Involves extremely amazing CGI and remarkable action scenes, especially good in high definition, A MUST SEE!
Edward Norton's performance is one of his best, displaying all of the characteristics of both the confident Hulk and the shy Banner, portraying the image of the original Hulk from the comics. The film is slow to start off with but gradually brings in all the aspects of a great film throughout the movie, finally delivering an amazing experience. 9/10.
A flashback of how the hulk became the hulk in a science experiment, then to follow his demise, on the run, and how he became a fugitive of the united states but eventually overcoming this and becoming the hero of the hour. A remake/sequel to "The Hulk".
I bought this a week ago and have watched both seasons within a couple of days - I could not stop watching it, this show seduced me!
The characters are all so likable and unpredictable even the stereotypical ones like Nancy's brother in law Andy who acts like selfish playboy and Nancy's best friend Celia who acts like the resident ***** .
The humour in this show is portrayed in quality form, the humour is also quite dark but the characters lighten up the show especially Nancy's younger son Shane who I consider a little bad ass.
I heartily recommend this show
But be warned there is a lot of adult content.
Weeds is about Nancy Botwin, a mother of two who lives in a suburban neighbourhood. When her husband dies she has trouble keeping up appearances so she begins dealing drugs.
I started watching this show for the first time about a month ago.
When I saw the first season I thought this show was pretty funny, but as the seasons went on it got so much better.
This season in particular is outstanding, I like how instead of taking Eric and Donna's breakup too serious they decided to make a joke of it and they did this very well.
Another strong point of the season would have to be the musical episode which some people I know hate, but I just laugh hysterically whenever I watch this episode.... (Singing the joker was hilarious).
The first episode of this season is also one of my faves, when Eric wishes he had never kissed Donna and was shown what would have happened if he didn't (fave part fez singing don't worry be happy).
I would recommend this TV show to anyone no matter what they like because it is hard not to love this show.
Allen and Ullman are a brilliant match in this well observed piece, highlighting the lack of literacy and the presence of sharp retort as a replacement.
The writing and screenplay is first class and the characters are not only believable but impart a human realism.
The premise is good and the story flows well, basically Allen is a very small time hustler or safe cracker. Ullman tries to keep him on the straight and narrow but always falls for Allen's persuasiveness.
By mistake they become billionaires when their heist goes wrong and their front becomes an overnight hit.
Therefore a distinctively hilarious social comedy of the class system ensues.
The patter is great and ties in the premise very well.
A gem of a movie 10/10
Conventional sharp comedy.
Based on an award winning book of the same name, Death Note is a supernatural thriller which takes the viewer through a battle of wits between Light Yagami, Japan's number one student, and L, the world's number one detective.
The viewer is treated to a rewarding story of two conflicting intellects, each driven by their perception that they are both doing the right thing. The story presented to the viewer draws them in to the world laid before them and they cannot help but vie for one of the stories protagonists.
Unlike similar animé adaptations Death Note suffers from no filler material and everything presented is a direct translation from the Manga, giving the black and white life through colour and voice. The story suffers from no repetition and the authors did a fantastic job of moving from one story arc to another without any drop in pace or leaving the viewer feeling as if they are missing anything. Although shorter than some other animés Death Note benefits from a closed ending with the story seeing its end in sight and reaching a crescendo that leaves the viewer satisfied and awed.
The animation itself is smooth and crisp, and can easily hold a candle to its western competition and cleverly uses dramatic cinematography and lighting that a few Hollywood directors could probably learn from.
The cast of both the English and Japanese language variations are the best in the field and help the viewer in the final emersion, from simple cartoon the rewarding viewing experience.
Shinigami are gods of death living in a world parallel to our own. They play with the fate of humans and take life to increase their own. When one of their relics, The Death Note - an item that will instantly kill anyone whose name is written in its pages, falls into the hands of Japan's number one student he is left with a difficult choice: to become a beacon of good and rid the world of evil or become that same evil and use the power of The Death Note for his own gains.
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 a 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, while 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.
Verdict
Angels and Demons is a rapid and lively thrill-ride that will keep you glued to your seat - a lot better than the first, but a bit corny in parts.
Al Pacino and Brian De Palma reunite exactly a decade after 'Scarface' (1983) to tell the story of Carlito Brigante: A legendary gangster struggling to go straight after a long stretch in prison. Pacino is excellent as usual, though its Sean Penn's revelatory performance as sleazy lawyer David Kleinfeld that steals the show. Penelope Ann Miller, John Leguizamo, Luis Guzmán and Viggo Mortensen crop up in memorable supporting roles; all of which gravitate around the battle of wills between allies turned adversaries: Brigante and Kleinfeld. Adapted from a novel by Edwin Torres; 'Carlito's Way' is, in many respects, the thinking man's 'Scarface' and an essential companion piece to De Palma's modern classic. An underrated picture in the grand scheme of things, but one that builds up the momentum in a masterly fashion and isn't afraid to employ voiceover or give the characters some room to breathe: If you're an Al Pacino fan, then this is a must own.
The plot is simple. A politician responsible for killing someone in a hit and run accident convinces his long time driver to take the rap and in return promises to look after the man's wife and son while he serves the nine month prison sentence. The title refers to the proverbial refusal to see, hear or speak evil and the central characters are soon caught up in a tangle of mistrust, deceit and betrayal. Classic film noir then but the European (or more accurately Turkish) art-cinema variation. The storytelling is slippery and elliptical. Most of the main events take place unseen off camera - the audience sees the results and is left to add two and two. The mood is claustrophobic, brooding and desperate but shot through with black humour - one running gag involves a mobile ring tone with the lyrics 'I hope despair is always at your door'. Most remarkable is the look of the film - the desaturated colour palette shot through with occasional reds, the shadowy interiors and dramatic skylines, the way scenes are composed and the actors 'arranged' is painterly and undeniably beautiful.
As the film builds it moves from film noir to something closer to classical tragedy and if the ending feels less than satisfying there is no denying the power and beauty of the images that linger long after the credits.
Turkish film noir - beautiful and brooding
This is really different and unusual - not your average film. It's very enjoyable - funny, romantic, it's a chance to see life through a different perspective. It is French so there are subtitles but you soon don't notice. It is shot in vivid colours, reds and greens, so is a beauty to watch. Amelie is a loner, the oddball in society but the story follows her quest to do good for others and ultimately she finds her happiness herself.
A real feel-good movie!
This film tells the story of Amelie, a girl who lives in Monmartre in Paris, it starts with her childhood and continues through to adulthood where she is a bit of a loner, but eventually finds love.
This series is one of the best I've ever bought.
I usually like to watch TV series, and after I finish the last one I decide to buy desperate housewives to give it a go, it was the best choice ever... after that I bought all of the other seasons one after another. You will laugh a lot, there is drama, everything you can imagine in one series it's here...
You'll love it
At the time of production Little did poor Hugh Grant know, but years later 'Train to Hell' would appear on programmes called something like 'Before They Were Famous', presented with relish by Angus Deayton to a sniggering audience. The sniggering in this case is richly deserved as it is all aboard for a thoroughly bewildering experience, seemingly an attempt by German producers to make an international film hit. A great deal seems to have been lost in translation, though.
Grant plays Martin, author of a book on neo-Nazis, travelling to Venice to meet his publisher. On board the Orient Express he encounters a menagerie of characters, including menacing skinheads, a troupe of flamboyant artistes, and a beautiful woman called Vera (Tahnee Welch), who is travelling with her young daughter. It's a promising start which sets up a number of intriguing threads, and it is set aboard the world's most romantic train but, unlike the train, the plot doesn't go anywhere.
Malcolm McDowall, who has appeared in more than his fair share of stinkers, has little to do but glower menacingly and make gnomic observations. "I know everything about you... I know what you are afraid off," he tells Grant, but no explanation is forthcoming. His every appearance is in slow motion - except when he speaks, because that would be daft, wouldn't it? - an idea which, had it been used sparingly, might have been effective instead of just silly. Vera suffers visions of a child in a grain store at the mercy of a masked character. Is the girl her? Is the man McDowall? Or has she seen Phantom of the Opera too many times?
Tahnee Welch, although the daughter of Raquel, bears an uncanny resemblance to Liz Hurley and even seems to be sporting an English accent. Venice appears so much in the film it is almost another character, the producer very keen to maximise the use of his expensive location (the film boasts not only a 2nd Unit but a 3rd). This may be the only film to have a 'title song' credited in the main titles but not actually sung over them, and, moreover, when it does appear it's the title song for 'Night Train to Venice' (the film's original title).
The DVD clocks in at around 75 minutes, but it seems the DVD company hacked out as much as 20 minutes. They should have hacked out more. Much more, for even at 75 minutes it is padded with shots of the train hurtling past, artful footage of Venice, sex scenes, and repetitious and inexplicable dream sequences, when what was needed was more plot and less obscurity. One wonders whether the explanation has been cut out as well.
Though 'A Tony Hurtreiter Film', in fact he is producer and co-writer whereas one Carlo U Quinterio is director. Or maybe they swapped roles halfway through.
Enthralling, post-American civil war western, which sees one time Southern Confederate rebel Liam Neeson and his hired posse pursue erstwhile Northern Union Captain Pierce Brosnan through the wilderness. A film of immense scope and beauty, 'Seraphim Falls' landscape and harsh environs (we go through a variety of milieus; from snow capped mountains, deadly rapids, thick forests, pioneer towns to an infinite cracked desert) are as much a part of this film as its stars. Excellent cinematography and survivalist themes make for an enjoyable, well-paced picture punctuated by sporadic bouts of gunplay and an intriguing narrative arc. Brosnan and Neeson put in sterling performances as hunted and hunter; though that status, like our loyalties, swings back and forth as we learn more about each character and the tragic set of circumstances that set them on this collision course. 'Seraphim Falls' final, surreal scene is great cinematic shorthand on the ultimate futility of revenge. This is an almost unknown, well-acted western that went unnoticed in 2006 and definitely deserves to be discovered.
Attractive young couple Liv Tyler and Scott Speedman are terrorised by a trio of hooded psychopaths, in first time director Bryan Bertino's 'The Strangers'. Don't be fooled by an impressive trailer, 'Straw Dogs'-esque set up or even the presence of Liv Tyler, for this wild goose chase of a movie simply isn't prepared to deliver the goods, and worse still, hides behind the conceit of minimalism and hyper-real misdirection. A rebuffed marriage proposal forces our protagonists to re-evaluate their relationship and soak up some awkward silences at a secluded summer retreat; their tedious, introspective navel gazing is rudely interrupted by some Manson family wannabes who besiege and harass the hapless pair into a panicky stupor. Speedman ('Underworld') tries his best to make the dejected, emasculated and almost entirely useless; James, seem somewhat likeable whilst Tyler's Kirsten, though stroppy and distant, conveys her extreme emotional vulnerability in light of the circumstances to create a believable, if often annoying, character. One of the film's major drawbacks is that the director fails to create any suspense: which, in an alleged suspense thriller / psychological horror, proves deadly. Now I'm prepared to give him the benefit of the doubt and put any schoolboy errors down to inexperience; but never have I sat through a slower 90 minutes of film. Pace is almost non-existent and you're as irritated by the couple's stupidity, as you are by the dull and nondescript intruders.
Mis-en-scene is OK and Liv Tyler looks stunning so it's not a total loss. One particularly unsettling moment; where a case of mistaken identity leads to a shocking and tragic blunder, does stand out, though many scenes are lifted directly from 'The Texas Chainsaw Massacre', 'Vacancy' and 'Funny Games'. 'The Strangers' could've been a Hitchcockian mini-masterpiece on a par with 'Eden Lake' but is more of a hitch ridden cock up which, strangely enough, is almost exactly like the French movie 'Ils' from where it draws inspiration, or plagiarizes, if you prefer. Never talk to strangers and don't bother watching any movies about them either: A crashing bore.
Superbly acted, shot and written, very gritty and very real, you can feel the sweat for the guy who has no safe place to go. He has to fight for his life and his respect and you really feel it. The acting from some of the young people in the film is second to none, excellently British.
A young guy accidently kills another during a large street fight, years later he is out of prison on back on those same streets, life isn't easy and others want revenge...serious revenge!
This film is great, one of the best. It's a must see and soooooooooooooooooo funny. Anybody and everybody will love this film I rate this film ***** out of *****
Excellent film
Kathryn Bigelow has managed to make an intelligent film about the Iraq war by keeping it very simple. Instead of taking an arms-crossed attitude to the politics of the war, interweaving clips of George Bush's television cock-ups while replaying images of soldiers in pain, this steers away from this area of blame and the calling for retribution. The film does contain scenes where soldiers are in distress or turmoil, but there is never once a hint of a political stance. Never is the knife plunged and twisted in the stomachs of Bush and Blair. This isn't about presidential stupidity or even the naivety of governments. The Hurt Locker concentrates on the soldiers and how the war experience is for them. They live it and breathe it, and in the case of one particular soldier, thrive on it.
This standout soldier is SSgt. William James (played faultlessly by the relatively unknown Jeremy Renner), who takes the "war is a drug" saying to searing levels. He's drafted in when a Bomb squad officer is killed when trying to deactivate a bomb on a street in Baghdad (which gives us a very short appearance by Guy Pearce). But James's reckless daring and uncompromised lack of fear start to chafe with the two other members of his team, particularly Sgt Sanborn (Anthony Mackie).
The movie feels like a long strand of superbly judged moments of suspense and tension. This is not a criticism, as Kathryn Bigelow uses these scenes to create a cinematic tapestry of fear and excitement - the two principle emotions the bomb-disposal squad have to muster to their advantage. Blistering, nerve-shredding and utterly brilliant, this must rank as one of the best films made about the experience of war and how it inhabits those who taste it.
This film is Excellent, one of the best fighting films I have ever seen, its right up there with great fighting like 'Never Back Down' - it is a MUST SEE!
Excellent film
The Sarah Jane adventures is excellent. It is for people who like Doctor Who and things about monsters and aliens. I think this programme is one of the best series ever created for children. I think every child in the country should watch it. My favourite episode is 'Day of the Clown'.
This review is presented by Peter Jackson. Okay, not really, but his name certainly garners more interest than mine. District 9 makes use of this marketing ploy well: the Lord of the Rings director presents, although it is written and directed by newcomer Neill Blomkamp. The film tells the story of a spaceship which stations itself over Johannesburg, and the aliens which are found inside of it. These aliens (known as "prawns") are set up in a camp to be contained until decisions can be made on what to do with them. Cut to twenty years later and the prawns are still confined to District 9, now a ghetto slum. When the decision is made to move them to another camp further outside of Johannesburg, Multi-National United operative Wikus Van Der Merwe (Sharlto Copley) is put in charge of evicting all the tenants of District 9. While clearing out the prawns Wikus is exposed to an unknown toxic chemical, and must work with unexpected allies to survive. With so many brainless action cash cows being made these days it is a nice change to see a smart, low-budget sci-fi with a good heart making an impact at the box office. Blomkamp combines realistic, understated special effects with a story that the audience can actually get invested in to make one of the best films of the year. Sharlto Copley, with his acting debut, steals the show. His performance throughout the film was flawless, turning the audience's perceptions on their head, and allowing me to really root for his character and be drawn deeper into the film. Although the first act was a little slow due to a lot of required setup, the rest of the film maintains a high tempo and never slows down, without resorting to over the top action set pieces at all turns. In District 9, Neill Blomkamp has found the perfect combination between sci-fi, action and interesting plot. The questions asked are morally relevant and the director's vision is uncompromised. Also, in Sharlto Copley, he has found future star in the making.
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