Switchblade Romance what are you doing to me? You are like a coffee revel, I don't really know what to make of you but at the same time you intrigue me and I trot on. This French horror focuses on two students, college students I believe, called Marie and Alex that have planned a little visit to Alex's family home for the weekend. Once there you have the usual guided tour around an unknown premise which we have all experienced at some point our lives. However the mundanity which we may have experienced is wiped clean as the arrival of the girls brings with them the arrival of a killer. Incredibly charming I am sure you will agree. The greasy, grimy, grubby truck driver arrives with a snap as he proceeds to slash through the family. I do not wish to delve any deeper into the plot of this film as there is a lot to be discovered by the viewer themselves, and by reading about it in a shabbily written review is probably not the best idea.
What can be mentioned further however is the performance from Cecile De France. Number one is what an exquisite name, it is just smooth and floats off the tongue. Enough of that infatuation blip, the 'proper' number one should definitely be her performance. I have not seen her performance in Around the World in 80 Days but I find it extremely difficult to imagine a stronger performance than the one the Belgian puts in here. I have used such adjectives as greasy and grubby to describe the trucker but they could very well be used in describing Cecile's performance as Marie.
The film falls flat however in its last act, losing a few Brownie points in its ropey ending. It conjures up an air of disappointment and frustration as it was going so well in the bloody company of Switchblade Romance it is just crippling when the 'reveal' props its head on camera. Any creativity that was showcased in the beginning is lost with this and drags the movie down into ordinary territory which is a shame. A crying shame no, but a shame none the less.
Now the main question it all comes down to is - Should I pick this up? For me the answer to that is - Yes, you should pick this up and give it a shot, if not for the price tag then for the DVD cover that looks like a beautiful barbaric B&Q billboard. Plus you have a very interesting and intriguing first half to look forward, perhaps when it comes to a certain point you could switch off you DVD player and leave that lasting good movie feel planted within you. Go on and make a game of it...
This is the tale of a young girl (excellently voiced by dakota fanning) who feels neglected by her parents. Upon arriving at their new home she finds a doorway to an alternate version of her new house; complete with her "other mother" with buttons for eyes. This other world seems too good to be true and all that is required to stay there is to do one little thing...
This is the tale of a young girl (excellently voiced by dakota fanning) who feels neglected by her parents. Upon arriving at their new home she finds a doorway to an alternate version of her new house; complete with her "other mother" with buttons for eyes. This other world seems too good to be true and all that is required to stay there is to do one little thing...
Verdict
Coraline captivates you from the very start with is imaginative storyline and beautiful detail - great for kids and adults too!
I Love You, Man is the story of Peter Klaven (Paul Rudd), who, after getting engaged to his girlfriend Zooey (Rashida Jones), realises he does not have any male friends to fill the role of best man. After many failed attempts at trying to find a suitable candidate, Peter meets Sydney (Jason Segel), an ultra-hip, laid back financial investor who is everything he is looking for. The two hit it off from the get-go and before they know it they are best friends. However, this new friendship causes a strain on Peter and Zooey's relationship. To make a film about two guy friends who spend most of the runtime just messing around, doing guy stuff, it requires two very likeable leads. Fortunately, I can't think of two more likeable actors than Rudd and Segel. Rudd's awkwardness and innocence contrasted with Segel's brashness and confidence makes for a treat. The efforts of these two take this film above and beyond the others of the genre, making their characters genuinely interesting and the kind of guy's the viewer would actually want to hang out with. Their on screen chemistry is apparent immediately and it's clear director John Hamburg gave them free reign in terms of ad-libbing their lines, to great effect. The supporting cast are also on top form: Jon Favreau, Jaime Pressly and J.K. Simmons all contributing to the laugh count. The jokes come thick and fast, and even familiar set pieces are done in a fresh, funny way (Peter's series of "mandates"). There is one problem I have with the film though, in the shape of Peter's fiancé, Zooey. Now, understandably the female characters take a back seat in this film, but still the fact remains that Zooey is way too two dimensional and acts out of character a lot (she gets angry with Peter for having a friend for the first time in years, really?). This minor flaw aside, I Love You, Man is a smart, funny look at male relationships. It manages to stay sentimental without being too crude, and the humour, in most parts at least, appeals to both sexes. If you can look past the overused "bromance" tagline, it's well worth your time.
I have viewed this film many times over the years and continue to be moved by the powerful story and performances by Denzel Washington, Craig Kirkwood and the supporting cast.
The movie is a great reminder of the strength of the human spirit. When we each take the time to look deep inside ourselves, our conscience recognises truth and with patience, courage and perseverance, that nothing is impossible to overcome.
A truly memorable film with a great moral message.
An inspiring story based on true events about overcoming adversity and discrimination during a period in America where racial hatred and division were publicly accepted. The story revolves around a newly hired black coach (Denzel Washington) who strives to bring together an initially divided high school American football team between black and white players. The football team ultimately succeeds in coming together and becomes the catalyst in breaking down such discrimination in the local community and beyond.
You have never seen anything like District 13 & District 13 Ultimatum. If you thought that The Transporter packed a punch, then this adds a hundred more. Luc Besson does it again with two fast paced action packed films which will amaze you and make you reach for the rewind button to see if what you just saw really happened. The thrill ride that Parkour adds to these movies as a vehicle for the talented David Belle (founder of the Parkour movement with Casino Royale's Sebastien Foucan) and Cyril Raffaelli (Die Hard 4.0) D13 comes at you with a mighty wakeup call as Leito (Belle) runs, jumps and throws everything but the kitchen sink at the drug lords who are after him for ruining their operations. Bring in super cop Damian (Raffaelli) and a casino fight scene which lead the two to finally meet and the added character of "the wall", the films sets up a superb climax that will have you watching it again and again. D13 is a raw, edgy film which gets you clambering for the sequel D13 Ultimatum. Released on DVD in the UK rather than in cinema D13U is just as fast paced and action packed as the previous cinematic sight, however, this film is more based in story. The wall is still up three years later and government promises are long gone. Bring in corrupt officials hoping to profit over D13's demised it's up to our two heroes to make the difference in spectacular style along with the new hardcore leaders of the five suburbs of District 13. D13 & D13U are a thrill ride from start to finish. Now all we need is a third movie to complete the set!
Fast action packed and superb Parkour
This is one of the best American Pies and one which you can watch over and over. A great teen comedy and a MUST SEE!
I rate this **** out of *****
This film is great, one of the best teen comedy I have ever seen. It's one of them films that you can watch over and over. Sooooooo funny!!!
I rate this ***** out of *****
This is a very good film to watch and fun of all the family. I found it very funny and would rate it ***** out of ***** - a must see!
Extreme onscreen violence doesn't turn a good film into a bad film. But if it portrays sadism, gore or anything related to ultra violence, there has to be firm reasoning behind it. Martyrs, Mum & Dad, Eden Lake have all justified themselves in my books as films who have used shocking levels of nastiness but kept quality on their side. Straightheads doesn't. It doesn't even really have a point to it. Posh city worker Gillian Anderson and her unlikely lover Danny Dyer are attacked by a group of middle aged men on a deserted road. She is raped and he is blinded in one eye. The two of them recuperate in her stylish flat. But, as a month passes, Anderson's character realises she wants more than a slow but steady recovery. She wants revenge.
There are three major problems with the film. Firstly, there's the absence of any police. It is hinted at that their investigation isn't going anywhere, and that the two victims didn't inform them that there was a sexual aspect to the attack, but never once do we see anyone to do with the law. This seems a little odd, but it becomes clear that police questioning would hamper director Dan Reed a little too much - it seems he wants to get straight to the gruesome revenge. The second big problem is the violence itself. This film is a perfect example of violence for the sake of violence. The brutal acts at the start of the film only serve as a lead up to further, nauseating scenes of sickening sadism. This is where Dan Reed looses my respect completely. The third problem is, of course, Danny Dyer, an actor who always lives up to his last name and rarely convinces in any role he inhabits. Here he is particularly awful as Gillian Anderson's bit-of-rough, and with his laughably bad delivery technique and lack of any awareness for subtlety, he single-handedly drags this film into the realms of lunacy. Goodness knows why he was cast in the role, and it's made worse by Gillian Anderson, who eclipses him in every scene.
Anderson is an actress I respect, so I'm more forgiving on her part. She makes the best out of a preposterous character, but even someone of her talent would find it hard to rape a man repeatedly with a gun and look as if they're enjoying it. Setting aside the fact that the anal-gun-rape scene is nicked from French shocker Baise-Moi, the scene is so inexplicably ridiculous you don't know whether to laugh with disbelief or turn the film off in disgust. This movie goes to depths unexplored even by the likes of Transformers 2. And believe me - that's something very hard to do.
I really didn't think I would enjoy The Inbetweeners, being a girl, but I'm addicted to it; you really must watch it and series 2. I guarantee you will like it, also great price x
Underrated writer/ director James Gray tries his hand at romantic drama, in a significant departure from his critically acclaimed, if only moderately successful, mob movies 'Little Odessa', 'The Yards' and 'We Own The Night'. Joaquin Phoenix steps up to the plate once more, having headlined in both 'The Yards' and 'We Own The Night', Phoenix plays Leonard, 28-year-old Brooklynite who moves back in with his parents in an attempt to overcome a severe bout of depression. Caught between two women: wild & crazy neighbour Michelle (Gwyneth Paltrow) and the prospect of an arranged marriage with the sedate but sensitive Sandra (Vinessa Shaw) our protagonist faces an age old dilemma that's been a narrative staple for many a male storyteller in both film and literature. Joaquin Phoenix is at his brooding, mumbling best though a staggeringly miscast Gwyneth Paltrow, who's about as "wild & crazy" as Katie Melua on Barbiturates, is often overshadowed by an understated and complex performance by the lesser-known Vinessa Shaw. Similar in direction to Steve Buscemi's 'Lonesome Jim', 'Two Lovers' is a captivating, well acted, if sometimes clichéd, drama that'll definitely appeal to indie film aficionados.
It is always great when a film sets off a little reaction like a spark in the viewer. Whether it be fear in a fantastically constructed piece of horror. Intrigue in a pitch perfect thriller, or joy in a masterfully orchestrated drama. On a Clear Day falls for much for me in the latter category. The plot of the movie is not too extravagant or exuberant; there are no cop chases or robots smashing through city skylines which we may have experienced through our summer in the cinema.
The films see's Peter Mullan take the role of Frank Redmond, a labourer that is laid off alongside several of his co-workers after a number of years working on the shipyards alongside the River Clyde. Now I must confess this may be where my biased eye begins to roll into its socket and enchant any potential readers. Hailing from the beautiful mechanical underworld known as Glasgow myself, I may have seen and experienced this film in a slightly differently light to many others. I have walked, drove and even galloped down many of the locations seen in the film, so there is that personal touch that lingers within me that is not often experienced in celluloid. Perhaps if you had been to Sleddale Hall and like drinking you would be able to scratch the surface of the feeling this films constructs for me.
Sticking with Glasgow just for a few more moments, you cannot review this film without mentioning how beautifully framed and shot this film is. This is certainly something I was not expecting, but what an incredible surprise it was to sit back and watch stunning frame after stunning frame fold together one after the other. Again this could be the biased eye raising its ugly retina again, but for me the frames were immaculate, on par with some of the work showcased by the aesthetic master himself -Park Chan-wook. It feels both strange and wrong to include the name Park Chan-wook in regards to this film review, but the pristine shots within the film echo the visual pride running through all of Park Chan-wook's work. So for that Gaby Dellal can hold her head up very high indeed.
With a number of positives touched on, a negative must be introduced. There is a slight unease with saying this is a negative as it doesn't really effect the film badly at all. More of a nit picking exercise on my part. The 'negative' which I am speaking of is in regards to the character of Danny played by Billy Boyd. Danny is/was a co-worker of Frank's in the film and pops up in a few places with a selection of witty lines that either fall flat, or produce a giggle. That and the fact I have the idea of Billy Boyd as a hobbit imprinted in my mind doesn't help matters. Any of the lines that do fall flat for are made up for by the incredibly delightful siren that is Brenda Blethyn taking up the role of Joan Redmond; Frank's wife. Brenda Blethyn waltz through this film putting a smile on the face of the viewer whenever she crops up on screen. Having Brenda Blethyn in you film is always a good thing in my book and in this film she shines brightly.
Such a small price for such a pretty, joyous film it should definitely be put into your films to watch list, to buy list or to rent list whatever you prefer, just give it a watch. What's three quid now these days anyways? It probably wouldn't even cover the fare to the swimming baths...
This is a must if you are a fan of Capt Jack from his early days in Doctor Who, this spin off has clearly shown he can lead and do well. 1st series shows you the people he has working with him in the fight against alien invasion, main character killed off in pilot episode but new character Gwen joins the crew. 2nd series is a bit darker and sees the loss of 2 main characters and you wonder what they will do next. The third series is so much darker and you literally cannot stop watching. An alien threat to children and they all talk around the world with these aliens' voices saying they are coming, scary in parts. Also heartbreaking as Capt Jack has to face loss of another member of his crew. Brilliant Programme and the collection is so nicely put together, all your Capt Jack in one place!!! A must buy!
Excellent drama on 'The Spanish Civil War' (1936-39) from director Ken Loach; 'Land And Freedom' is told in flashback as a living requiem for on elderly Scouser about to shuffle off this mortal coil; his granddaughter discovers an old case containing a scrapbook, newspaper clippings, a red flag and soil from a foreign land. Souvenirs from his time in 'The International Bridge': partisan volunteers fighting a guerrilla war against General Franco's fascist dictatorship. Ian Hart is excellent as Liverpudlian Marxist David Carr; whose idealistic Socialist worldview is challenged by Stalinist treachery in a climate of suspicion, conspiracy and violence. On a par with 'The Wind That Shakes The Barley', this is vintage Ken Loach and a must see for all serious film fans.
From the blurb on the back of the box it looks promising...well let me tell you - looks can be deceiving!
"From Masters of Horror", etc etc !! No such luck I'm afraid.
Someone on the production team must have forgotten to buy any ketchup!
I think they're playing on all the banned hype to rope you in, but trust me, don't bother.
It's "made-for-tv-tastic"!
The girl in the lead roll (Sara Paxton) didn't do too badly, so maybe more serious roles will suit her in the future.
Other than that - I'm sorry guys, but just not good enough.
If you want to see a good film in this genre, then get "Wolf Creek", now there's a film, that if you haven't got a sofa, you'll go and buy one to hide behind.
Weak thriller remake.
Verdict
Tamer than the original but still gory, The Last House On The Left makes for an unpleasant viewing experience. Nasty and predictable!
In its seventh year, 24 was running the risk of becoming another show that was past its expiration date. Season six, to be generous, was tepid. Plots were rehashed, Jack Bauer's extended family were brought in as a desperate attempt to shake up the plot (with complete disregard for any kind of plausibility) and the format was starting to grow tired. It's with great relief that I can say that season 7, after the appropriately titled TV movie 'Redemption', managed to inject fresh life into the show.
The change in location from LA to DC served as something of a reboot; there were only so many times Los Angeles could be targeted by the world's terrorists. Jack starts the season under scrutiny for the very actions that have saved the day so many times before - a sharp nod to the heavy criticism the show has faced for its over-emphasis on torture. As the day grows older, Jack is thrown back into another threat facing the nation, made more personal by the dark return of an old character loved by fans.
Although the season does sink back into some of its old habits, the story is gripping and the pacing as tight as ever. For the first time in years, it really feels like the story was plotted out with care prior to production. Where the season really shines is in its characters. The fiery newcomer Renee Walker is the shining light of this season: a flawed woman struggling to toe the line between what she's told to do and what she believes is right (which, invariably, is aligned with Jack). Her story is one of the most interesting of the year, ending in a powerful and intriguing cliffhanger.
The introduction of Alison Taylor as the first female President breathes more new life into the story. After six years we're finally free of the Palmer presidency, a story which was growing far too tired. Cherry Jones brings a humble gravitas to the role, a woman with strong values and principles which even at times outweigh her devotion to her own family - leading to several powerful scenes as she struggles with her husband and scheming daughter - one of the slyest characters the show has seen in years.
In spite of its virtues, it has to be said that by now, the show is preposterous. In Washington DC it's apparently even quicker to get from one side of the city to the other. Of all the grave problems facing Jack Bauer, traffic will apparently never be one of them. Think too hard and the timetable of the day's events will seem far too convenient to be at all possible, the plot twists so much it risks snapping and Kim Bauer makes a return as the woman who can't go twenty minutes without being kidnapped.
But that's all part of the fun. 24 persists in being one of the most relentlessly addictive and consuming shows on TV. Its twists come thick and fast, packing a good emotional punch from time to time, and every cliffhanger leaves you wanting just.. one.. more.
Bring on season eight!
N.B.: Difficult perfectionists such as myself should note that through some kind of witchcraft, Fox have managed to cram all six discs of this DVD set into a single DVD case. Although a miracle in engineering, the case won't match up with the other box sets on your shelf. Be warned!
The second season is just as good as the first one, some may say even better. As we've gotten to know the characters by now, the show spends more time on the humour which, if it involves Jim Parsons as the neurotic Sheldon, is beyond hilarious! It's a must have for all those nerds and closet-geeks like me :)
A sitcom revolving around four nerds and one beautiful girl, resulting in many humorous situations.
I'm a 'Star Trek' fan but not a Trekkie per say, in that I know the original series and films quite well, but couldn't tell you what Spock had for breakfast in episode 4, star date 2127.6. 'Star Trek XI' features some excellent, and often intense, action sequences; high on emotion but low on intelligence it's an entertaining, well-paced summer blockbuster: nothing more, nothing less. Chris Pine's Captain Kirk occasionally, and much to the delight of old school Trek fans, channels William Shatner to put the button on those scenes (e.g. Kobayashi test, final scene aboard The Enterprise), Zachary Quinto was born to play Mr Spock and his comic timings right on cue (a round of applause for the casting director on that one), Karl Urban is excellent as Dr McCoy whilst Star Trek's supporting cast all play their parts well (nod to John 'Harold' Cho as Sulu, who hilariously equates fencing with hand-to-hand combat and the laugh-a-minute Anton Yelchin as Chekov). The romantic liaison between Uhura and Spock was somewhat clichéd and out of sorts with the picture as a whole and there were a few scenes that wobbled or lacked credibility. 'Star Trek' icon Leonard Nimoy whistles through his dentures in a pretty decent co-star role as future Mr Spock, or Spock Prime as he's listed in the credits, Winona Ryder's cameo as Spock's mother was a tad pointless, though I get the feeling a lot of her scenes were cut. They could've bought Bill Shatner back considering 'Generations' was the worst instalment ever (closely followed by 'Insurrection') and that Captain Kirk's ignominious demise was the lamest exit in movie history. That said, I can understand Abram's reasoning as to why you couldn't have too many familiar faces back if you're attempting to reboot the franchise; still, it would've been nice to see Shatner get another go as Kirk. I watched one of my favourite episodes from the original series ('The Enemy Within') immediately afterwards and, for obvious reasons, it's not quite the same; there was a low tech, high calibre charm in the 1960s: a lot more emphasis on character and thought provoking storylines about human nature, the world and our place in it. Here, cerebral musings are undercut by laconic, witty one-liners, razzle-dazzle em' space battles and familiar sci-fi action movie set pieces. Director J.J Abram's seems to have conscientiously worked to a 'ST' fan's checklist in much the same way as he did in 'Mission Impossible III' and all the catchphrases, themes and motifs we know & love are present & accounted for. Other than that, the usual Abrams directorial problems persist i.e. TV style close ups, fast cuts and almost no wide or epic shots. Good use of colours and lens flare though.
Its Star Trek, but not as we know it...
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