An absolute christmas classic, deserved to be watched every year.
Kevin MacCallister is left home alone, as his family leave from christmas vacation, however it is not all fun and games fro Kevin, with the entrance of two burglers robbing the vacant houses over the holidays. Kevin must defend his house against them, and proves to be more than a match. I can't really praise this film anymore, but it is worth a note that the script was written be the brilliant John Hughes, yes the same guy who wrote Breakfast Club, Sixteen Candles, and other great films. But just a piece of advice I would hastily avoid any of the films sequels, 2,3,4. don't waste your time or money on those.
This is an absolutely brilliant performance from Sean Penn, and worth a look due to that. The stoy itself, is a nice heartwarming story, which may cause even the hardest of hearts to soften.
The story follows a Sam, a mentally challenged man with the mind of a seven year old who fathers a child called Lucy. However when Lucy reaches the age of 7, she is taken away from Sam by the child protection services, causing Sam to enlist to help of a lawyer, Rita. Most of the plot therefore follows Sam's struggles with the court and govenrment agencies.
I waited for a long time to see his film in England hearing such good reviews abroad.I was not to be disappointed .The house is so beautiful yet you instantly recognise its haunting potential.Every corner you turn and every squeaking door has you holding your breath.
Visually it is a beautiful film,as a mystery it is extremely enthralling,but above all as a ghost story it is unsurpassable .The best I have ever seen.Films come and go to me,I can't remember one Bond film from another yet I know I will always be haunted by this one .An absolute must see.
Laura returns to her childhood seaside home an orphanage, with her husband and son.With intentions to renovate the house to allow Special Needs children to holiday there.When their son disappears ,Laura is forced into the supernatural world,and has to deal with an evil entity ,which haunts the house and her past.Spine tingling story full of the twists and turns every memorable thriller should have.
Any fan of anime has probably watched the Gundam Wing serise, a classic in it's own right, mixing superb stories and animation with political themes and the mechanics of war. Anyone should be able to watch a few episodes and instantly find a character you either connect or sympathise with and will pull you through the occassional lull in action. Although the show had a few flaws, long dialogue scenes being one of them, it still has a charm and personality all it's own, so whether your a hardcore fan after the complete show, or a new viewer checking out a classic, you will definitly not be sorry you bought it.
It is a triumphant debut for Daniel Craig, he plays a new stronger, tougher Bond, a more human Bond. There are no gadgets, no death defying stunts, but this time, things get brutal. There are some vicious fights and we are taken to some unexpected places, and other beuatiful exotic location filimg which is typical of Bond.
Up until now, we are used to Bond treating women like disposable commodities, but we have not seen him this human since On Her Majesty's Secret Service in 1969. Bond's feelings for accountant Vesper Lynd are close, and romantic, and is a great way to humanise Bond.
All in all, one of the best Bonds in years, and an absoloute essential watch!
Bond is back, and has just got his licence to kill. He is entered into a game of poker at Casino Royale in the hope of beating Le Chiffre, a man who supplies money to terrorists, and make him lose his money so that he is hunted down and killed.
The second series is not as action packed as the first, but instead substitutes this with beautiful location shooting in Venice, Paris, Copenhagen, Germany and many others. It is the first and only crime thriller made by Gerry Anderson (Thunderbirds, Captain Scarlet, UFO and Space:1999), and shows what he is capable of. There are some truly superb episodes here (Shadbolt, WAM Parts 1&2 are a couple), and feature some intense car chases, fights, shoot outs, and gripping storylines. Well worth getting! You won't regret it...
3 people, Harry Rule, the Contessa di Contini and Paul Buchet are the protectors. They are Private Investigators, who solve the strangest of crimes, always at the hugest of costs.
The first series of Space: 1999 is as unmissable today, as when it was first broadcast in 1975. It had a then incredible budget, of £3million. It starred husband and wife team Martin Landau and Barbara Bain as Commander John Koenig and Dr Helena Russell. The premise of the series is fascinating, and quite frightening that nuclear waste could hurl the moon out of orbit. The special effects are quite literally superb, and get better as they increase. These are supplied by Brian Johnson (Alien, Empire Strikes Back and Star Wars). The sets are huge, and the highlight is Main Mission, which is one of the series' icons. The alien planets look so convncing (Just watch the episode 'Guardian if Piri) and as well get better as the series progresses. The costumes are very space age, and incorporate coloured sleeves to indicate the section of Moonbase Alpha the person works in, very intelligent. There are 24 episodes in this series over 6 discs, plus a bonus disc, which contains some extremely interesting material about the series production, plus alternate music tracks.
If you're a fan of Star Trek, Gerry Anderson shows or just a fan of Sci-Fi, you must see this series, it looks great! Of course, the second series made some quite radical changes, but that's another story altogether...
September 13th 1999, earth''s atomic waste is being dumped on the moon, when suddenly, it detonates, hurling our moon out of Earth orbit. On the moon, is Moonbase Alpha, lead by Commander John Koenig, consisting of 311 personell. Alpha must search space, as the moon floats through the universe, for a new planet on which to settle, and begin a new life...
Let me start by saying that when I saw this at the Cinema I hated it! Raiders of the Lost Ark has long been my favourite film of all time, and I felt that Speilberg, Lucas and Co had simply, and literally, lost the plot with this outing. Did we really need Aliens in an Indy film - and whats this with him having a kid. It felt tired, wrong and a parody of its predecessors! However....
despite my better judgement I went out and bought the DVD anyway, and guess what! Its not that bad afterall. Actually its quite exciting with some excellent set pieces, gripping action and a story line which, (if you are prepared to simply sit back and accept it for what it is) is actually very engaging. Possibly the best thing about the film was the idea to bring back the sorely missed Karen Allen (from Raiders) and as she smiles her way through the adventure you can't help but smile with her. I still remain disappointed at the choice of subject matter, but that aside this, on DVD at least is a welcome addition to the Indy Saga. Oh yes - don't forget the extras, which are comprehensive and very entertaining. Infact I would recommend watching the material about the ideas and concepts for the film before the film its self. It does help to put it all in context. All in all - welcome back Indy.
Several years after his last adventure we catch up with Indiana Jones as he, and new found Son (Shia LaBeouf) go on the trail of the legendary Crystal Skull, only to discover that the Russians are after it as well. And, oh yes - Marion (From Raiders of the lost Ark) is back too, and so are some interdimensional aliens!
Fantastic. One of the best films I have watched in years. This is a must buy for everyone. You don't have to be a musical lover or an Abba lover, you will be guarenteed to fall in love with this film.
Mansfield Park as told by Patricia Rozema is completely different to Mansfield Park as told by Jane Austen. In this colourful but sensual BBC film, we are introduced to a version of Jane Austen's gentle novel that, in contrast to the original text, contains a family majorly involved in the slave industry, detailed illustrations of rape and torture, and, gasp, a rather strong sex scene. Austen purists will deem this as nothing less than criminal damage to a delicate, sweet and at times unassuming book.
Now, to be fair, those in love with Austen usually adore the 1995 BBC adaptation of Pride & Prejudice, which contains the iconic image of Darcy climbing onto the bank dripping wet after a natural water swim. This scene was from the mind of Andrew Davies (a god in the adaptation world) proving to the world we can still do Austen justice by reinterpreting her text. Some may argue that the reinterpretation of this text is more than just that, but we must remember that what we are viewing is an adaptation, not a word for word copy. The main plot line, most of the characters and the general idea of the book still remains (albeit held together by an un-Austen subplot). And I must confess, I love the film to bits. Even though the very free attitude to Austen's book was something to get used to, the key reason for this free-plotting was clear: not that much happens in the book. It is one of her most uneventful books (the 2007 ITV drama starring Billie Piper captured this aspect quite well) and relies on you feeling sympathy for Fanny from page to page. I am not trashing Austen (she is one of my favourite authors), I am just saying she wasn't faultless. Coming back to the film at hand, asides from being so beautifully photographed you want to eat it, it is utterly enthralling from beginning to end. Frances O'Connor is marvelous as the heroine taken in by icy relatives, and who realises she is in in love with cousin, Edmund (Johnny Lee Miller). Austen's irony is retained and, at times (surprise surprise) added in, with clever moments of humour amidst the darker periods. For me the film is a successful fresh take on a classic novel, rather than a violent vandalising of something pure and innocent.
I think I should start with the good things about this Will Smith vehicle, because, to be frank, there are very little. For one thing, the shots of deserted Manhattan are awe inspiring. Wonderful use of colour and light create a really palpable sense of loneliness and menace. Will Smith is excellent and is perfect to carry a more or less one man film. These are the reasons the film has just made it into the "OK" bracket. From this point onward, I will find fault with it.
The film gets dull. Once you've seen the mutant humans, the frights go out the window. They start to look ridiculous. The computer animation is also very dodgy, causing unintentional moments of hilarity. From the cartoon-like deer running through deserted Manhattan to the screaming animals in cages the whole thing starts to look like a Dreamworks movie. Speaking of Dreamworks, there seems to be a rather strange interest in the movie Shrek, including some imitations of Donkey. This could be to introduce some humanity to the situations, as if saying "these are real people who watch Shrek just like you" but it comes across as out of place and more than a little weird. The plotting structure seems erratic, badly constructed and tiresome. You start to wonder if the film maker's story boards got put up in the wrong order.
Although I seem to be slating this movie to kingdom come, I would like to say that it still managed to entertain rather well, for all it's gaping plot holes. Will Smith is also a leading man that deserves some attention. Even if he is quoting Shrek.
This BBC film seems to become more and more potent every day. Saul Dibb's controversial drama on British gun culture cuts a visceral gash with its unflinching approach to the senseless violence occurring on the streets of Hackney. Ashley Walters shouts, swears and murmurs his way through the role of Ricky, just out of prison and determined to go straight after his history of teenage crime. A street clash throws away this plan, and leads to escalating violence that threatens to destroy his family from the inside. Ricky's younger brother Curtis (a very impressive Luke Fraser) turns into the 12 year old wielding his brother's gun with devastating consequences.
Apart from a slightly rushed ending, this doesn't fail to grip throughout, mostly down to a sharp script and very well characterised performances. Seen next to Noel Clarke's Kidulthood, this is the superior.
This credible but slightly unbalanced film shows us a mother's desperate attempts to win her daughter's love after she served a stint in prison. In an Oscar worthy performance Maggie Gynllenhall takes the lead as the drug addicted mother who finds it hard to go straight after her pre-prison life of drink and drugs threatens to revisit her. However, she is desperate to get a job working with children (something she manages to land after performing sex favours to authority figures). Something with the film doesn't quite fit, though this may be down not to lack of story, but the indecisive way the script hovers around awkward points. Still, this is far from a failure, with some touching moments of acting from both the lead and supporting cast.
Morgan Freeman and Jack Nicholson star in this enjoyably sentimental comedy drama about two elderly men dying of terminal illnesses who decide to complete a list of all the things they want to do before they die. With many dangerous, adventurous and outright insane items on their "Bucket list" they set off together to travel the world, crossing off the activities on their list as they go.
For a big budget, big stars comedy it does what it says on the tin, managing to charm without being pretentious or annoying. It's spiriting to see good comedies can still be made when we live in the time of sick stupid humour such as The Love Guru or Forgetting Sarah Marshal. However their maybe something a bit too sweet about this film for some, with soppy predictability seeping in through the cracks. Even so, this still surpasses many efforts of the comedy genre this year.
Although not on general cinema release, Eichmann is still a film worth seeking out. In case you don't already know, the Eichmann of the title is Adolf Eichmann, the SS Officer who conceived the mass murder of millions of innocent Jews in World War II. This film, set 15 years after the war, focuses on the interrogation between the world's most wanted man and Captain Avner Less, an Israeli Police Officer.
The film plays out well enough, with a great supporting role from Stephen Fry. However, the acting from Troy Garity as the lead doesn't convince, causing a feeling of awkwardness throughout. Although this example of below par performance only makes the brilliance of Thomas Kretschmann as the terrible Eichmann shine out with an increased sense of calculated evil. The decision to tell the story of what happened before the trial works in the film's favour, as it treads new ground rather than retelling what we already know. A powerful film, but with flaws none the less
In this iconic meditation on time, mind and death, Jack Gyllenhaal plays Donnie Darko, a teen with suspected Schizophrenia. Although this leads to difficult consequences (school flooding, unexplainable vandalism) he is curious to explore what his mind tells him cannot be real. When he starts seeing Frank, a young man dressed in a macabre bunny rabbit suit, he questions the foundations of his life and starts to look into the possibility of time travel. However, this is one unhappy bunny, as he predicts the world will end in 28 days. During one of these "bunny suit" sightings a jet engine crashes through the roof into his room. Luckily, Donnie's hallucinations had taken him sleep walking, preventing his death.
This film is a perfect exercise in original story telling and intelligent, satisfying plot. The way the story bends and shifts just like the time holes Donnie is so fascinated with is an uncomfortable experience, but always stays the good side of uncomfortable. Jake Gyllenhaal is both haunting and magnetic as the troubled title lead, but doesn't eclipse the strong supporting cast Drew Barrymore, Maggie Gyllenhaal (Jake's real life sister) and, in a rather odd choice of roles, Patrick Swayze, who plays obnoxious author Jim Cunningham. Of course, this surreal lamentation could be accused of being pretentious nonsense, but a closer look will show it never abandons effective emotion for showy intelligence. It marries the two together seamlessly.
This superb two part thriller from Series six of the BBC's successful crime drama is possibly the best story they've ever filmed. Like any story involving the persecution of Jews in NAZI Germany, the impact of emotion, the deep anger we feel, comes mostly from our own knowledge. However, Yahrzeit, a story written by Declan Groghan, manages to shock us with both the known crimes of the Nazis and the horror of recalling memories we have buried to avoid pain. Another added bonus from this episode is a new arrival, Sarah, who reveals she is a member of MOSSAD, who has an interest in how the case is being handled. She and Boyd strike up a power clash relationship which soon develops into flirting. Something Boyd does with a creepy wolf-like grin. The case begins with the delivery of a Nazi ceremonial dagger to the cold case team, which is then discovered to link back to a cold case that Mel (one of the team's former members) had been looking into before she was murdered. This cold case is the unsolved murder of a little girl, found stabbed in East London in 1945. From this the team find a present day family connected with the case through secrets and past deeds. Even though Boyd SHOUTS A LOT ALL THE TIME when he doesn't get what he wants when he wants it, it's gripping to watch all the members of the cold case department (especially Sue Johnston as Grace) cope with the investigation. The scene where Grace helps a man bring back memories he has buried is emotionally devastating, and right up until the heart tugging end, the slick, professional style in which this episode is filmed keeps you fixed. This is one of the best things made for the small screen (perhaps even better than Prime Suspect). Haunting and arresting.
Savage Grace is not a film to enjoy watching. It is possible to enjoy the delicate filming technique and the top-class acting, but it is more a film to admire. Director Tom Kalin's second feature is the placid but dark true story of an incestuous relationship between American socialite Barbara Daly and her homosexual son Tony. This relationship comes about after Mr Daly, heir to the Bakelite fortune, runs off with his son's girlfriend, leaving Barbara furious and his son emotionally shaken. Right from the start Julianne Moore is sensational, and with her latest series of scouting-for-Oscars performances, this one tops the pile as one of her most devastatingly real. Her usually soft manner turns believably brittle as the confident Barbara, but the true discovery of this uneasy film is Eddie Redmayne (recently seen in Tess of the D"Urbervilles) who is perfectly cast as the confused son. The whole mess of relationships, although awkward and unsettling, still makes fascinating viewing. From his mother walking in on him while having sex with another young man, to a painfully hard to watch sex scene between him and mother, it is easy to understand Tony's reason for falling into insanity. It is Barbara who is the mystery here, a mystery which, although never quite fully explained, is still unnervingly evoked onscreen.
The Mist started off as a routine horror flick, with deliberately-B movie style monsters, blood and screaming people running madly about. And, to be fair, it doesn't pretend to be anything else. But I found out, to devastating impact, that this powerful fantasy disaster from Frank Darabont, adapted from a novella by Stephen King, is not a film to underestimate. With a pace that takes it's time, but never bores, we watch as a neighbourhood starts to come to terms with a major disaster. There is a mist surrounding the county, and creatures are hiding under the cover of it. These creatures vary between enormous tentacled beasts to neck-biting bugs. Although reminiscent to many bug-frights in the past, the idea of the mist adds a whole new dimension. Trapped in a suppermarket, the residents of a small New England town are plagued by these beings (and more), and to be fair to them, they put up a good defence. From hacking off toothed tentacles to setting fire to winged beasts they try to fight these horrors. Although I'm trying my hardest not to spoil anything that may come as a surprise to a first-time viewer, I must mention the grim, hard to accept ending which packs so many punches it's hard to recover from the shock and upset. Never before have I seen a film, let alone a horror film, to manipulate it's audience's wish for comfort and throw it back at them more effectively than this film. If you have seen The Boy in the Striped Pyjamas, all I can say is that it is along the same lines as that terribly unforgiving, emotional ending.
There's just something about Leonardo DiCaprio's acting that makes him so great to watch. This something, and I don't care what some snooty critics might say, happens to be talent. Lots of it. He is excellent, I cannot stress this enough. Good. Now for the story. The story is complicated to say the least; CIA agent Roger Ferris (DiCaprio) is sent to Jordan by his boss Ed Hoffman (a rather over weight and brash Russell Crowe) to uncover a growing terrorist threat. This terrorist threat has already blown up a house in Manchester. However, Ferris finds it hard to both serve Ed Hoffman and not to lie to Hani Salaam, Jordan's local intelligence chief (an amazing Mark Strong) who is far from being ready to trust the CIA. The script is intelligently written, providing some great characterisation for DiCaprio to work with and plenty of chances for Ridley Scott to exercise his directing capabilities. It is a tad disappointing that when Ferris meets an attractive medical worker the plot takes a predictable turn, but never fails to grip. The torture scene is grisly and detailed (a part which a pianist would faint over) but is never gratuitous, causing the initial shock to be all the more powerful.
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