The film "The Green Mile" is a very good story that involves a "mythical" creature (an angel) but it can also be seen as a true story that could actually happen. I found the film to be very dramatic and sensual due to the limited cast of major film stars (Tom Hanks, David Morse). The tale is portrayed beautifully courtesy of the director Frank Darabont. The connection between the prison guard and the "angel" or "inmate" was made to be believable and something that could never happen in the world we live in today. The film was very enjoyable due to the terrific performance from all the cast.
Here is a very notorious and individual film, directed by Francis Lawrence, written by Mark Protosevich and Akiva Goldsman and based on matheson's novel of the same name - this film will always be in my top 5 greatest films of all time.
Will smith plays Dr Robert Neville, a very smart and widely known doctor. When the country is under threat from a circulating virus which mutates human beings making them into the living dead, the whole United States evacuates to other places of the world but Dr Robert Neville stays behind. Leaving his wife and son, Dr Neville, with only his dog to keep him company, tries to make a medicine that can reverse the virus and stop the crisis getting even bigger.
In case there are any other survivors, Neville broadcasts on the radio every day saying that when the sun reaches his peak, he will be on the bridge. Then later on you meet some survivors who join Neville in finding the remedy for the virus.
This heart throbbing story will make you cry and jump in your seat; it's a great combination and would be widely enjoyed by many people in many generations as it has something for everyone. All in all I strongly recommend this title, you'll be hooked! Overall I give this 8.5 out of 10.
Where would we be without senior citizens? Nowhere....Exactly! Without getting into the nitty gritty we wouldn't be here without them; something to think about there, just don't think too hard. Save yourself from any images of the macabre. Back onto point, it is probably best to discuss the plot of the film, so here we go. Young at Heart sees a group of senior citizens form a chorus group that delve into a music catalogue that is placed very distantly away from their musical norm. Songs from The Clash, The Ramones and The Talking Heads all feature. Lots of 'the' there but it is important, as the Young@Heart chorus group are just brilliant.
Thankfully the film did not take the path of the obvious and showcase the group as some sort of bad joke. Don't get me wrong there are some very funny parts in this film, but the important thing to note is that you are not laughing at the group you are laughing along with them. You go on a journey with these people and you feel every bump along the road with them. And by the end of the journey not everyone gets away scotch free. A few step out of the car and meet the darkness simply known as G. Reaper. Some of the performances that follow are genuinely heartbreaking in regards to the events that have come before them. There are two scenes that stick out like a sore thumb when discussing heartbreaking moments in this film. One involves an elderly gentleman singing the Coldplay song 'Fix You' after his friend has passed away. As he sits isolated on the stage with nothing but a spotlight keeping him company, he produces a performance that some up and coming acts can only dream of. The audience is in his tear filled palms and there is no way the audience or you for that matter are letting go. When the chorus of the song hits it takes a toll on you the viewer. A delicate attack on your emotions that will see you giving the excuse of 'There is something in my eye' as you brush away the beginning of the tears.
For me the best scene in the movie comes when the Young@Heart chorus group travel to a local prison to put on a show. A concert that could have become somewhat of a pantomime, transforms itself into something hauntingly beautiful as the chorus sing bob Dylan's 'Forever Young'. A tear or two were shed and I am more than positive that any readers that pick this film will do the same. There is just something about seeing these two groups coming together and watching what evolves from it. It just shouldn't work, but it does, and this statement becomes the perfect banner for this film. The songs, the people, the concerts, shouldn't work, but they do and they are some of the most moving scenes in cinema that have been pieced together in the last few years.
This film could have been a sickly sweet mess of melodrama, but thank whoever above that it wasn't. It is a simple story about a loveable group of people that manages to cradle the audience into a state of pure charm. Do yourself a massive favour and pick Young at Heart up. Put some time aside one night to watch it. Settle yourself down on the couch, sofa, barge, or whatever you sit on to watch DVD's. Pop this in the player and prepare to be moved. Laugh, cry and perhaps sing a few lines as you are told the brilliant story of the Young @ Heart chorus.
I used to watch this series when I was a kid. It is one of the funniest comedies of all time. The mother makes me cry from laughing. It's too bad they only made seven seasons.
Good but it doesn't excel anywhere. A bit Matrixy/Daywatchy - futuristic assassins with slight superpowers do their stuff. It has a Good twist at the end, but doesn't quite have any replay value (except for naked rear view of Jolie!). Well worth a watch !!!
28 days later is an excellent movie. Just to see London completely empty is an amazing site. The film itself is an easy watch and a great night in.
28 weeks later, although cheesier than 28 days later, is still a good and watchable movie. The price of both of them on Blu-ray is awesome and definitely worth the buy.
This startling, Lord-of-the-Flies-esque vision of our society looks at how humans behave when one of our most important senses is taken from us - sight. This is a chilling and punishing vision of us as a race, battling to survive with our old morals become irrelevant and primal instincts taking over.
The loss of sight is obviously a sensitive subject, but it is handled with an uncompromising but expert hand - namely director Fernando Meirelles - and manages to be both thoughtful and punishing. The blindness spreads, an epidemic ravaging a city, destroying its society and normal way of life. Those who can see herd those who can't into a disused hospital. In this hospital a new society is set up, a society ruled by the self elected blind "King" (played by stunningly by Gael García Bernal) who orders the women to trade sex for food.
Julianne Moore, ever expanding her repertoire of put-upon-women, dazzles with her gift of a character; a selfless doctor's wife who is the last remaining person with the ability to see. Meirelles' vision of blindness, shown using a bright white light, is masterly realised, and gives us a potential metaphor to play with in our minds - maybe being blind is actually seeing the light, and makes us truly see what we have become.
I don't care if it's girly, weird or shallow to adore The Devil Wears Prada, David Frankel's utterly wonderful big-screen adaptation of Lauren Weisberger's bestseller. I love it. But there are two actresses in particular that really make it shine. The first is the great Meryl Streep, who takes a gift of a character - scary dragon editor in chief of an expensive fashion glossy - and gives her the "Streep" treatment, turning her into an unforgettable screen presence with chilling sophistication. The second actress I wish to draw attention to isn't the chocolate-drop Anne Hathaway (although she's perfectly adequate). It's the simply startling Emily Blunt, who creates a biting, cruel and hilarious first assistant to Streep. She really is a revelation, and, if her stint in The Young Victoria is anything to go by, Oscars shouldn't be far away. This film from her back-catalogue though, in my view, is the superior.
However, we mustn't leave out poor Miss Hathaway - she is the main character after all. And she does a good job as Andy Sachs, who becomes Miranda Priestly's (Steep) second assistant after being hired on a whim. She isn't as skinny (but far from fat), Gucci clad or bitchy as her Emily-Blunt colleague, but Miranda decides a change is in order, and opts for Andy's brains instead of her figure. To start with, Andy doesn't hack it, but then, as the seeds of possibility are sewn in her mind, she starts to understand how to get about in the back-stabbingly cruel world of fashion publishing.
The film looks gorgeous, the sparkly side on Manhattan looking like a Prada-wonderland, and the comedy is gently but cleverly blended with well-judged moments of drama. If you haven't yet stepped into the addictive heels of "The Devil Wears Prada", give it a go. It's one of the best of its genre.
In 1963 five children and teenagers were killed by Ian Brady and Myra Hindley.This two-part drama, broadcast on ITV1 in 2006, documents the events that shook the country over 40 years ago. However this is not to say that the terrible murders committed by Brady and Hindley are brought vividly to life. This sensitive and well written drama avoids any such horrors, while still managing to capture the immensity and weight of the situation.
Calmly setting down what occurred before, during and after the murders, this takes an interesting and original look at the case by concentrating on Dave Smith's involvement. After being invited to join in with one of the horrific killings (the only scene of violence in the whole film, shown mostly through suggestion) Smith, the boyfriend of Myra's sister, goes to the police to turn them in. The community however do not draw the distinction between killer and observer so easily, and as the publicity surrounding the case grows so does the bad feeling towards anyone associated with the Hindley family.
It must be stressed that the deaths of Pauline Reade, John Kilbride, Keith Bennett and Lesley Ann Downey are never seen nor detailed. The recording made of Lesley Ann Downey's death is never played but the effect of it is powerfully portrayed by the facial expressions of those who hear it onscreen. Although the killing of Edward Evans, the 17-year-old victim, is bloodily illustrated, the scenes are brief and the violence not dwelt upon. Instead of blandly whispering the harrowing story, the two-part film benefits by the lack of sensationalism. Maxine Peake, famous for her comic role in Dinnerladies is remarkable as Hindley, injecting her character with a surreal sense of haunting normality which truly emphasises the horror of her crimes. ITV were criticised at the time of commissioning this drama for reducing such as tragic event into Sunday-night entertainment. In my view it is important to use mediums such as film and television, as long as due respect and sensitivity is upheld, so these events are not forgotten.
Vampire relationships seem to be the in-thing at the moment. Twilight, the Brief Encounter of Vamp-flicks being the most accessible of this craze, is currently racking up the millions in the DVD charts. Lesbian Vampire Killers, a disappointing, tongue-in-cheek take on the blood-suckers theme is also making a tidy sum. Unfortunately, it is almost definite that these two films will add zeros onto their box-office takings in the UK a lot quicker than Let the Right One In, which is in my view the best Vampire movie ever made.
Now, there are reasons why I was one of only five people in the opening night screening of Let the Right One In, an achingly melancholy story about young love and merciless power. The first reason - it's in Swedish. Subtitled of course, but that's enough to put off the regular Friday-nighters. Secondly - it's released the same week as 17 Again (a hot, smooth, teen-friendly Zac Efron vehicle), Fast and Furious (a Vin Diesel vehicle) and Race to Witch Mountain (a Dwayne Jonson vehicle). I'm not naïve enough to suggest the star-power of a leading actor is the only variable when it comes to cinema takings, but it's too big to be ignored. In the cold, grey-white, snow-covered landscapes of Sweden, there are no topless Zacs, grunting Diesels or square-jawed Johnsons to push up the publicity value and fill the theatres. There is only pure, uncompromised story-telling, and the ability to execute it with outstanding, visceral, nerve-shredding competence.
Like Twilight (rather cosy, compared to this), Let the Right One In is about the relationship between two young lovers - one a human, the other a vampire. However, what it doesn't do is fill in the narrative gaps with goofy vampire base-ball and hip Muse tracks. Instead, it busies itself with the pain of love and the need for an accepting friendship. Blonde haired, quiet mannered Oskar lives with his mum in a council flat. He is being bullied at school, and takes out his anger towards his tormentors by stabbing a tree with a pocket knife at night in the snow-covered court-yard. He is witnessed doing this by Eli, who, at first appearance, appears to be a poor, frail 12-year-old girl, living in a nearby flat. Eli has curious traits - she only ventures out of doors at night, she has the ability to solve problems quickly and methodically (such as a Rubik's cube) and all the windows of her flat are boarded up with cardboard. We learn she is a vampire quite early on, as she sends her alleged father out to drain the odd passing local for blood. It takes Oskar more time to figure out her species, but when he does his shock gives way to apparent, new found strength. He has always been the boy without friends, without anyone to save him from the bullies. Now, he is in love with a vampire, a vampire that goads him to fight back "hard". She says this with icy certainty - "Hit back. Hard".
It doesn't take a genius to work out that the bullies do get some sort of comeuppance, but in an inventive and shocking way that makes us question our own feelings of revenge and the necessity of control through fear. There are some truly horrifying images to be seen here, one of the most notable is the bleeding of Eli. When she passes through a doorway without invitation she bleeds from every pore - skin, eyes, mouth, nose. It is both a disturbing and beautiful image that is impossible to forget. This type of visual power is not wasted nor overused. The vampire-attacks are never ruined by pumped CGI, and the reason why a vampire can't feel sunlight is stunningly realised in a scene which shocks the audience ruthlessly for five nerve-shredding seconds.
As you may have already gathered, I consider this film to be a masterpiece. Horror the way horror should be done - grinding sadness and despair. Intelligent horror makes you cry tears of pain and sorrow as well as fright. Let the Right One In should be held up as an example of how this should be done.
It should be no surprise that William "Wild Bill" Wellman, an experienced director contracted to MGM who turned out the classic Ox-Bow Incident a few years earlier, should have repeated the trick with Yellow Sky. It's far more odd that this should be so little known, given its quality. All but one elements of the movie are excellent. The exception is the very last scene, one of redemption, which is jarringly sentimental. This is easily forgiven, however, in view of the rest.
The movie announces that it will take place in the great outdoors from the very start (despite a brief interlude in town immediately after this involving a semi-nude woman painted on a bar wall, copied directly from An Ox-Bow Incident). We then have a wonderfully filmed horseback chase leading on to a striking but harrowing trek across the flats of Death Valley - great sourcing and use of location - to a ghost town where the rest of the picture takes place. Events, boiling down to the irruption upon an unusual lonely scene of ill-meaning outsiders, build up to a stunning final reckoning at night between the outlaws, beautifully planned and managed by Wellman; everything is seen obliquely or by inference, with great use of chiaroscuro, through the eyes of the shocked Anne Baxter.
The photography makes brilliant use of sun, shade and night throughout, and I particularly appreciated the almost complete absence of music from the soundtrack - I take that as a sign of confidence by the director in his product.
There is fine ensemble support acting here from the outlaws. As to the principals, though he made a number of westerns, Gregory Peck is somehow too noble and dignified a figure to make a convincing outlaw, even one with a claim to basic decency, as here. On the other hand he always had great screen presence, and that carries him a long way. Richard Widmark is a sinister, brooding presence throughout, and it's a pity he's underused in the second half of the film. Anne Baxter is lively and shows hints of her quality. Anyone wanting to see her at her peak (and it's a very high peak) should watch her in the magnificent All About Eve (1950).
A western that's small-scale in cast but large-scale in landscape, and big in achievement. Highly recommended!
USA, 1948, 1 hour 32 minutes, b/w.
Directed by William Wellman.
Stars Gregory Peck, Richard Widmark, Anne Baxter
A Western set in Death Valley, California. A bunch of outlaws at the end of their tether ride into a semi-abandoned village. On recovering, they sense a lucrative opportunity provided they can deal with the unusual inhabitants and with their own in-fighting.
Some of the best work the duo ever did, as they built steadily to their peak.
Some great guest stars and plays wot Ernie wrote, with Arthur Lowe a stand-out turn, even taking over as principle comedian and Eric standing aside to give space to a fellow comedy master.
Dame Flora Robson gives a superb, totally straight performance with exactly the right attitude of exasperated professionalism.
Roll on Series Six!
Morecambe and Wise's fifth series for the BBC - seven 45 minute episodes.
It's amazing, funny, unique and the acting is fantastic. Amanda Bynes is fun, cute and adorable in this movie.. .I would definitely recommend this to anyone who enjoys a funny down to earth movie... enjoy!
Ghost World is an incredibly quirky and charming little film and as a result, it deserves a quirky and charming little review. So this review will be presented in the style of a poem alright here we go.
Thora Birch and Scarlett Johansson are hot, Steve Buscemi is not. And this is not working in the slightest. Not only is it rude, but it is terribly unfunny. As a result I am going to revert to plan b, and quote a few words from a story a wise man once told. He spoke of how he met a waitress in a cocktail bar, picked her up, shook her up and then turned her around. Turned her into something completely different, rejuvenated her if you will. And I believe the director Terry Zwigoff accomplished this rejuvenation with both Thora Birch and Scarlett Johansson in this movie.
Birch and Johansson play Enid and Rebecca, social outcasts newly graduated from high school. The film is centred on these two characters, as they attempt to put in place their plan for the future. And that pretty much sums up the plot. It may not have the most intricate story ever seen on the motion picture screen, but it has some impressive intricate characters that allow it to get the thumbs up. Birch for me shines out the brightest between the two girls; however it is Steve Buscemi for me that steals the entire show followed closely behind by Dave Sheridan who plays Doug.
Buscemi plays Seymour, an obtuse acquaintance that the two girls discover. In particularly Seymour catches the eye of Enid and a relationship develops, if you can call it that. Partner in loneliness has been used and it does indeed fit so I will leave it as that.
Some critics before me have shown a strong affection for the film, I however don't have such a strong inkling for it. Do not get me wrong, I think the film is great. Packed full of charm, and scenes that give you a smile, but it didn't blow me away. It was fine, I enjoyed my stay in Ghost World and I was content when the film finished but it just didn't grab me with two full loving arms. It was more of a one arm around the shoulder sort of deal, nice and fuzzy but lacking that certain something. Just can't quite put my finger on it though....Regardless, give Ghost World a little watch a see what comes of it.
Honesty is always a significant factor in any review. So I must own up and admit I had never heard of the band Anvil ever before, and it appears as though I am not alone in my solitary piece of music ignorance.
Anvil are a hair metal band that thrashes all the way from the cold vast known as Toronto. They have influenced such names as Slash; the guitarist for bands such as Guns N' Roses and Velvet Revolver. Or as he is known in some circles the man with the top hat and curly hair. Lemmy the lead singer of Motörhead, or the cool moustached one, again as some certain circles like to refer to him as. Now with a few big music names giving the band their backing, you wouldn't be wrong in thinking that the band has some form of musical talent. In fact they are pretty darn great...
This is confirmed in the very beginning of the movie, which is also my favourite scene in the movie. We see shots of old as the band plays their Japan leg of their world tour. Touring with the likes of Whitesnake, the Scorpions and Bon Jovi, Anvil proceed to blow the minds of the Japanese audience with the power of good ol' heavy metal. And that is incredibly difficult thing to do in front of a Japanese audience, often subdued and respectful in their response to artists, they are jumping up and down and sing along to all the tracks, and oh how I love them for it. The charisma glows around lead sing Lips, or his Clark Kentian name of Steve Kudlow. Strutting up and down the stage, it is easy to see that is where Lips thrives and where Lips is at his happiest. Unfortunately, as director Sacha Gervasi catches up with the band some 20 years later, the rock and roll lifestyle has gone. But what remains is the passion and the charisma of the years gone by. And boy are we treated to something special in the remainder of the film. In the Spinal Tap-esque conversations with the band there are brilliant moments of comedy thrown around, but coupled with that are scenes very reminiscent of The Wrestler. Lips trawls through day-by-day in a very mundane job delivering school lunches. His best friend for life Robb Reiner; the drummer of the band is no different. The spark has gone but a light still flickers, and it is an absolute joy to watch that light burn away.
You don't require a passion or a liking for wrestling to enjoy Mickey Rourke performance in The Wrestler. And you don't require a liking for heavy metal music to enjoy Anvil. All you require is a heart. The film is incredibly touching and moving, and if by the end of the film you don't have a smile drawn upon your face then a new career path is in order; professional gargoyle. You would require a heart of granite not to be moved, and you would require a body of granite to stop you from picking this film up....Enjoy.
I love this comedy; it's really funny and has a nice storyline. I love Sean William Scott and Paul Rudd's work.
If you love your American comedies, then you should buy this!
This is a great film! I saw it 3 times, it's not just a great story, but it really is funny too. One of the best films ever!
I have never seen Doctor Who before and I was a bit sceptical about watching it when the series began in 2005.
I couldn't have been more wrong! I absolutely fell in love with the show. Christopher Eccleston was an excellent doctor with his eccentric personality and tongue-in-cheek humour drawing me in to the Doctor Who universe. Billie Piper is my all time favourite assistant with her sensitive side being erased by a strong and intelligent woman who can hold her own against a Dalek empire; John Barrowman also played an excellent part as Captain Jack. This first series is a must have for fans of all ages, every episode is brilliant and leaves you wanting more. When I bought the DVD I watched them all in one day and then rushed to buy series 2.
The series mixes Humour, adventure, horror and sadness all into one and can also make you think too.
This is one of the best films I have seen. It had me fixed from start to finish and the acting is brilliant. This film will not disappoint!
In this series you get straight into the action when you see Sandra, Gerry and Brain try to stop Jake from making the biggest mistake of his life. I think it's great the way they make it start right where series 3 ended. I also like it because even through it isn't a relationship, you get to see Sandra with someone and not just with her mum or the boys from work. My all time best episode is when they pass Gerry off as Jake's son in the nursing home episode, and they sing that song together. I think that if you want a laugh and you like detective programmes, then new tricks is for you. I'm a fan of murder mystery programmes and I can tell you I get the best laughs out of this programme.
Starring Amanda Redman, Dennis Waterman, Alun Armstrong and James Bolam. Amanda plays detective Sandra Pullman and the three boys; Gerry (Dennis), Jack (James) and Brain (Alun) play ex policemen who try to crack unsolved cases that are still open.
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