jugular: "Don't kill me, Mike. I'm basically a good kid". Corey Haim never lived up to his potential as an actor, though 'License To Drive' (1988) gave us a glimpse of his gift for comedy whilst 'The Lost Boys' proved an ideal platform for Haim's talent and was, alas, his finest hour.
An excellent, consistently entertaining film that's stood the test of time and flirts with immortality as often as its titular antagonists: Vampires would never be the same again.
This movie is utterly brilliant; it's suitable for all ages and easily grasps anyone's sense of humour- this movie will leave you in stitches. With characters such as a blob, a scientist cockroach, and an ice-age swimming-thing this movie is nothing but original. A well-received 'pat on the back' for directors Rob Letterman and Conrad Vernon they are such crowd-pleasers!
Yes, you're wedding day IS the most important day of your life, to some, and this surely doesn't exclude Susan Murphy (Reese Witherspoon) when a meteor falls on her, and turns her into a 'Godzilla-sized friendly giant.' She is taken away to save the Earth from evil aliens, whilst in a so called 'prison' she makes many friends such as a blob named Blob. This amazing move will leave you gasping for more- but the question on everyone's lips- who will win Aliens or the monsters?
I can feel it coming in the post tonight, oh Lord, and I've been waiting for this box set for all my life (well some of it, anyway) oh Lord
If you told me it's out on Blu-Ray, I wouldn't give a damn
But I know what you mean, it's not in wide screen; they kept it in Pan and Scan
Well I was there when it first came on, saw it with my own two eyes; so you can put in that disc, give '24' a big miss; it's all been a pack of lies
I can feel it coming in the post tonight, oh Lord, well I've been waiting for this box set all my life, oh Lord
Sonny Crocket bought a range of pastel suits, drove Ferraris and had some fun, Rico Tubbs wore Ray Bans; but both were handy with machine guns
Could it be that Castro got it right? Cuban exiles rolled out like dice; it must've been true, doubters hadn't a clue: Miami was so full of vice
**Drum roll**
I can feel it in the post tonight, oh Lord, and I've been waiting for this box set all my life, oh Lord.
An African/American man who is accepted into a South Wales coal mining community and becomes a member of the local choir and finds work down the pit - prior to the conflict of World War II.
An excellent performance from Paul Robeson, this Welsh coal mining drama from CAPAD & Ealing Studios. This historic motion picture opened up a new avenue in the portraying of stereotypical black characters in British as well as American films. Paul Robeson, a dedicated devout socialist, came to work/live in Britain and thus became a major star of the silver screen. In this ground breaking motion picture he played a character called David Goliath and this helped break the mould of the 'Negro' caricatures which had previously been depicted in motion pictures. "The Proud Valley" was Paul Robeson's last performance in a British film and proved highly controversial upon its release to cinemas.
The story highlights the plight of the working classes of South Wales and their struggle to survive. This motion picture so upset Lord Beaverbrook that he banned mention of the film in his publications and refused to allow his newspapers to advertise it. This was due to the fact that Paul Robeson had pro-Russia sympathies. Author Graham Greene also disliked Paul Robeson's character and stated it was nothing more than a "big black Pollyanna".
Even today this classic motion picture remains a striking and unflinchingly realistic representation of working class mining communities of South Wales. The mining disaster scene at the climax is brilliantly directed and it evokes memories, amongst the people of Ebbw Vale and Cwm of the mining disaster which occurred in the Marine Colliery Cwm 1st March 1927 (St. David's Day) when 52 miners lost their lives when digging for 'Black Gold'. Paul Robeson's performance is excellent, and he delivers superb renditions of: - 'Deep River' & 'All Through The Night. Years later he stated: - "It was the one film I could be proud of having played in".
Now released on DVD 70 years after its release to cinemas - I recommend that you buy it.
An African/American man who is accepted into a South Wales coal mining community and becomes a member of the local choir and finds work down the pit - prior to the conflict of World War 11.
My viewing of this film was made all the more fascinating, because it was preceeded by a talk by Lynn Barber, on whom the main character, Jenny, was based. Lynn is very impressed by the accuracy of Carey Mulligan's portrayal of her, and the attention to detail that went into the film.
Carey Mulligan is so plausible in her intelligent, critical questioning of the adults around her, and the apparant incongruences they exhibit in regard to the advice they continually bestow upon her. Watching this blossoming of a school girl into a sophisticated woman is just a complete joy. Peter Sarsgaard is perfectly cast as the sophisticated, yet really very weak daliance, David, who manages to convince Jenny's parents that he has friends and influence. Rosamund Pike is marvellous as the drop dead gorgeous, but desperately thick, girlfriend of David's friend, Danny (Dominic Cooper). With a perfect, albeit small performance, as the disappointed school maam, Emma Thompson has the audience in stiches.
You cant help but feel sad for Jenny's dad's (Alfred Molina) lack of appreciation of Jenny's need for his guidance, and his own worldly ignorance, and Jenny's mums gushingly delusional, high regard for David, which contribute to the mistakes that Jenny makes.
This is a film to make you appreciate the almost impossiblity of making the right choices when your body if fully loaded with teenage hormones. A must for the young, and not so young to share the pleasure together.
Jenny Mellor is an exceptionally bright 16 year old pupil, who is achieving A grades in literature and under the influence of her father's neurotically charged ambitions, has set her sights on the path to Oxford. However she is lured away from this grey life by David, a significantly older man, who offers a glamorous and exciting alternative, and who also manages to charm her parents. This is the story of Jenny's journey from girl to woman, in the early part of the 1960's.
With the most realistically portrayed characters, and fascinating attention to historical detail, this is a funny, poignant and illuminating insight into the feminine experience of the period.
Precious is a heart-warming and painful story that will melt your core and make your spirit fly high. It follows Clarireece an overweight, illiterate, HIV-positive girl from Harlem who's got pregnant by her father, twice, is beat-up by her mother and mocked by the kids at her school. It may not be the most cheery of films, but Precious based on the gripping book "Push" by Sapphire, is a film that beats you down to the ground with it's hopelessness, then scrapes you off the floor and builds you back up in ways that you never thought imaginable. Confused? Well watch the film and see what I mean for yourself!
Verdict
Precious is a film that holds you tight and won't let go - you'll be thinking about it long after the credits roll! In my opinion, this is one of the best films of 2009 and is well worth adding to your collection!
A great cast and intriguing premise can't save 'Couples Retreat' from buckling into the doldrums of mediocrity, which is a shame, because it had all the right ingredients for a hit. Back in the late 90s / early 00s, comic actors Vince Vaughn and Jon Favreau took the indie scene by storm with 'Swingers' (1997); still one of my favourite films and a genuine cult classic, followed up with 'Made' (2001); not as well received but an excellent and consistently funny movie. The pair then went their separate ways; Vaughn finding fame in front of the camera, Favreau faring better behind it. Now it's been over a decade since those "money" cats hit the L.A. club scene, so expectations surrounding their reunion were quite high, but somehow, this unquestionably talented duo have managed to churn out a forgettable, by-the-numbers rom-com that couldn't be any more generic if it tried: Couple on the brink of divorce (Jason Batemen and Kristen Bell--both good) rope their friends into going to a resort / new age marriage counselling trip: Hilarity ensues...or at least that's the idea.
There're a few good one-liners courtesy of Vince Vaughn, a laugh out scene in the sauna / snow room and even some sagely relationship advice towards the end. But there simply aren't enough laughs to warrant it's two hour plus running time; everyone appears to be having fun, though (shot on location in the Polynesian tropics; who wouldn't?) alas, little of that joy is transferred to the audience. As a die hard Vince Vaughn & Jon Favreau fan, I got the impression that this was meant to be their 'She's Having A Baby' (1988) or 'Mr Mom' (1982) but having recently re-viewed those John Hughes classics, it's obvious that they're as far off the mark with 'Couple's Retreat' as Kevin Smith was with 'Jersey Girl'. A well meaning but convoluted film that's nowhere near as insightful or funny as it ought to be. Back to the drawing board.
The film stars Brendan Mackey as David, Jennifer Matter as Anna, Patrick Regis as Eric and Iaione Perez as Iris, they are four of a team of paintballers that go to a 48 hour paintball game. They are the green team. Their opponents, the orange team, soon have them pinned down but suddenly the shooting stops and the orange team is gone. Not long after one of the green team is shot, but not by a paint pellet, by a real bullet. And so the real game begins. Is there a psycho on the loose, or is it something more organised and deadly? Who will survive?
You might think at first glance that you simply don't care who survives. It is just another horror film - stalk and slash. But you'd be wrong. This is actually a pretty decent film. It is a very effective horror/thriller, in the way that it has been directed and in the way it has been shot.
Director, Daniel Benmayor actually deserves some real praise for this film. Instead of over-directing his actors it is clear that he let them get on with it. I suppose to some extent this sort of film, with pretty much real, if choreographed, paintball fights are happening, then you have to let the action flow. But it's clear that Benmayor let the camera run and run to sequences of up to ten minutes at a time. It shows in the fact that the film has a very real, genuine feel to it.
The plot is a little less credit-worthy, to be honest it's fairly obvious from the beginning what is happening and what is going to happen. We've seen this sort of film before. But that's not to say that Paintball doesn't have a few new tricks up its sleeve. There is a hell of a lot of swearing but that's pretty realistic, I think, given the circumstances. As for the sort of gross-out horror or gore that you might expect with this sort of film, it is not really too over the top, although there are a few moments when the squeamish may wish to look away.
All in all, Paintball is definitely worth a shot.
Overrated 'Preppy Youth Going Off The Rails' comedy-drama with a star making performance by Tom Cruise as college bound Joel Goodsen; ever the good son, Joel is left home alone for a weekend, and promptly avails that opportunity to do all the things he shouldn't. 'Risky Business' isn't a particularly great film but the manner in which madcap humour is used to lacquer what's essentially a dark and brooding meditation on American culture and capitalism, has to be commended. Tom Cruise was already quite a big name in 1983; having won plaudits for 'TAPS' (1981), 'All The Right Moves' (1982) and 'The Outsiders' (1983) but it was his inexplicably iconic shimmying around the house in his underpants with a bottle of booze and wearing Ray Bans, that earmarked him for international stardom.
Rebecca De Mornay co-stars as Lana; the hooker-with-a-heart-of-stone whose either A) a manipulative shrew or B) a business savvy working girl, needless to say, the relationship between her and Joel forms a fascinating, sometimes funny and often disturbing dynamic. 'Risky Business' is no 'Billy Liar' (1963) and nor is it on a par with 'The Graduate' (1967) but writer / director Paul Brickman succeeds in steering his movie towards the satirical and introspective, rather than the vacuous or nonsensical.
Tom Cruise, a complex and highly driven eccentric, is one of the most misunderstood artists of our generation; whose turned in some excellent performances over the years in 'Born On The Fourth Of July', 'Rain Ma', 'Magnolia', 'Minority Report', 'Collateral', 'The Last Samurai' and yes, even 'Top Gun'. 'Risky Business' is worth seeing for Cruise; who holds it all together and coveys the flaws and nuances of his character with the discipline of an actor well beyond his years (he was 20 at the time), not the classic it's made out to be, but a fairly good movie nonetheless.
In a career spanning over 20 years, director Kathryn Bigelow has made one great film ('Point Break') and an enjoyable cult vampire movie ('Near Dark'). But 'The Hurt Locker' or 'Iraq: The Video Game', is cringe worthy, Zionist drivel. Its banal spiel touts the lie that war is fun and without consequence for the invaders: a viable alternative to the tedium of U.S. suburban life. It follows the exploits of an occupation bomb disposal unit in Iraq complete with cut out military caricatures like the reckless maverick, the straight laced soldier and the guys who'd like to get back home to their gals. 'The Hurt Locker' leaves no cliché unturned in its bid for a total whitewash and doesn't even drive past 'Abu Ghraib' should the mere sight of it remind an audience of Uncle Sam and Saul's unspeakable crimes. Screenwriter Mark Boal, an embedded (i.e. pointless) journalist for 'Playboy' magazine (you couldn't make this up) churns out a script which rings hollow at every turn, for I seriously doubt any patriotic Iraqi would have ever uttered the line: "I am very pleased to see CIA in my home".
'Harsh Times' and 'Redacted' are the only recent American films about war to have come close to accurately depicting the perverse paradigm of an occupying power in its death throes. Alas, the former is still very underrated (despite an excellent performance by Christian Bale) whilst the latter was censored and suppressed by the U.S. government but did well on DVD. The simple fact is that we'll probably have to wait at least five years after the conflict before any serious Iraq war film is made; I don't know who'll direct such a film or from which country it'll originate but I can say with some confidence that 'The Hurt Locker' certainly isn't that film. Don't believe the hype.
In the interests of balance, it's only fair that I mention that Kathryn Bigelow recently issued the following statement: "I hope that in some small way this film can begin a debate and bring closure to this conflict".
The pursuit of happiness is based upon the true story of Chris Gardner (Will Smith), a San Francisco salesman trying to do what is best for his family. After investing his life savings into a 'Bone density scanner' Chris thought he had the world at his feet, little did he know that the costs of the machines, strongly outweighed the benefits, meaning he was struggling to support his family. When his wife walks out on him, Chris is left with his son (played by Will Smith' real life son) he embarks on a journey, based on hurdles, pride and his dream to pursue happiness.
When walking home from work one day, Chris spots a man getting out of his car to go to work, and sais "I've got two questions for you, what do you do? And how do you do it" the man replies "I'm a stock broker". This short conversation sets up the whole film. With Chris' strong maths ability, and his ability to convince people, he decides to apply for an internship. Throughout the film, Chris has to hurdle lots of obstacles, from losing his flat, to losing a friend, to being arrested and finally running out of money. One particular scene that stands out involves them sleeping the night in a toilet, located in the tube. When Chris begins to cry, even the strongest of viewers would find it hard to resist the inevitable tear drops.
It is without a doubt, one of Will Smiths' finest performance, he does a magnificent job portraying such a heroic character, he is very convincing, and he is ultimately what makes the whole story believable. The story is told extremely well, it explains everything with the finest detail; it even gives a reason for why happiness is spelt wrong in the title. Part of the reason the story is well told, is the real Chris Gardner was involved with the whole production, meaning the story could be as true to life as possible. He even makes a cameo appearance at the very end of the film.
The film is very inspiring, it not only provides valuable lessons, but is a 'feel good' film. It will no doubt change viewer's perspective on life, and challenge them, to challenge themselves.
Roland Emmerich, the man who brought us "Independence Day" and "The Day After Tomorrow", brings us yet another disaster movie that completely blows all of his previous disaster films out of the water, CGI wise. This films CGI really does make his other movies look tame in comparison, but you can't rate a movie solely on its look and technological achievements (Avatar anyone? Great film, but without that 3D would It have been so popular?), so It does have its flaws.
The film is based on a Mayan prophecy (That the world will end on the 21st of December 2012) and circles around the survival of one man, Jackson Curtis (John Cussack), and the band of people and family that join him. It's not your typical end of the world sci-fi film, as its not aliens blasting the planet to dust, It's the Earth and nature itself that Is the enemy, much like "The Day After Tomorrow".
The film is great, don't get me wrong, but it really could have been executed a bit better. Yes there are some great character moments, some laugh out loud moments and some great plot moments, but beyond those very few moments the film Is basically about the visuals of the world ending, of which are superb. If you want to see the world end In style (On the movie screen of course) then this Is the film to see, because the CGI Is very Impressive and really did give you a sense of realism. But In my view, had the film not had these Impressive CGI scenes, then It would have been a flop, because there're big plot holes, the characters get out of danger over and over again, danger that no normal human could escape, and these escapes become quite repetitive as they're In a car, then a plane, a car again and then again. The film is great If you want some popcorn munching action, but other than action and CGI this film really doesn't have all that much else to offer.
The other good side to this film Is Woody Harrelson playing a nut radio presenter who tells the world of his end of days theories, and he provides most of the before mentioned short spouts of comedy.
So In short, it's a good CGI fest of a film with good but sometimes unrealistic action sequences, but lacks good character moments, plot and sometimes acting. All In all though, it's well worth a watch and a good addition to anyone's DVD collection.
I loved this film when I saw it in the cinema. I heard that it was an adaptation of a book, so I bought the book and didn't regret it; it was a great story of relationships, family and the problems that come between these. I would recommend the film to anyone, it's full of happy moments and memories to be had, and at times it brings sadness and a tear to your eye, but it's worth it to see this amazing film.
;)
After killing yet another plant Jenny doubts whether her and her new husband John are ready to be parents. John decides that to prepare them he'll get her a puppy. So he takes her to a nearby farm which looks after dogs. Jenny falls in love with all of the puppies at once but has her eye on one "clearance puppy' who for some reason is less money than the rest. Clearance puppy gets named Marley, and gets right at home from the first minute there. He is labelled the world's worst dog after he rips, eats, and pees up almost everything and even gets kicked out of obedience school on his first day. Even through all this both John and Jenny love him like a child. When Marley is a few years old they decide to try and have a baby. The process is full of its ups and downs, and even when Jenny successfully has their first baby there is still one worry, how Marley will react towards it. It's all good, as Marley loves the new arrival and protects him like his own. Over the years, the Grogan family change jobs and houses, but they stick together through it all.
Gus van Sant's cold and disturbing depiction of a Columbine-style school massacre is something of a flawed gem. The jury at Cannes were sufficiently impressed to award it the Palme D'or and Best Director award in 2003. But the film fails, on some levels, to live up to its hype. In the end it's nothing more than a well filmed experimental movie, examining the everyday lives of teenagers, rather than saying anything new about the psychopathic violence they occasionally commit.
One of the weakest aspects of the film comes from the particularly poor performances from the young amateur actors. Some of their dialogue is improvised and sadly it shows, particularly in a group of bitchy teenage girls who argue about who's going out with whom. Having said this, there are some very effective scenes involving the youths, most notably when we discover that the killers, two teenage boys, are involved in a romantic relationship with each other. This is revealed in a subtle and well handled moment of tenderness in a school shower, and adds a potentially new dimension to the story.
But herein lays some further problems. It is suggested that the unhappy murderers are taking revenge for some form of homophobia that has been inflicted upon them by the heterosexual majority of the school. Indeed, there is even an unsettling class discussion about how to spot a gay man walking in the street. But this is an underdeveloped narrative thread that should have been an interesting aspect to the killer's motive, but instead becomes an unconvincing whispered message that dissolves as soon as it has been implied. And as some critics at the time pointed out, there are millions of gay teenagers in the world that don't choose mass slaughter as a way to express their anger against the bigoted members of society.
However, there are some truly remarkable aspects to Elephant. The film feels like an uneasy dream, with the cameras following students around the school and repeating events from different points of view. There are some superbly handled moments of disorientation when a schoolboy (John Robinson) starts to realise what devastation is about to unfold and tries to warn people not to go into the building. Some don't listen to him, and he is left outside, shouting at them to stay away.
The title "Elephant" pays homage to a 1989 BBC drama which presents destructive sectarian violence as "the elephant in the room". It isn't very apparent what problem forms the "elephant" in this film. It could be the rise in school violence, or the dangers of homophobia in the classroom. This is not one of Gus van Sant's best pieces of work, but it's certainly one of his most interesting. It is a shame, therefore, that it fails to follow through on the potent questions and issues it raises.
The 'poor' rating should not be taken as applying to the film itself, but only to this particular presentation of it. Both sound and vision appear to have been processed in a cement-mixer. Also, the Delta logo appears on the screen from time to time, which adds to the annoyance.
The film itself is a typical Orson Welles effort: consistently fascinating, full of brilliant ideas, though occasionally crossing the line into self-indulgence. Very well worth watching, although I'd strongly advise paying more for a different presentation. (Any other version will probably be better than this one.)
Enterprise was a very underrated but superb show and really was a great addition to the Star Trek universe. Some may still disagree; yes it wasn't always the Trek we were so used to, but it is Trek nonetheless and deserves credit for trying to be different, bolder and younger than the other series.
OK, there are many people who didn't like Enterprise, but those that did, know what I'm talking about because the show really did improve year on year, and we saw some great writing and episodes especially in season four - the season where the show hit its stride but was sadly cancelled. Many people gave up on Enterprise right from the word go, and some just lost Interest, simply put it wasn't given a chance when it was on the box. Now it's over and slim-line boxsets are available at really great bargain prices, people are now watching Enterprise and seeing what a great show it turned out to be. Many Trek fans complain about there being no more Trek on the telly at the moment, but had they tuned in to Enterprise there would no doubt be new Trek running on the box right now. However, had Enterprise not been cancelled we would not have got to see the amazing new Star Trek movie. I want more Trek on the telly as much as any fan, but I do think, In some small way, that there being no Trek on the small screen at the moment Is because of some peoples dislike of Enterprise. I'm glad however that some Trek fans are changing their minds about Enterprise, I just wish they would have changed their minds sooner, and got Enterprise back on track.
Season four continues right from where the season three finale left us, and we get an amazing World War story, where the Germans are allied with Aliens from the Temporal Cold War (Future War), thus changing history and leaving Enterprise to sort out the mess. That crew and ship really did go from one epic mission after the other. Watch season three, its awesome if you like a good Space war type story and dog fighting in space etc, but that's not all that season was about by no means. If you're a Trek fan you'll know that the best stories are those that avoid war and try to reflect common Issues of today and resolving them In the future, and those episodes where we see the truly extraordinary and alien from exploring those strange new worlds. Season four of Enterprise had some fantastic stories, and had the show been doing stories like these from the start, I think we'd have got our traditional seven seasons easily. The season barely had any stand alone episodes, as most were two or three part arc stories, of which were amazing as they tied into other Trek series. One three part episode shows us the origins of Data's (TNG) creation, a story about Augments (Genetically enhanced humans) of which ties Into the Khan story and the eugenics wars. Another story shows us the reason behind the Klingons lack of cranial ridges in the original series, of which is a fantastic episode. You got a two part story set in an alternate universe, the same alternate universe that is seen in the original series and DS9. And In many episodes there are subtle little references to listen out for, such as the section 31 reference in the klingon back story episodes. We also get to see a great three partner involving the Andorians, a great story involving the Romulans and even the Vulcans get a great three partner. This season was Impressive, and had there been a fifth season I'm sure the Romulans would have shown up a lot more, because we have still yet to see the much talked about Romulan and Human war. And the finale, ok It wasn't a masterpiece, but It did manage to tie up a fair few loose ends, and It gave some sort of closure, but It wasn't really the ending we all wanted, but I do give out my hat to the writers of that episode, because they had to end a show early, a show that should have had another three seasons In It.
Enterprise Is fantastic, and If you're gonna buy one season only, or a season to test out the show, then get this because It has It all: great characters, great stories, great effects and It's just great Trek. Go boldly where not all Trek fans went and watch Enterprise, because it really is an amazing show.
I went to see this film at the cinema knowing little about it, but after reading a positive review on it. Little was I to know that I would stumble upon a comedy gem.
The film is about Columbus (Jesse Eisenberg) trying to survive 'Zombieland' by following his very wise rules. He aims to get to the aforementioned Columbus to see what has become of his parents. On the way he meets Tallahassee (Woody Harrelson) who isn't one to mess with and the two start travelling together. On the way they find some more 'friends' and there is a Hilarious Cameo which I won't spoil. Overall this film had both a great story with great comedy combined and is well worth a watch.
The earth is overrun by zombies and the only aim for those unaffected by the zombie virus is to survive and maybe fine Twinkies.
This fast-paced zom-com is sharp, brutally funny and packed with plenty of gore - very rewatchable!
Verdict
Most enjoyable Zombie film to date - it's a riot, so get stuck in!
Law & Order: UK is like a big ball of baffling Television elastic-bands, all tangled together. Is it brilliant? I don't think so. Is it utter rubbish then? Not quite. But strangely, and in a way not privy to normal television viewers, it sort of works, as long as you don't look at the individual strands too closely. It can be frequently ridiculous, but it also has moments of excellence which are hard to shake off. If you get a corker of an episode, you're in for a treat. If you get a poor one, you might as well be in Narnia for all the sense it makes. At the end of one of the bonkers episodes, I end up wondering if the writers pen the scripts using glitter-glue and crepe paper.
If you haven't stumbled across this weird beast on ITV1, here's how it works. The superb Bradley Walsh and photogenic Jamie Bamber investigate crimes in a meticulous manner. When they think they have a case against someone, they check with their boss Harriet Walter who considers their reasoning and does her trademark chewing-on-a-wasp expression before giving them the nod to charge their suspect and hand them over to the CPS. But this is when it all gets a bit silly (and where a potentially great episode starts to become a script-writer's joke). Ben Daniels, as the Prosecuting Barrister, insists on speaking every line as if he's quoting something Latin, Bill Patterson murmurs in the background like a tired old terrier and Freema Agyeman.....ah, dear Freema. She's actually not bad, but the script gives her the most awful, explain-the-plot-while-drinking-coffee lines, and in the end she comes across as the office dim-wit. Even when she's made a breakthrough on a case, her dialogue is so weighted and emotive we feel as if we should clap and give her a sticker. But maybe that's why she's so lovable.
I'll stick with Law & Order: UK for as long as it lasts. But please, writers, please - can you stop representing the Crown Prosecution Service as a hire-for-the-day, go-get-em law team who'll come to the rescue of any grieving family however much it costs them in time or money? In one episode of this second series, the CPS feel sorry for the parents of a dead drug-smuggler after her sleazy boyfriend gets off in court, so they go through all his tax details and business paperwork desperately trying to find something to charge him with. Is this legal? Ethical? A realistic portrayal of how CPS employees spend their time? Who knows. I've stopped caring. After all, it's just television.
New Moon...It makes women swoon and men feel inadequate. Thank you Stephenie Meyer...and thank you Chris Weitz...
My friend described this film as 'hunks and chunks' and he was right. The director pounced upon every opportunity for Taylor Lautner and Robert Patterson to whip their shirts off and expose their muscley torsos. Taylor Lautner aka Jacob is about 12 years old, but he's still somehow managed to transform his body into an object of desire for every woman in the world. In the cinema I witnessed a woman of at least 60 years of age audibly groan in pleasure as Jacob revealed his six pack. It's disgusting! I've got food in my fridge that's older than that lad!
All this aside I did actually really enjoy the film...even if it did make me feel like I needed to hit the gym twice a day for the next six months. New Moon was different from Twilight in the sense that it didn't seem to take itself so seriously. It's as if Chris Weitz, the director realised how cheesy and ridiculously corny the stories are and decided to inject a little comedy into the script. I think the director got the balance of comedy and drama just right this time and it beats the first film of the series hands down. It's not so sombre and broody and has a lot more action and humour. Fans of the books and Twilight newbies alike will both love this film. There's something in New Moon for everyone to enjoy...even those of us who don't have a t-shirt that says 'Team Jacob' or 'My boyfriends a vampire'. Oh and you don't need a Twilight duvet cover either...that's a step too far...
Verdict: Good film. Soft porn for the ladies. A bit of vampire violence for the lads. Everyone's a winner!
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