The Duchess is a beautiful historical drama that's low on actual history but high in emotion and stunning costumes. Knightly's performance is gripping and really pulls the storyline together.
In Dirty Pretty Things, Frears challenges the UK tabloids' party line about immigrants coming over here and stealing our women and sleeping with our jobs, or some such rubbish. The salient truth is, if you don't have a passport and you try to get a job in this country, you will be deported. Okwe and Senay live under the radar, having to medicate cabbies' venereal diseases and fellate sweatshop owners to scrape a living together. Moreover, the locations are dirty and urban- this is not a Visit London advert or a latter-day Woody Allen film. Life in the capital is not so great for a certain part of the population, and that Frears manages to convey that without being preachy is quite a marvellous achievement, due in no small way to the excellent cast he has assembled.
For starters, it has to be noted that Chiwetel Ejiofor is an incredibly underrated actor. Though this film was his breakout role, it doesn't feel like he's making the impression in the film business that he should be. Despite working with Alfonso Cuaron, Spike Lee and Joss Whedon since this film was released, we have to wait for someone to sit up and take notice instead of watching him as a bit player in the likes of Roland Emmerich's 2012. But while we wait, there's always his lead performance here as Okwe, which is just tremendous, sympathetic and understated. Audrey Tatou lends him ample support as Senay, bringing to the role that naivety and innocence she always does so well. There's also a lot to be said for Sophie Okenedo and Benedict Wong, both of whom take briefer parts as potentially stereotypical figures (tart with a heart anyone?), but still make them three-dimensional. Such emphasis on casting is necessary because there are times when I felt the script for Dirty Pretty Things verged slightly into melodrama, but the superb peformances elevate the film beyond that.
While there's nothing wrong with a bit of melodrama here and there, it wouldn't quite sit right in a film with so much social commentary. That said, Frears is occasionally guilty of quite cliched touches to remind us whose side we're on- the immigration police who pursues Senay are the authorities, but to counter the audience's expectations, the principal cop has five o'clock shadow and a tremendous black moustache. He could scarcely be more signposted as a baddy if he were wearing a top hat and tying Senay to a train track. It's difficult not to find things overdramatic when you have someone like that on your tail. On the other hand, the film's message outweighs the more dramatic aspects, a refreshing change from the Oscar fodder that outperformed the film at the box office at the time of its release. Crucially though, while few people can even remember which film beat Dirty Pretty Things to awards success at the Oscars and the BAFTAs back in early 2003, this is a film that's as relevant and memorable now as when it was released.
Swerving any kind of three-act narrative structure proves a boon for this film, as Dirty Pretty Things instead stands as a microcosmic look into the lives of two characters- the opening of the film is not the beginning of their story, nor do the closing credits signal their end. Its message is wrapped up in the lives of the endearing characters, and it has a humanity seldom seen in "social movies".
Okwe is a Nigerian doctor who has sought refuge in London, forced to work day shifts at a taxi rank and night shifts as a hotel receptionist, staying awake by chewing khat. He has a tentative friendship with Senay, a Turkish girl who works as a maid at the hotel, but they are both put under pressure when their boss, Sneaky, becomes aware of Okwe's medical expertise. Sneaky runs an illicit organ trade, and attempts to blackmail Okwe into harvesting organs for him.
"Être et avoir" is named for the two French auxiliary verbs- to be and to have- and it's the reasoning behind this title that best sums up Philibert's approach to his subject. He doesn't engage in the guerrilla tactics of Michael Moore or the sensational high concept approach of Morgan Spurlock, but it's still met with much acclaim and appreciation worldwide. There can still be some argument of mediation, given the film's focus on comedy through Jojo's antics and on drama through Mr. Lopez's imminent retirement, but it's an endearing enough film that does a charming job in capturing a seminal stage of everyone's life on film. Whether you're French or not, everyone has had that first experience of injustice that's all over Alize's expression when she has her rubber hoard raided by one of the other children. Surely everyone of that age has some manner of social crisis like Jojo, and needs to check who his friends are? And the film is full of that wondrous outlook that only a child has upon the world.
More than this, it's a tribute to teaching- Mr. Lopez is an incredibly dedicated and competent teacher, being as much at ease with the older students as he is with the school's toddlers, and he never ostensibly patronises his charges. Lopez says in talking head shots towards the end of the film that he always wanted to be a teacher, even from being a little boy, and there's a great deal to be said for how professional and caring he is. It's also in this latter half of the film that the more dramatic stuff comes to the fore, with one kid going missing and another talking about his ill father, but for the most part this is a moving tribute to Lopez's work. Education in rural France is hardly at the top of anyone's agenda- unless you live in rural France- but Philibert makes it interesting for multi-cultural audiences, painting an often amusing portrait of what life is like for these kids.
Curiously, the only negative response from critics, at least according to Rotten Tomatoes, comes from American critics. Michael Booth of the Denver Post said the film was "as stultifying as watching paint dry, without the recompense of sniffing fumes", which I honestly think says more about what Booth's potential history of substance abuse than it does about the film. Moreover, it says a lot about how American audiences might struggle to deal with this- a world cinema hit untouched by cynicism, and for which sequel ("Deux Être Deux avoir", anyone?) or remake prospects are negligible. That's not to say "Être et avoir" is as engaging as it is innocent, but it is a charming enough portrait of a rather obscure subject.
In rural France, a group of students of various ages attend a remote one-room school to be taught by the dedicated Mr. Lopez. As the youngest learn their numbers and letters for the first time, the oldest students look forward to the challenging environment of middle school at the year's end, with Mr. Lopez shepherding all of them through their studies.
Tim Minchin is a musical genius! If you have had the pleasure of hearing his musical talent before, this DVD will reinforce your opinions of the man who so cleverly writes and performs some very funny and very Taboo songs. If you haven't heard him before and you're wondering whether this is a worthy buy, it is! It will have you laughing so hard you might actually die.
With titles such as; Inflatable you, Rock n roll Nerd and Dark Side, this DVD ticks all the boxes when it comes to comedy, entertainment and value for money. These aren't all new songs but it is a new compilation and performance from the Bloomsbury Theatre in 2008.
Nothing bad to say.
Music Comedy
The Hangover is the best movie I have seen in a long time. It made me laugh throughout the whole movie. It is a wicked!
It's never a good sign when the only two press quotes on a DVD come from the News of the World. Sure enough, Twisted is nothing to write home about or even a good quote about. The most remarkable thing about it is that such an unremarkable film should be directed by Philip Kaufman, the man behind such superb films as The Right Stuff and Invasion of the Body Snatchers (1978).
You have to feel sorry for Ashley Judd. She plays a newly-promoted detective in the San Francisco Police Department whose cop father went berserk when she was a child and killed her mother and then himself, turning her eventually into a tough, cynical, hard-drinking policewoman who hangs around in dives picking up low-lifes for one-night stands. One night she blacks out and wakes to learn that one of her casual lovers has met a grisly fate. The next night (or so it seems) she blacks out and wakes to learn that another of her casual lovers has met a grisly fate. The next night - well, you get the picture.
Her partner (Andy Garcia) starts to look at her strangely and the rest of the squad, who don't seem to have the faintest idea what detective work involves, make rude comments. Meanwhile, Judd has regular sessions with the police psychoanalyst and clearly even he is taking no chances, wearing his gun at all times.
The film rapidly degenerates into farce. Judd, sporting a fetching tomboy bob, is about as credible a tough cop as Julian Clary would be and her repetitious bar visits and alcoholic binges become absurd. If she is hung up on her childhood trauma to the extent of such self-destruction it's pretty unlikely she would rise to any position of responsibility in the force. Garcia looks bored and unhappy at playing second fiddle and who could blame him? The characters never rise above stereotypes and the dialogue is full of howlers. The one saving grace is the length, which is mercifully short. The DVD includes eight deleted scenes; far better had they deleted the entire film.
Hero is a film which proves that sometimes Hollywood actually helps bring quality to the screens. For if Quentin Tarantino hadn't fallen in love with this film (enough to bring it to US and UK screens) it may never have been seen by the large audience it deserves. Hero tells the story of Nameless (Jet Li), a fearless warrior who has defeated the three assassins who threaten the Emperor: "Broken Sword", "Flying Snow" and "Sky". However, as Nameless tells his story, the Emperor begins to doubt its accuracy and Nameless' true intentions.
In the vein of all great martial arts films, Hero continues the tradition of a simple story which becomes deeper and more complex as the film progresses. Director Yimou Zhang combines brilliant performances, smart dialogue and incredible fight sequences to bring this story to life. Jet Li, now a martial arts veteran, does a wonderful job at making Nameless an interesting and sympathetic character, even when we, the audience, can't really tell where his loyalties lie. The fighting set pieces, which can be the crucial factor in martial arts films, do not disappoint: simply put, they are breathtaking. The frantic yet graceful moves against the vibrant colours of the ancient Chinese backdrop make for a visual feast. The face off on the lake is rightfully one of the most famous fight scenes of all time, and needs to be seen to be believed. Although it can be argued that the films constant rethinking and retelling of events can weaken the audiences attachments to the character and story, I personally believe this only further enhances the overall effect of keeping the audience guessing right until the end. The themes of loyalty and trust are deftly explored and give the film a real emotion pull, which is backed up by a heartfelt script. If you missed it the first time round, give it a try. If you've seen it, then try it again, you already know how good it is.
This is one of those films that keeps you on the edge of your seat throughout the whole movie, from the minute it came on I was hooked. Liam Neeson plays a fab role, his best movie ever I think and I'm a big fan of his work. I give this film a 5 star rating, definitely one to watch.
The Boat that Rocked is a humorous take on the pirate radio scene in the UK.
It tracks 8 DJ's on a boat and their various forthcomings. Each performance is as solid as the next and the storyline never fades away. With twists and turns and the rough and tumble of the seas, you'll enjoy the ride as much as any other you've spent on an oil tanker out at sea. Only this time you can enjoy it from the warmth of your own home.
It is said that there are infinite universes. Further more in each of these universes every possibility is played out. So imagine if you will a universe where James T. Kirk does not join Starfleet. He does not become friends with Spock and his life as captain of the USS Enterprise does begin.
Not much of story is it?
Well add into the mix a Romulan hell bent on making Spock suffer for something he had no control over. Throw into the mix a captain who can see the potential of a young drunken Kirk, and who offers him the challenge of seeing what he can achieve in comparison to his father who saved many lives in his short term as captain. Add to that mix adventure, action and a paradox to what life in the Trek universe should have been like and was not.
What do you get? Aside from many fans in uproar over the continuity of the Trek verse, you get a really good film. With everything you need keep you watching from beginning to end. That even the most pure diehard fan could not ignore.
5 out of 5
It's been my experience that Michael Mann movies are almost always about something other than the expected genre. For instance 'Heat' was about mutual respect and professionalism, 'The Insider': personal sacrifice and integrity, 'Ali': honour and resistance, 'Miami Vice': infatuation and bureaucracy, 'Collateral': obsession and seizing the day. 'Manhunter', Mann's 1986 adaptation of Thomas Harris's bestseller 'Red Dragon', is no different; in that the overarching theme focuses on the main character's inability to reconcile his gift of matchless intuition with his moral disgust at being able to empathise with the worst elements of society. A film that's built up quite a reputation over the years, and not just because it marks the cinematic debut of the now iconic Dr. Hannibal Lektor or that it was remade in 2002, but because it lays the groundwork for the modern police procedural, which consequently gave rise to classics like 'Seven' and popular TV shows 'Criminal Minds' and 'CSI'. In fact, they've used the template so often now, that what was once innovative, now seems trite and somewhat of a cliché. 'Manhunter' follows FBI agent Will Graham (William Peterson); who solicits the help of psychopathic criminal mastermind Dr. Hannibal Lektor (Brian Cox) to crack the case of the Tooth Fairy serial killer. Mann's heavily stylised mis-en-scene is in keeping with the decade: crisp and sparse; an aesthetic signature he'd go onto develop in 'Miami Vice' but one that occasionally feels at odds with the dark nature of the story. Now Anthony Hopkins's Dr. Lector was more theatrical and grandiose in his movements and manner; ideally suited to the sprawling canvas of 'Red Dragon', black comedy of 'Hannibal' and structured suspense in 'The Silence Of The Lambs'. Whereas Brian Cox's Dr. Lektor has an unthreatening nonchalance about him, and it's only when you look closely that one catches a glimpse of the homicidal madness lurking just beneath the surface. Both actors were excellent in different ways and what 'Red Dragon' lacks in some parts, 'Manhunter' makes up for in others and vice versa. Ed Norton, who played Will Graham in 'Red Dragon', got the character's lethargic disillusion down to a tee, though wasn't required to drive the momentum in the same way as William Peterson is here. Peterson is truly phenomenal in this role, and shows moments of dangerous vulnerability, which make his character all the more real and increase the sense of peril as he gets closer to solving the case. Nowadays, Hannibal Lector is primarily identified as an impression or by a series of catchphrases, but to get back to the essence of Lektor and the deadly duel of intellects, one has to revisit 'Manhunter'. For the brilliantly acted, five minute scene where Graham persuades Lektor to offer his insight, is more powerful and unnerving than any other scene in all the Lektor movies put together. 'Manhunter', though flawed in places, is an overlooked classic that's definitely worth revisiting.
You don't have to be a 13 year-old girl to watch Twilight. It may be a very sweet and idealistic film revolving around a fantasy romance, but it is also a very watchable mild thriller.
Defiance is a well told story that's both haunting and moving, however, unfortunately, it's a bit hollow and samey, leaving you with the feeling that you've been here before...but with a better movie!
The Curious Case of Benjamin Button is an imaginative epic about love and loss. Its visuals and storyline is outstanding and although it's just shy of 3 hours long, the time flies - a perfectly executed movie!
Gran Torino is a very watchable film about age, race and redemption; it's wise, insightful and provides a gentle humour - an effortless masterpiece!
Body of Lies is entertaining and perfect for those who love lots of action; however, it is easily forgettable and often seems a little confused as to whether it's a thriller or a political drama!
Changeling is a hard-hitting but inspiring movie with a bold performance from Angelina Jolie - her best yet in my opinion!
David Fincher's brilliant adaptation of Chuck Palahniuk's cult novels remains one of the seminal films of the 1990s.
Fincher's film briefly tapped the zeitgeist (in a series of op-ed articles over a #1 box-office weekend), then just as suddenly tanked, failing to turn a profit from domestic receipts. But when the film hit DVD, it steadily built its reputation as an unappreciated masterwork of cinema at the turn of the millennium. Now an evergreen cult movie in midnight screenings and home video reissues, Fight Club remains a signifier of Fincher's influential visual style (painted in shadows and sickly green) and a postmodern "violence chic" that, intentionally or not, rubs off of Fincher's work (including Se7en).
His best film to date, i think so. And one of the best films ever made.
I didn't go into this with high expectations, thinking it would be just another in the long line of Apatow-type comedies, which are generally fun on 1st viewing, but have very little replay value.
I'm happy to say that this film bears many repeat viewings! All the leads have a natural camaraderie and whilst you can see a lot of the set pieces coming, they'll still tickle your funny bone every time.
Whenever Mike Tyson turns up, things get very surreal - I don't know if it's because Tyson is just a very bad actor and nobody dared to tell him, but his scenes definitely have a certain 'quality' to them - but this just adds to the overall enjoyment to be honest.
And it's got a tiger in it and I like tigers, so the film automatically gets a good review.
Definitely worth a purchase as the DVD extras are bound to be loads of fun too.
Some guys get drunk and forget what they did. With the help of Mike Tyson, a baby & tiger, they begin to patch things together. . .
We are just through Season 2 and it is a great series. It is funny, thought provoking, well written and well acted.
My wife was sceptical at first as we don't usually do hard hitting drama like this, but we both just loved it.
It is now £50 at places like Play and Amazon, its great value for money and well worth it.
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