quote:

Originally posted by kaptain kangaroo:
Primeval - Bellow average horror flick

i also recenty o this film very corny wouldn watch it again

last film i saw was grey matters great cast funny at times but brilliant one liners ending was disappointing as they never got together and she couldnt rmeeber the kiss i really reallygood reason to watch is the Lword's Helena (rachel shelly) is in it

Rise of the Silver Surfer. Possibly worse than Ghost Rider.

Highlander: Search for Vengence - Anime adaptation that is very good.

Pathfinder - Meh

quote:

Originally posted by Mr. Eko:

quote:

Originally posted by kaptain kangaroo:
Shooter - Pretty good action thriller. Nice

Was it released in Cinema or straight to DVD?

I watched this today and want my 2 hours of priceless Sunday afternoon back. I thought it was terrible. It was so badly edited and the script was awful. "I'm not your son".??!!
Danny Glover was cringe-worthy and seemed to have a lisp.

It was out in the cinemas over here btw.

Shrek the Third
This time Shrek, not wanting to take on the role of King, seeks out Artie (played by Justin Timberlake) to take the throne. Along with a few other subplots, Charming wanting the Kingdom for himself and Fiona being pregnant, this latest installment, for the most part, doesn't work.
With the exception of the odd standout scene, the Highschool being one of them, Shrek the Third is a rather dull affair. It lacks the heart and warmth of its predecessors and overall feels tired.
Moments like the drug advisory program for teens, Just Say Nay and Ye Olde Hooters are good fun but there are too many missed opportunites, specifically Prince Charming's plot to get all the fairy tale villians, Captain Hook, the Wicked Witch etc. to band together to take over Far Far Away.
After a good start the film falls into the formulaic familiar giving the viewer no new ideas and just rehashes what made the original so good.
With parts 4 and 5 on the way you just feel enough is enough and that it's time to take a break for a while and come back with a script that's as fresh as the first film.

Die Hard 4.0

As an action film it just about works, as the latest instalment of the Die Hard franchise it doesn’t.
From the initial teaser trailer that hit cinemas several months ago when we saw the 180 degree camera pan of an American unfolding in slow motion my fears for the film started to mount. The subsequent release of the official trailers did nothing to subside that fear. After seeing the film unfortunately my fear was realised. This is not a Die Hard film; it does not have the look or feel of one. All in all it is actually quite a mess.
That’s not to say it doesn’t have some true ‘Die Hard’ moments, it does, but alas they are few and far between.

This time around we have our hero, John McClane, tackling cyber terrorists and this is my first gripe with the film, let me explain.
In the original Die Hard we were introduced to Hans Gruber (Alan Rickman) who redefined the character of the villain in action films, indeed the entire film redefined the action genre. In Die Hard 2, Colonel Stuart (William Sadler), while admittedly cartoon like, projected a sense of foreboding. With a Vengeance, saw Simon Gruber (the wonderful Jeremy Irons), and his band of Euro trash followers successfully terrorize the citizens of New York. With this latest instalment, 4.0, we have Internet geek Thomas Gabriel (Timothy Olyphant), glaring menacingly into a web cam or shouting instructions through a headset. And that was it, while the other villains blew up buildings, airplanes and subways; this guy turns off traffic lights and evacuates employees from their workplaces. The other ‘terrorists’, with the exception of Maggie Q, look like they’ve just finished a 24 hour marathon of playing Halo instead of trying to take over a Country. There was one moment where you’re led Gabriel believe he actually has done a terrorist act and then it turns out to be fake. What a cop out.

The cast, with the exception of Bruce Willis and Maggie Q, were atrocious. Justin Long cannot act, how he gets film roles is beyond me, did the producers not see the horrendous Accepted? Cliff Curtis, who normally is very good, is so wooden he looks like he’s going to snap at any moment. The scene with Kevin Smith is one of the most ridiculous, pointless and unfunny moments to be captured on film. And I won’t even bother mentioning the rest of the cast as it is a case of one worse than the other.
However, Bruce Willis is still very charismatic and manages to involve you into the character. The ever excellent Maggie Q, criminally underused as she should have been the head terrorist, shines with style and is the only one who gives off any sense of menace or threat.

As aforementioned, there are some genuine good ‘Die Hard’ scenes, the fight scene with Maggie Q which culminates in the elevator shaft. Most of the one-to-one fight scenes, but for the most part the direction is over the top, your typical Roland Emmerich/Michael Bay style, and while it may work for the likes of Independence Day and The Rock, it doesn’t work here. The swirling camera angles and pans lose the sense of claustrophobia that is synonymous with Die Hard.
The CGI looks fake and badly done, a particular scene with a jet fighter had the cinema audience laughing at the film, not with it.
The script, while it may have worked as a day in the life of Jack Bauer, does not work here, it is, for the most part, devoid of humour. Scenes that are supposed to act as comic relief come across as cringe worthy, the scene with Justin Long attempting to start a car for example. And, once again, the Kevin Smith scene.

While we were treated in the first three films to Beethoven, Sibelius and Brahms as the soundtrack which brought a sense of sophistication to the mayhem that was going on around McClane, this time we have Fortunate Son by Creedance Clearwater Revival. That song works well in Vietnam War films, but in Die Hard? No.

So where did it all go wrong? The fact that it wasn’t a hard 18s cert? I have to say no, so what that there’s no overuse of harsh expletives, that shouldn’t matter once the story is tight. The problem with the film is the weakness of the script, the terrible miscasting and the choice of director. While Len Wiseman did a decent enough job of the Underworld series, he was not the right choice for this.

Reportedly Bruce Willis wants to do Die Hard 5, with Len Wiseman once again helming. Here’s one person that will be waiting for the DVD.

quote:

Originally posted by Old No.7:
Tell No One
Alex and Margot are happily married and on their anniversary they go to a lake that they’ve been visiting since childhood. Come evening, they get ready to go home when Alex hears Margot scream, rushing to find out what‘s wrong, Alex is knocked unconscious.
Eight years later, Alex is now a successful doctor, but clearly never got over the murder of his wife, which we see the funeral in flashback, wonderfully edited together with scenes from their wedding day and Jeff Buckley’s ‘Lilac Wine’ as the music source.
Then unexpectedly, Alex receives and anonymous email telling him to watch live feed from a web cam, when he does this he sees Margot.
What unfolds is a very clever and taut thriller as Alex races to find out the truth. A totally engaging film with superb performances, that builds up the tension that keeps you gripped to your seat. With an A-list supporting cast including Kristin Scott Thomas, free flowing camera work, this is really a wonderful film that reminds you of how Hollywood used to do it.
Highly recommended.


La Vie En Rose
Marlene Dietrich labelled the voice of Edith Piaf as ‘the soul of Paris’. And this is one thing that the film has a lot of, soul. Telling the harrowing true story of the humble and bleak beginnings of a singer that the world would come to embrace, La Vie En Rose is one of the best bio pics ever produced.
The film hops back and forth from her childhood living in a brothel, to following her father in the circus, to the most expensive hotels in New York.
While the film is almost technically perfect from the script, direction and the supporting cast, it is Marion Cotillard’s stunning portrayal of Edith Piaf that is spellbinding. It is a very honest study of the character too, we are shown that she wasn’t the easiest person to be around, whether as a teenager, a star, or even in her old age.
A truly fascinating piece of work that deserves to clean the boards at next years Oscars.


Captivity
Hard to believe that the man responsible for brining us The Killing Fields and The Mission directed this embarrassingly bad, boring, dullest films to be seen in quite some time.
A super model and actress, Elisha Cuthbert, is kidnapped and spends four days being mentally tortured by her assailant. And all this time her mascara doesn’t run once. She is taken by the kidnapper in a night club and we are led to believe that this famous model is by herself and the toilets in the club are empty even though the place is packed.
One of the most unoriginal, uninspired pieces of trash that badly rips off so many other films its hard to keep track. Everyone involved in this fiasco, from the crew to the cast should hang their head in shame for subjecting the public to such dire nonsense.
If this is what Ms. Cuthbert’s film career is looking like she better give Kiefer Sutherland a ring and ask to go back to 24.

---------------------------------------------

What I like is your taste for different films. At least you have a broad idea of cinema and you watch a wide range of films. I was about to see Captivity precisely because of Killing Fields and Mission but now I am hesitating. Your bad review about it discouraged me and on the other hand made me curious! Tant pis! One day I might watch it on DVD!
I went to France and saw Lady Chatterley. An interesting interpretation. The director managed to make an erotic film decent enough to avoid pornography (I was thinking of Breillat).Even if I would have prefered the husband playing the game keeper and vice versa, the actors were convincing enough but I had to make an effort to understand her choice. I like the ending better than the ususal endings you see in films where they are both running away to America. It is worth seeing (got some Cesars) but I have mixed feelings. The problem is "Would it come to England?"

quote:

Originally posted by Laetitia:
What I like is your taste for different films. At least you have a broad idea of cinema and you watch a wide range of films. I was about to see Captivity precisely because of Killing Fields and Mission but now I am hesitating. Your bad review about it discouraged me and on the other hand made me curious! Tant pis! One day I might watch it on DVD!
I went to France and saw Lady Chatterley. An interesting interpretation. The director managed to make an erotic film decent enough to avoid pornography (I was thinking of Breillat).Even if I would have prefered the husband playing the game keeper and vice versa, the actors were convincing enough but I had to make an effort to understand her choice. I like the ending better than the ususal endings you see in films where they are both running away to America. It is worth seeing (got some Cesars) but I have mixed feelings. The problem is "Would it come to England?"

Trust me Laetitia, stay far away from Captivity.
As for Lady Chatterley, I haven't seen it yet and not sure when it opens, actually I was asking about in the my local cinema and they had no date for it. But I will certainly look out for it as Ive always had a great interest in French cinema.

Nine Months. Not the best film, but I got a few laughs out of it.

Harry Potter and the Order of the Phoenix
Having not enjoyed Goblet of Fire it was with a little trepidation that I went along to Order of the Phoenix. Thankfully that apprehension was put to rest shortly after the film started as the latest Harry Potter adventure is sheer entertainment and fun.
This time around, with nobody wanting to believe the events of Goblet of Fire, Harry and Co. set out to recruit an army against the return of Lord Voldamort.
A certainly more grown up and darker adventure this time around too as there is a very obvious adult feel to the film and it is genuinely very funny in places. The scene where Harry is describing his kiss with Cho to Ron and Hermione is one of the highlights.

On a weaker note, the direction is a bit disjointed at times, the scenes where Snape is invading Harry’s mind and then it cuts to Christmas dinner at the Weasleys tended to be a bit confusing as the viewer wasn’t sure if this was a memory or real time. Also I was disappointed at the lack of screen time the likes of Ralph Fiennes and Helena Bonham Carter had. I would have certainly liked more scenes with them. I assume there’ll be more of them in the next two films.

The CGI is top notch culminating in an almost epic battle between Voldamort and Dumbledore. While it is stunning, thankfully the CGI takes a back seat to the characters and storyline and doesn’t smother the film as a lot of them tend to do.

A thoroughly entertaining and fun adventure. While Prisoner of Azkaban is still my favourite, this one comes in a close second.

Transformers
The Transformers cartoon on TV did nothing for me as a boy, I never watched it, had none of the toys (I was more of a ‘The Man From UNCLE’, ‘Sapphire and Steel’ kid), so the cries from the Internet community for the past year that ‘Optimus has flames drawn on him, the film is ruined!’ were indifferent to me and I went along to see this as I do with any other blockbuster.
The story behind this one, let’s laughingly call it the plot, is these giant robots, the Autobots, that come to Earth in search of a mysterious cube to end a planet- destroying war against the Decepticons, they would be the evil giant robots.

Directed by Michael Bay, say what you like I still like The Rock, this is one of those movies that does exactly what it says on the tin. Forget about plot or characterisation, as they are pretty much non existent, this is about big giant robot battles and for that it is quite entertaining. Although I did find the action sequences to be a bit dizzying at times. The camera work is very fast and there’s moments when I found myself uncertain as to which robot is fighting which, indeed there’s scenes you’re not sure which end of the robot you’re looking at.

It’s also amazing how Mr. Bay manages to get more life out of a CG robot than the actual human characters. Saying that, Shia LaBeouf tries, and for the most part manages to involve you. Megan Fox as the love interest tries to bring some depth to her character, although Michael Bay seemed to have quite an obsession with her waistline, in fairness you can’t really blame him there. Kevin Dunn and Julie White as his parents provide some nice comic relief (stay seated at the end credits as there is two very good scenes from the two of them), but that’s it.
The rest of the cast fumble their way through the film with the usual stereotypical twist. The flag waving soldiers, the coloured family direct from an episode of Jerry Springer, the cheerleaders, jocks and nerds, yes, they’re all here. Jon Voight looked like he was asleep during the shoot and I am not sure what to make of John Turturro’s performance, every line he came out with there was the underlying tone of, I’m getting paid to say this sh*t.

Ultimately though the battle scenes are hugely impressive and as with all Michael Bay movies, complete with a wonderfully over-the-top soundtrack. Of course it’s stupid and loud, about 20/30 minutes too long, but it is exhilarating and enjoyable popcorn entertainment.


Hairspray
After seeing the original some 19 years ago, and disliking it greatly, it was with a sense of amazement and a touch of confusion that I found myself going to this. Well was I glad I did, from the outset the music and songs are full of energy and gusto.
All Tracy Turnblad (Nicole Blonsky) wants is to appear on the Corny Collins show and have one of the lead dancers, Link (Zac Efron) fall for her. When the opportunity arises for her to audition, Tracy skips school to try her hand at it much to the dismay of her mother Edna (John Travolta). Of course Tracy is not going to have an easy time as the evil Velma Von Tussle (Michelle Pfieffer) wants her daughter to be in the limelight.
With some priceless dialogue and tongue in cheek humour this is one goofy, feel good film.
The cast are all wonderful here and you can see that they had so much fun in making this. First timer Nicole Blonsky is a very strong lead and holds up well against the weight of the other actors. Michelle Pfieffer is as always terrific, Christopher Walken as Tracy’s dad is excellent but it is John Travolta as Edna that steals the show. The scene with Christopher Walken and John Travolta doing their song and dance routine is worth the price of admission alone.

It does unfortunately bog itself down as it comes to the end as the racism issue gets a little too much but all in all this is a wonderfully bright and bubbly musical that had me smiling throughout.

Old No.7, I agree with you on that Die HArd 4. Should have been called something else.

Shrek the T(urd)hird was awful

The Invisible was just terrible. Boy gets beaten to death by girl, boys ghost stalks girl. Ghost watches her and shouts for abit. Boy then falls in love with said girl. Boy is then found in a damn and brought back to life. Terrible.

Knocked up, funny in parts but the fairytale ending was puke endusing.

Evan Almighty was just terrible. I waited through the whole movie for a laugh and came away bitter and dissapointed. It was an ENVIRONMENTAL MESSAGE movie.

Garden State. What was the point??

Harry Potter - Order Of The Phoenix

The Simpsons Movie
The Simpsons, once satirical, witty, clever and often hilarious, has for the past few years, fallen by the way side. Relying far too heavily on ‘who’s guest voice is it this week’ it has gone from a show that had heart to one of stupidity and boredom. The writers seemed to give in to the formulaic as opposed to trying to keep up with the likes of South Park and Family Guy, who, for the last few seasons, have completely surpassed Homer and Co.
So with The Simpsons Movie I wasn’t expecting too much at all but I can thankfully say I was pleasantly surprised. While it doesn’t even come close to the magic of what the TV show once, the movie has its moments with some great one liners.

This time around, Homer inadvertently pollutes the river in Springfield and a dome is placed around the town, cutting it of from the rest of the world. The town folk rush to lynch Homer, so The Simpsons flee to Alaska. With family bonds strained, Homer must come up with a solution, not only to save Springfield but his marriage as well (how many times is this going to be played out?)
The first half sees jokes coming in thick and fast with some terrific moments, what Bart writes on the board, Homer’s prayers in church about Flanders, Ralph’s comment after seeing Bart’s naked skateboard ride, Chief Wigam’s retort to Lou after the Fat Tony scene.
It’s the second half where it falls flat and goes, like the recent episodes, into the mundane and ridiculous. The writers once again forget about the humour and bring in the over sentimental tones of Homer reconciling with his family (again, how many times is this going to be played out?), Lisa preaching on and on about the environment, while there is nothing wrong with this I couldn’t help but wonder where is the cultural criticism that once made the show so great?

The movie is fun, nothing brilliant by any stretch of the imagination, but it is certainly entertaining for the most part.
Have no doubt that there will be a sequel but next time let’s hope they raise the bar a little higher.

Sherrybaby
Maggie Gyllenhaal delivers what can only be described as a riveting, stunning and powerful performance of a woman who’s struggling to overcome her drug and alcohol addiction.
Sherry (Gyllenhaal), has just been released from jail after two years incarceration, after settling in to a halfway house arranged for her by her parole officer she sets about to reconcile with her family and in particular her young daughter whom she hasn’t seen since going to jail. Gyllenhaal portrays Sherry with complete emotional detachment, letting nobody get in her way, using sex to get what she wants; she is totally unapologetic and never asks anyone to feel sorry for her, indeed, you never do. This is the way the character was written and is portrayed, and it is so much the better for it.
Laurie Collyer, in her directorial debut, always projects a sense of uneasiness throughout, even Sherry’s seemingly idyllic suburban family home never feels comfortable and, as the viewer, you are very much aware that something is not quite right.
Where most films like this fall down is the inspirational, melodramatic, redemptive ending that always manages to creep in. Not Here. Not once are we given any sort of ‘rose tinted’ views of Sherry. While the film ends on a note of hope you know that her path will be one of difficulty and hardship and injecting herself or diving to the end of a bottle is only a step away.
It is an unflinching and brave film, one that deserves to be seen, not only for Maggie Gyllenhaal’s performance but because of it’s feeling of humanity and ultimately its message of no matter how many times life knocks you down, you have to get back up and try again.

The Bourne Ultimatum
In the ‘80s films like Lethal Weapon and Die Hard reinvented the action genre, the Bourne trilogy revitalises them. After a string of ridiculous, over the top 007 adventures, poor cash-in sequels, it is so refreshing to see an intelligent, stylish thriller that is not only the best of the trilogy but one of the best films of the year.
Starting off from where Bourne Supremacy finished, this is a non stop assault on the senses. From the realistically brutal fight scenes to the nail biting car chases, the films frenetic pace and camera work puts you right in the story from the outset and never lets go. The appeal of the Bourne films lies within the scripts as they assume the audiences intelligence and doesn’t dumb it down by explaining everything.
The cast is first rate, with the welcoming addition of David Strathairn. I would have liked to have seen more of Julia Stiles and Paddy Considine though. And some elements of the story could have been explored more, the relationship between Nicky Parsons (Stiles) and Bourne for example.
These, however, are just minor grievances as the Bourne trilogy, like Die Hard before it, has laid the blueprints for all action films to come. Indeed, we can thank them for the last Bond outing, Casino Royale.
Parts 4 and 5? While I normally am against the idea of endless sequels for any genre, in this case I wouldn’t be opposed to it. However, let a few years go by before tackling them.


Waitress
Kerri Russell plays Jenna, an extremely unhappy woman who works in a local diner and is celebrated for her pies. She’s married to Earl, a self-centred, abusive slob, magnificently played by Jeremy Sisto. Jenna’s world comes crashing down when she discovers she’s pregnant. However it is when she meets her new doctor, the ever underrated Nathan Fillion, and begins an affair with him that she finds some happiness and meaning to her life.
The photography is first rate, from the beautiful colours of the pie ingredients to the bland starkness of Jenna’s home life, this is a wonderfully quirky, smart film that doesn’t overdo the sentimentality like so many that came before it.
Murdered in her New York apartment, writer, director and co-star Adrienne Shelley never got to see the finished product but she left behind a charmingly witty gem.


Eagle Vs Shark
While not entirely original, this is a deadpan, offbeat and the ultimate anti romantic comedy.
Set in New Zealand, the story revolves around the relationship between Jarrod, a total nerd and loser, and Lily, a confidence lacking doubter that works in a burger bar. Lily follows Jarrod to his hometown where he is to fight the school bully of his past. It is here that she meets his highly dysfunctional family, who, initially are cold towards her but gradually warm to her as Jarrod keeps pushing her away.
Featuring some priceless dialogue and hilarious one liners, it is the emotional content that surprises the most. You begin to feel for the characters, Jarrod’s nerdish lifestyle being a cover up so he won’t have to face the reality of his family life, it is a plea to his family, in particular his father, to show some love for him. At the beginning of the film, Lily’s connection with Jarrod seems like childhood innocence, but as the story progresses, you realise that it is genuine love and connection.
As the tag line of the film goes, Finding love was never so awkward.
Indeed.