Film Reviews - AvPGalaxy's Own Critics!

[Feral_PRED]

I agree. Despite my liking for H20, Michael should have stayed dead after part 2. The whole "Michael wasn't in it." argument is just stupid. They would have given Die Hard a bad review if it was called Halloween III.
Just think of all the anthology classics we missed out on. Well, they got theri Michael Myers, and just look where that ended up.
*cough*KarateBustaRhymes*cough*. 

The Poseidon Adventure
   It is New Year's Eve. The SS Poseidon is struck by a tsunami and capsizes. As it slowly sinks, a group of survivors traverse the inverted and quickly flooding ship to escape before it slips below the surface.
   Acting wise, the film is pretty good. The main cast of characters showcase their talents and achieve varying levels of quality. I will discuss my personal favorites as if I go through each and every one, we will be here a long time. Gene Hackman is the show stealer here as the heroic and ballsy preacher Frank Scott who makes it his mission to lead these strangers to freedom. He is strong, trustworthy, willing to risk his life to save others, and is short tempered towards those he believes are acting selfish or putting others in danger. He gets some of the film's most memorable moments, mostly due to his desire to go first to make sure the way is clear. I freaking love this man. Seeing this classic again at 12, I was blown away at just how awesome this character was, and he remains one of cinema's better heroic figures. Ernest Borgnine comes in at close second as the irritable and angry Mike Rogo, who wants nothing more than to get himself and his wife Linda (Stella Stevens) off this damn tub. His pretense to follow the masses is one of the things that puts the other survivors at risk, which is one of the reasons he and Frank don't get along so well. Despite his ill temper, he has a heroic streak of his own, most obviously shown in the exceptional vertical shaft sequence. Though this guy couldn't have saved everyone to begin with, he sure as hell could have by the end. Finally, there is Shelly Winters as the lovable Belle Rosen, one of the film's most iconic (and parodied) characters. Winters was so devoted to the part she gained 40 pounds to play it, which she sadly was never able to rid herself of. But perhaps it was worth it as her character is a gentle, kind and lovable woman whose heart is probably the most tender and loving out of all in this little group of survivors. Her requests that she be left behind, her desire to help, her concern for everyone else (especially the youngest of the group, Susan and Robin Shelby played by Pamela Sue Martin and Eric Shea) really paints her to be a kind and gentle soul who you can get behind right away. Other members of the cast, such as Pamela Sue Martin, Stella Stevens, Red Buttons, Roddy McDowall, Jack Albertson and Leslie Nielsen really do fine jobs, and where it not for space, I would give them their props as well. Yes, you heard that right. Leslie Flippin Nielsen is in this film in one of his more iconic dramatic roles prior to his comedic breakout in Airplane. I reserve my strongest criticism for Carol Lynley, who is the screamer of the group. Her character comes off as rather weak and somewhat irritating despite the sympathy for her plight. Shea also seems a little bit enthusiastic despite the whole ship turning over thing. If I was 10 and on this boat, I would be having a constant coronary.
   The film begins on the ship prior to the disaster. It was shot largely on the decks of The Queen Mary. Shooting on an actual ship does add a lot to the film as it makes the setting more solid and real to the audience. Now of all the segments of the film, these pre-disaster scenes are the most dated. The styles of the early 70s, really do take a front row seat and no doubt contribute greatly to the film's reputation as classic cheese. I find this a bit unfair. Sure these scenes are dated, but they are necessary to establish characters. In spite of their feel, they get the job done and you get to know and like these people. But once the ship capsizes, the somewhat hammy establishing sequences are gone and we are thrust into a new world. The cheesy beginning is replaced by a surreal nightmare.
   Let's talk about the sets. This movie would not have been the classic it is without these incredible sets. The inverted ballroom is probably the film's most memorable set as it really captures the destruction of the preceding event. The film really takes advantage of the idea of an inverted ship. We get burned out inverted kitchens with charred bodies strewn about. We got stairs they have to climb up. We got vertical shafts with surging water at the bottom, we got inverted corridors with walls of water overtaking the characters, we got submerged passageways with drowned crew and loose doors, we got an upside down engine room with rising water laced with flaming fuel. Good God these sets make the ship a character all its own. If these sets ever failed to convince, the film would have gone downhill and fast. Fortunately, that is not the case. Each one shows a gradual increase in the hellish nature of the ordeal of these characters. The situation grows more dire with each passing second; and the sets only serve to make that more obvious and heighten the film's epic levels of suspense. I especially like the vertical shaft sequence as it, more than any other scene in the film, captures a sense of foreboding and dread, which is given a marvelous payoff as the sequence concludes. For a thriller with tons of action, this scene is really damn creepy. The film was advertised as Hell Upside Down. Let me tell you all; that is a very accurate statement.
   The effects in the film are damn good. The first shot of the titular ship is a miniature, but damn it, it is a big miniature. While the effect fails in a few areas, for the most part (especially in the opening shot ) it proves to be very convincing and never appears downright laughable. The tsunami has some problems. When seen though Nielsen's binoculars, it is a very convincing wall of water. However, when it crashes into the ship, it does appear dated in that it is no longer a wave but a spray of water. This however proves to be a minor complaint as the water crashing through the bridge windows and the capsizing sequence shown almost entirely from the inside of the ship make you forget that fast. Now about that capsizing. Aside from the exterior shots of the ship floating on its side and the underwater shots of it having flipped, the entire thing is done in life size. You heard me right. No miniatures. No phony green screen effects. Real people getting tossed about the ballroom as it flips, smashing into tables, getting crushed under pianos, sliding to the other side of the room and cracking their skulls open and falling into skylights. This surpasses Wolfgang Peterson's remake in effects for this scene alone. It looks real because it is real. This set was really made to tilt a full 90 degrees, and damn it, it looks fantastic. The only other effects seen after this are the above mentioned shots of the inverted ship. The first shot of the ship, as its lights dim and the screen is consumed with darkness, is very atmospheric and effective. The shots after that are some of the film's weaker effects which depict explosions occurring somewhere inside the ship. These somewhat dated visuals do very little to take away from the fantastic sets inside, so once again, very minor.
   The music is either a big hit or a big miss. The big hit comes from rising musical talent John Williams, who delivers a kickass main theme for the movie that takes you away the moment it gets going. It not only captures the buildup to and the frightening nature of the disaster itself, but it also acknowledges the characters we will eventually follow. It is, to put it bluntly, beautiful music. Before his big break with Jaws, this film was probably his best work. He would go on to score other disaster classics like The Towering Inferno and Earthquake, but none of them would come close to this piece of work which shows great promise that would be delivered on with a bang three years later. The minute I hear this theme, my heart gets pumping. I cannot say the same for the Morning After. A notorious song that has not aged well, this song alone is probably the reason many do not enjoy this movie. Endlessly parodied and mocked, the Morning After is a mediocre and somewhat annoying tune that somehow managed to win an Oscar. You know how to fix this problem? Replace it with If We Hold on Together. It fits in here just as good as it did in The Land Before Time, but anything, anything but the Morning After! Okay, maybe I am being a little harsh on this classic piece of 70s cheese. It does have a certain charm to it, but really seems out of place on this film.
   As an example of film form, this film works nicely. The cinematography is very nice, showcasing the spectacular sets to their full visual potential (again, the vertical shaft scene). In between medium and close-up shots of our stars, the camera takes a nice step back in order to show us the scope of the devastation on the ship. The camera work really gives the disaster a cataclysmic feel to it, another ingredient in the masterful suspense. The sound work is constant and complimentary to the visuals. Throughout most of the film, low rumbles of the ship's failing structure can be heard, and the explosion sounds have not so much of a boom, but a vibratory feel to them. You don't hear the explosion itself, but rather the ship reacting to it. This subtle touch really ads to the film's style, and heightens its abilities as a thriller. The editing wins on just about every level, especially during the capsizing sequence which seamlessly blends the chaos into one smoothie of death and destruction. Mmm.
   The direction of Ronald Neame is very solid. This film is his best known work and it is no trouble to see why that is. He really does make sure to use the scenery to the film's advantage, all while trying to maintain an intimate connection to the characters. Most directors would have focused on the action, but Neame knows that without good characters, the action is moot. To bad he didn't carry this over to his big bomb Meteor. You had Sean Connery vs. an asteroid! That should have been an automatic win! So in this case, Neame falls into the great work category, though he did do a few other notable films such as the 70s adaptation of A Christmas Carol
   The Poseidon Adventure is without question the finest of 70s disaster films and is a contender for the finest ever made. Even films that outdid it in the grosses never managed to recapture its spirit. It works not just because of its incredible sets and effects. There was much more at play here. There was a kickass score from Williams, there was a great script from Stirling Silliphant, and it was given life by a great cast who understood how to make us love their characters. Despite a few dated miniature shots, a cheesy song and some cracks in the acting, this film works. Its competition never stood a chance. In the words of Robin Shelby, I say this to all films that dared to try and dethrone this classic, in particular to the weak sequel and remakes. Shove it shove it shove it!

The Poseidon Adventure is my favorite disaster movie and I really enjoyed reading your review.

[Hubbs]

All Quiet on the Western Front (1930)

Based on a novel and probably one of the most realistic war films I have ever seen, WW1 is the setting for this unusual look at life for German troops at the front line. Unusual because its a 30's American film focusing on German soldiers and not the more obvious Allies of Britain, France and Russia.

Starting off much like 'Full Metal Jacket' the film covers a group/class of young German lads ready to join the ranks and fight for their country. From here on we follow them through harsh training and into battle where they very quickly realise the horrors of war, one by one they are killed off as the film becomes more and more tragic, and all this in a 1930's film!

The first thing that must hit you is the amazing look and work put into the film, its incredible! the realism of the trenches, war torn nomansland, the uniforms for both sides and the brilliant special effects, mainly revolving around some pretty big explosions near actors, are all superbly created. By today's standards everything still looks good whilst the black and white only helps the film look more realistic. The film could easily be the 'Saving Private Ryan' of its day, its almost as good as real footage.

Of course the actors are of a different age so one can expect performances without the type of 'grit' that we are used to today. Some scenes are almost slightly pantomime with some slightly funny moments of comedy and slapstick which lighten the mood (mainly at the start before the characters enter the war) but we all know moments like this add to the charm of old films.

Make no mistake though this film is a history lesson and seeing as it was made about 12years after WW1 actually ended its amazing people watched, especially as it followed the Central Powers. Being so close to the war is obviously why its so accurate, the harrowing sequences of men being mown down by machine gun fire, one after another without a chance, the screams of the young troops as they go crazy from the constant shelling, the mud, barren landscapes, bodies, barbwire and of course the famous bleak depressing ending for the main lead, nailing home how cheap life was.

I think the main point in the film is how the main lead 'Paul Baumer' starts off, like his friends, as a patriot young German wanting to go off and fight for his country, pushed onwards and practically lied to by his school teacher 'Professor Kantorek' into 'doing whats right', to 'save the Fatherland'. 'Baumer' then returns to his home town towards the end of the film only to find his school teacher spouting the same nonsense to more young boys, trying to get them to recruit, he is invited in to speak of the glory of war but instead rages how its all lies and there is nothing but misery and death for all who join up. He is shunned by his old teacher and branded a coward by the young boys, so he returns to the front line. Not long after this the film ends with his pointless needless death.






All Quiet on the Western Front (1979)

Remake of the classic 1930's masterpiece which of course these days is very very old itself, never really given the respect it deserved and not classed as good as the original but I found it just as hard hitting.

First thing I noticed was the story has been mixed up a bit, its not in the same order as the original, everything seems to have been translated across but in different stages of the film. This does actually work because it doesn't just seem like a carbon copy, there is also allot more detail in some sequences with different ideas for setting and locations, new angles and edits upgrading the whole film somewhat.

On the whole it does look better in places, a good example I prefer is the bleak ending in this version over the original, its still the same but made slightly differently and NOT showing the sniper. All that is heard is the fire of a rifle and then a cut to Baumers hands as they react and his body slumps into the mud, possibly more effective than the original sequence.

The cast are again decent for this adaptation with Borgnine playing the role of Stanislaus Katzinsky perfectly and maybe better than the original, Pleasance as the German teacher whom regails the young German boys with propaganda and the glory of war, Holm as the over the top Corporal Himmelstoss giving him a slimy, backstabbing, cowardly glow and finally Richard Thomas looking just the part in his WW1 German uniform although being a little bland.

The scope isn't quite on par with the 30's version, its still very good and very bleak but its missing that epic feel which I guess is down to it being a TV movie but is still the business. Very authentic with costumes, vehicles, landscapes, weapons etc...the battles are good but not grand but the waste of life, cheapness of life, desolation and despair is well conceived throughout, no shyness when it comes to mud soaked trenches.

Its a shame this has been overshadowed somewhat as its a very good war film and manages to recreate WW1 just as well as its predecessor. Its rough, gritty and gives new views on what was shown before which add to the atmosphere making it a must see if you liked the 30's film.

[Hubbs]

The Adventures of Tintin: The Secret of the Unicorn

Directed by Spielberg, produced by Jackson and with the writing talents of Edgar Wright this animated film has some pretty good input and the final product does show it.

The look of this film is extremely well presented with amazing computer animation mixed with motion capture to give all the characters a very realistic feel along with a clear fantasy element. This is by far the best example of a motion capture/cgi film (as you might expect) and includes some lovely imagery from scenery to detailed settings and locations whilst all characters ,including Snowy, move wonderfully well yet retaining their classic appearances.

For me personally I never really got on with Tintin, I never really liked the style of art used by Herge, can't say why but it just didn't look right, much like many European cartoons such as 'Dogtanian and the Three Muskehounds' or 'Around the World with Willy Fog' the look, feel and style of art and animation was always slightly odd to us British kiddies back in the day, especially the obvious dubbing.

I can't hold that against the film of course as it does look excellent with US 'Hollywood' influence of course which helps a little. You sure can tell its Spielberg film though, the plot is pretty much a blend of typical 'Indy' style adventure with similar visuals and a good old fashioned swashbuckling yarn, thing is I don't think the bigwigs could make up their mind as to which.

The whole film is beautifully done and includes great voice work to match the motion capture, it has done pretty well in Europe so far (mainly the Continent) but I'm still unsure how the US will warm to Tintin and its unique look. Its a fun film but doesn't offer too much you haven't seen before and as said already you will get a strong 'Indy' vibe in many places which does give you the feeling you've seen this all before. A good start and a sequel would be welcome but after that this could get old fast.



Pathfinder (2007)

Fictional story about Viking raiders landing in modern day North America and fighting against native American Indians as they try to colonize.

Loving the idea for this pitting different types of native tribes against each other, nice concept which was taken up by Dark Horse comics and made into an equally decent graphic novel with amazing brooding artwork.

The film is highly stylised much like the graphic novel and looks gorgeous, the whole film is virtually in black, white and grey with hints of faded colour and only broken by the spray of blood spilt during some brutal battles.

Its not entirely accurate of course with the Vikings being really built up and laden with heavy metal armour and horned helmets to make them look fierce, it does work as they look amazing and powerful but obviously more comicbook than reality, almost a Conan feel to them really. The American Indians also look really good and much more realistic with some lovely costume and adornment design along with good makeup and hair styling. But its the cast used for the Indians that adds real class, Russell Means as a tribal chieftain really gives the film a more believeable feel.

The whole film basically one lavish set piece after another with not much dialog but there doesn't need to be as the plot is the most used and basic going. Local young tribesman leaves village, village gets destroyed by nasty barbarian types, young man comes back, gets upset and vows revenge, gets it, the end. Although the stunts and battles are tremendous looking the film is pretty shallow and offers nothing more really, unlike '300' which is based on truth this film is fictional so it feels more of a silly fantasy film than anything.

I did enjoy the film and if you like '300' then you will probably like this as its even more slick and brooding than that really, a real living graphic novel but probably helped by the release of '300'. I did enjoy the use of subs for the Vikings which really added to the quality (real Icelandic) and the rest of the cast is decent with Urban possibly in his best film so far, gets a little loose towards the end but this is a fine historical cum fictional offering if you enjoy savage clashes.



The Pit and the Pendulum (1991)

Charles Band takes on the classic Poe tale here with help from a surprisingly good cast including Lance Henriksen, Jeffrey Combs and a small cameo from Oliver Reed!

This film is combination of three classic Poe tales which aren't that bad but as you would expect pretty cheap n cheerful looking at times. There is an odd element of humour at times boarding on spoof yet despite this Henriksen does his best as the lunatic inquisitor Torquemada and gives a brilliantly over the top ham fest with a bizarre monk hair cut and his cutting round eyes.

Rest of the cast are pretty useless and the effects and sets go from reasonable to down right awful haha. Plenty of fake blood and cheesy dialog but I saw this mainly for Henriksen really, his presence elevates the film to a guilty pleasure.

[TheMonolith]

Dr. No
James Bond heads to Jamaica to investigate the disappearances of two fellow agents, and uncovers a scheme by criminal mastermind Dr. No.
Acting wise, wow. Sean Connery is a spectacular James Bond, and it will take a lot to sway me after seeing this film. His delivery of the line "Bond. James Bond." is still one of the finest lines in movie history. After seeing this, I am convinced I saw the birth of the movie badass. A swab, sophisticated, intelligent and resourceful killer, bumping off people with ease, even when the threat has expired. Connery's acting during the scene where a would be assassin fires at him with an empty gun and he promptly puts two in him is as cold as it gets, and just oozes with cool. In this film, Connery gave mainstream life to a lot of things such as the post kill one liner which Arnold would make his staple but never equal. Above all, he never stops looking good, and Connery knows it. He seems to have a grin on his face most of the time, even in the most dire of situations, giving the audience the feel he is thinking "I got this."Oh boy does he got this, and Connery's acting makes that all the more believable. I don't think anyone else at the time would have been able to sell it; much like only Bruce Lee could sell the fatal one inch punch. Moore was originally considered for the role and would later take up the mantle in the sequels, but one has to wonder, would the magic have still been there? I was familiar with Joseph Wiseman from the Twilight Zone episode "One More Pallbearer" so it was a treat to see him show up in this. What I like about him is that he never gets mad or steamed, making him just as sophisticated as Mr. Bond, but more illegal. Like Bond, he seems somewhat full of himself, though he carries himself in a way where it seems much more extreme, believing himself to be a winner even where Bond will say 'Hey, wait a minute." That is what I like about this guy. He is just so full of himself you know that is what will get him screwed by film's end. Despite his overconfidence, he never gets mad. Wiseman does a damn good job at portraying this primarily though his facial expression, which seems permanently set on "Max Smug". Ursula Andress as the first great Bond girl Honey Ryder is pretty cool and sexy. Acting wise, I must say I find nothing remarkable for the most part. This is possibly due to the fact that she was overdubbed. I would have LOVED a nice thick accent as it would have made her more of a stand out. Once again, facial expressions really sell some good points, such as when she casually tells how she killed her rapist with a black widow. That was pretty good acting. I do feel she was cast purely for looks and should have been coached better because she does have real talent that wasn't fully exploited in the film. Finally, there is John Kitzmiller as Quarrel, Bond's right hand man for this film. Kitzmiller's calmness after his face has been sliced with broken glass made me fall in love with him immediately. He plays a very fun and likable character who greatly spices up the cast. He also doesn't go the usual route and become a panicky pussy. He has a bit of fear but nothing that makes him useless, which is why he really is quite nice as a character. Many more spice up the front of the camera, but we will be here all day unless I get to the point.
Usually when I thought of Bond, I thought of fancy dress parties, not tropical islands. I wondered, would this work for me as my first Bond adventure? Oh yes it does. There is fine usage of the setting with great scenes on the water, on winding roads, in caves, the works. I didn't even need the fortress at the end, but it really did work great. It is at this point that I got what I expected, not to say that I disliked what came before. It becomes a different film at this point, and special emphasis is put in the fortress and its scope.
Sets are very nice. Most of them look like they were shot in expensive hotel rooms but I watched a doco before viewing the film and found they had in fact been constructed for the film. This guy should be working for top hotels because they would make a boat load for rooms as nice as the ones we see. The room used for the interrogation of the two is really catching, what with the aquarium in the background and subtle touches here and there, like the famous painting that had actually just been stolen in real life turning up in the layer. The best set is probably the control center, which just screams "Spy Movie!" It really is a spectacular set with great scope and a nice look. Pool of radioactive water hiding a core, control panel fore the satellite, the consol where the big bad sits and nice rock walls that give it that nice fortress of death look that would become a staple of spy films for many years to come. It really does catch the eyes nicely.
As being the first bond film, I wasn't expecting much action. Boy was I wrong. The first film had to be a big enough hit to spawn sequels, correct? The action is among those reasons. Right off the bat we get some nice fight scenes, car chases, attempted killings, death traps only evil masterminds could think up and the escape from the exploding fortress. All of these are done well. The car chase is a bit dated due to a green screen effect but Connery carries himself so well you are willing to buy it. Even a very simple scene such as Bond catching his would be killer in his bedroom is really well done in terms of tension. By far my favorite action scene is the final fight between bond and Dr. No over the pool of radioactive water. All it takes is one slip and game over. Given there are twenty some Bond films, I kinda knew who was gonna win, but it was still nicely executed. There really is a nice style to the destruction of the fortress with person after person leaping from the structure into the sea. Even James Cameron couldn't match this one with Titanic. There is also some fine usage of more low key action and suspense, such as the scene where Bond has to remain still to avoid getting bitten by a deadly tarantula and Bond and his allies using hollow branches as breathing tubes to hide underwater from their pursuers. These more, shall we say, restrained scenes really give a nice overall feel to the film, not leaving you much time to catch your breath. You think it is time for relaxation? Wrong. The coffee is poisoned.
Let's talk effects now. They are pretty good looking. Some really fine miniature and animatronics work. One of the film's bit set pieces is the fake dragon made to scare away locals. It may look a bit silly by today's standards...Okay very silly but it still looks pretty nice. Those big jets of flame coming out the front can make one forgive the campy look of the device. I was very impressed with the miniature work of the base. I could tell it was a miniature but it still looked very good. Obviously this model was very substantial in size. The only thing that made me not guy its size was the water. If the water was matted in, I might have been fooled. But the effective explosion that followed fit the scale so well, I almost forgot about the water. That explosion doesn't look small. It looks very big. To do pyrotechnics in miniature really is challenging, and even some of the greatest films of all time (Last Crusade for example) have flame effects that don't quite work in scale, but this explosion looks large. Whoever did this effects knew what to do to sell the illusion. Very nicely done.
One cannot talk Bond without music. The hit song Jump Up really does fit the festive atmosphere of Jamaica and would still be a great choice for a beach party. If I ever head down to a beach with friends, I am playing that shit. Unlike The Morning After, it has aged very well. I was hearing music like this when was a kid. Color me impressed with how well it has stood up. But about that main theme. For them to still be using it after almost 40 years, it has to be good. It is just one of the finest ever composed and may well be the first truly iconic movie theme. You don't even have to see a Bond film to know what it is from. From those opening bars, you know you are listening to Bond. What a marvelous theme. Monty Norman should be put up with Williams, Bernstein, Goldsmith and Herman for that alone. Almost 40 years and virtually no changes. If ever a theme stood up well. It, like the great themes is more than just a piece of music. It is a character itself.
I am sad to say I cannot talk about film for much with this one as it is a first viewing and I need to see a film several times before I get a good feel for it. I will say that what I saw flowed smoothly and emphasized the action . Nice cutting between close-ups, long shots. The dragon scene is especially well done to hide the more violent segments but still make you go "Ooooooh!" The destruction of the fortress is especially packed with creative cuts and shots. By far my favorite editing is seen when Bond blows away his unarmed would be killer. There is no blood in the scene, but like the shower scene in Psycho, the cuts really make you feel the bullets tearing into the guy's torso, especially that first shot.
Terrance Young is highly thought of among film fans as one of the finest of Bond directors, credited with some of the more beloved entries in the series.  He is able to depart from the mold in that he has made a fine suspense thriller Wait Until Dark. Looks like we got the great man at work here.
Dr. No is a fine thriller with beautiful scenery, tremendous acting, top notch action and unforgettable music. This series had to start somewhere, and while this wasn't the first adaptation, it is the one that really got the ball rolling with a bang.  I highly recommend that one see this film, a fine 60s thriller that really showed that action films can have class.

[TheMonolith]

Play Misty For Me
Dave Garver (Clint Eastwood) has a one night stand with devoted fan Evelyn Draper (Jessica Walter). Shortly after, he reconciles with his girlfriend and the two are back together. Evelyn will not have any of it and subjects Dave to a campaign of harassment and violence to lure him back into her arms, or kill him.
Acting, whoa nelly. This is probably one of Eastwood's most underrated roles in that despite it being Clint f**king Eastwood, you can actually buy him as an average joe who got in over his head. Eastwood plays a laid back and likable guy who just wants to set things right with the girl he loves, but can't due to the hold Evelyn has on him. At first he is polite with her antics and tries to be gentle, but as her tantrums and episodes grow increasingly nasty, he becomes more and more angry. Eastwood is actually able to display genuine terror. I never thought I would see him afraid, but he is scared out of his mind in this movie. When he gets phone calls, when he is racing to his girlfriend's house, when he is evading a vicious attack, when he finds his maid has been sliced up, he is afraid. There is an especially heartbreaking moment where after Evelyn has attempted suicide, she feigns a nightmare to get him in bed with her. He comforts her until she falls asleep. He however stairs blankley forward with the expression that Eastwood described as a caged animal. It is not far off. He is desperate to escape, and he shows it well. Perhaps more memorable than Eastwood is Jessica Walter's (Arrested Development) role as the psychotic Evelyn. What is exceptionally good about this role is that she begins as an average person, flirtatious, fun loving and just an all American girl. She plays it much like Kathy Bates would play Wilks in Misery a few decades later. Initially fun loving and manic, she slowly reveals her true colors. Unlike Misery however, we get an inkling of her violent potential right off the bat when she angrily yells at one of Dave's neighbors. After that, it is a series of brief glimpses until she finally goes overboard. From then on, it is an absolute nightmare, with public tantrums, stalking Dave and his lover, and eventually her homicidal behavior. When Annie becomes violent, she is like a rabid dog. She screams at the top of her lungs and just lunges like it is the last thing she will ever do. That look on her face just may outdo Annie, and you know that is saying something. Water played cinema's first mainstream stalker and brought the problem to the public mind, and she is still one of the finest villains ever put to celluloid. What is superb about these two is how they play off of each other. This movie just would not have been the same had it been any other two, much like Die Hard wouldn't have been the same without John or Hans. We have a victim and his victimizer played to perfection.
The film is made around Eastwood's home in California with much of it being shown on waterfronts and beaches. This greatly adds to the turbulent nature of the film but also offers some stunning beauty. This probably wouldn't have worked so well had it been in a suburb or city. This is a story of trouble in paradise. There are four settings the film uses. One if the radio station where Dave works, which feels nice and isolated. Whenever he gets phone calls from Evelyn in these scenes, the set kind of does add to the feeling of violation as it feels very personal. Dave's house is another spaces that is highly personalized, making one feel as if it could belong to no one but him, thus when Evelyn invades it, it is all the more traumatic for the viewer. The beach is by far the most sacred space in the film as it is where Dave and his girlfriend Tobie (played by Donna Mills) have their intimate moments. One of the more horrifying moments in the film is when they share a romantic moment, only for us to discover that this beach, which seems to represent their entire world has also been invaded. The final setting, which is where the film concludes, is the house of Tobie, which is absolutely perfect for the film's earth shattering climax.
The film is very effective as a thriller, and while not violent throughout, don't let that fool you. There is one scene that is up there with the knifing scene of Psycho for sheer visceral power, and that is the scene where Dave's maid is brutally attacked by Evelyn when she is caught invading the home. The cuts, the blood, the sounds. No music in this scene, but it is not needed. You can feel the rage and feel the violence of the attack. Also effective is the final showdown between Dave and Evelyn, where she strikes at him from the dark and retreats into the dark. Aside from the violence, there is much more to offer. Perhaps even more effective than the violence are the scenes of humiliation and outbursts that prelude them. One very well executed sequence is when Dave is seeing a woman who is interested in picking up his show, but his aspirations are thwarted when Evelyn shows up and proceeds to chastise and humiliate him in front of everyone, throwing a tantrum that a two year old would say is overdoing it.
The cinematography and editing are very well executed.  I know I just said this for Dr. No, but it really does apply hear as well. When the violence is going on, it is not fleshy contact that sets off the "That's gotta hurt!" signals, but rather the quick cuts. One of the best examples of editing is when Dave races to his girlfriend's rescue after Evelyn has captured her. It cuts back and forth between his face and a portrait of him that Evelyn begins to slice up. What is nice about this is that when it cuts back to Eastwood, it is never the same shot twice, but rather a variety of angles and distances. Very well done. The cinematography really tries to keep a wide scope on things, letting us take in the scenery very well. The shot mentioned above where Evelyn is seen stalking Dave and Tobie is exceptionally well made. It begins with a close two shot of Dave and Tobie. When they fall out of frame, we see the woods behind them briefly. There is a quick zoom that reveals a blur that we thought was a branch was Evelyn's rage filled face. Even in such a detailed shot, she lurks in plain sight waiting to pounce.
We obviously know that Eastwood is a fine director, with works such as Sudden Impact, Unforgiven and the like. He is obviously in the Great Man category of artist. This film is a standout in many ways. Not only is it his only suspense film, it is probably as close to a horror thriller film he ever came, in his mainstream days that is. This film is almost Hitchcockian in its style, and it is so close to The Master that had you slapped his name on the credits, I will admit that it would have fooled me. So many people have tried to capture the work of The Master like DePalma, but Eastwood seems to have come the closest of them all with this tight little thrill ride. Somehow amidst it all, it is still his film.
Play Misty For Me is a film I had some doubts about despite its acclaim. I wondered "Could I ever buy Dirty Harry as a victim?" This film answered that question with a hard slap across the face followed by a "Hell yes!" This film is frightening, more so in some ways than most horror films in that this it is real. People like Evelyn exist, and target people seemingly without reason.  This film was probably one of the first to address the problem of stalkers in a believable manner, and it is still quite possibly the finest of such films. No moment is over the top, but no moment lets your heart slow down.

[MudButt]

This movie... if you haven't seen it then watch it. It's the story of estranged brothers Brendan Conlon (Edgerton) and Tommy Riordan (Hardy). Brendan faces financial troubles and is in danger of the bank taking his home, Tommy is a marine vet who returns home after many years to his former alcoholic father Paddy Conlon (Nolte). Both brothers used to fight when they were younger, it is hinted that Tommy was the favored son of Paddy due to his numerous winnings, while Brendan was ignored for being somewhat of an underdog, the main plot of the movie revolves around the Sparta MMA Grand Prix Tournament, with a prize winning of 5 million dollars, both brothers have their reasons for winning so they compete. Of course at the end they face each other in a jaw dropping, tear jerking match.

Plot summaries aside, this movie is amazing. The acting in it is so amazing, each performance from Hardy, Edgerton, and Nolte is perfect. Edgerton is the main character of the movie, he doesn't have many bad qualities to him, he simply wants to fight for money to save his house to keep his family safe. Hardy is an angry vet who obviously has many negative feelings towards his father and brother for issues in the past. Nolte plays an ex-alcoholic father who is trying to reconnect with both sons but faces many obstacle due to his past mistakes. The family drama is so believable due to the actors making you really believe they detest one another. Tommy and Paddy's characters are so well portrayed and written in this film that you find yourself hating them and loving them almost simultaneously. I watched this movie four times in one week and cried every single time, their are two scenes in this film that you will find hard to keep tears out of your eyes.

The fighting in this movie is very well shot, it feels like you're actually at an MMA fight. You find yourself cringing at the pain inflicted by the fighters, you're cheering when someone wins, you're scared for the characters as they get beat on. The last fight between the two brothers is so hard to view, especially when you have a brother who isn't so close to you. Their's hatred, love, and so much emotional conflict in those punches you don't know if you should tell them to stop or cheer them on to beat the shit out of one another. The last minute of the fight you'll start crying, no thanks to the help of the song About Today by the National.

It's an amazing film, each actor deserves an award for their performance. I'm buying it for sure and will view it forever. It's among the top five favorite films for me now. I rank it up there with Rocky, and I enjoy it much better then the Fighter. This definitely is the Rocky of 2011. 10/10

[Hubbs]

Razor Blade Smile (UK, 1998)

Believe it or not but this UK made film is most probably the genesis for major US films such as 'The Matrix' and many future sci-fi films and vampire films, especially 'Underworld'.

The film is VERY low budget but shows the kind of imagery, cam angles and typical slow motion action that is now common place in all big films, the tight latex catsuit wearing hitwoman is certainly a much used idea these days.

Director West does well with virtually no money and using his parents house haha there are some really nice sequences here which look much better than you might expect. Cast is also quite unique really with some cult figures included such as Adamson, Warbeck and of course Daly, wonder if they were paid anything?

The film has some lovely hammy moments with some really delicious dialog, the obligitory sex scene for Daly, plenty of fangs and vampire hissing, a coffin full of weapons ('El Mariachi'?) and Adamson REALLY twisting the knob with his performance and facial expressions. In fact you can easily see an early Viktor from 'Underworld' with the character Adamson plays, almost a direct rip off infact, only Adamson is slightly more meaty than Nighy.

[SpaceMarines]

Spoiler

Dr. No
James Bond heads to Jamaica to investigate the disappearances of two fellow agents, and uncovers a scheme by criminal mastermind Dr. No.
Acting wise, wow. Sean Connery is a spectacular James Bond, and it will take a lot to sway me after seeing this film. His delivery of the line "Bond. James Bond." is still one of the finest lines in movie history. After seeing this, I am convinced I saw the birth of the movie badass. A swab, sophisticated, intelligent and resourceful killer, bumping off people with ease, even when the threat has expired. Connery's acting during the scene where a would be assassin fires at him with an empty gun and he promptly puts two in him is as cold as it gets, and just oozes with cool. In this film, Connery gave mainstream life to a lot of things such as the post kill one liner which Arnold would make his staple but never equal. Above all, he never stops looking good, and Connery knows it. He seems to have a grin on his face most of the time, even in the most dire of situations, giving the audience the feel he is thinking "I got this."Oh boy does he got this, and Connery's acting makes that all the more believable. I don't think anyone else at the time would have been able to sell it; much like only Bruce Lee could sell the fatal one inch punch. Moore was originally considered for the role and would later take up the mantle in the sequels, but one has to wonder, would the magic have still been there? I was familiar with Joseph Wiseman from the Twilight Zone episode "One More Pallbearer" so it was a treat to see him show up in this. What I like about him is that he never gets mad or steamed, making him just as sophisticated as Mr. Bond, but more illegal. Like Bond, he seems somewhat full of himself, though he carries himself in a way where it seems much more extreme, believing himself to be a winner even where Bond will say 'Hey, wait a minute." That is what I like about this guy. He is just so full of himself you know that is what will get him screwed by film's end. Despite his overconfidence, he never gets mad. Wiseman does a damn good job at portraying this primarily though his facial expression, which seems permanently set on "Max Smug". Ursula Andress as the first great Bond girl Honey Ryder is pretty cool and sexy. Acting wise, I must say I find nothing remarkable for the most part. This is possibly due to the fact that she was overdubbed. I would have LOVED a nice thick accent as it would have made her more of a stand out. Once again, facial expressions really sell some good points, such as when she casually tells how she killed her rapist with a black widow. That was pretty good acting. I do feel she was cast purely for looks and should have been coached better because she does have real talent that wasn't fully exploited in the film. Finally, there is John Kitzmiller as Quarrel, Bond's right hand man for this film. Kitzmiller's calmness after his face has been sliced with broken glass made me fall in love with him immediately. He plays a very fun and likable character who greatly spices up the cast. He also doesn't go the usual route and become a panicky pussy. He has a bit of fear but nothing that makes him useless, which is why he really is quite nice as a character. Many more spice up the front of the camera, but we will be here all day unless I get to the point.
Usually when I thought of Bond, I thought of fancy dress parties, not tropical islands. I wondered, would this work for me as my first Bond adventure? Oh yes it does. There is fine usage of the setting with great scenes on the water, on winding roads, in caves, the works. I didn't even need the fortress at the end, but it really did work great. It is at this point that I got what I expected, not to say that I disliked what came before. It becomes a different film at this point, and special emphasis is put in the fortress and its scope.
Sets are very nice. Most of them look like they were shot in expensive hotel rooms but I watched a doco before viewing the film and found they had in fact been constructed for the film. This guy should be working for top hotels because they would make a boat load for rooms as nice as the ones we see. The room used for the interrogation of the two is really catching, what with the aquarium in the background and subtle touches here and there, like the famous painting that had actually just been stolen in real life turning up in the layer. The best set is probably the control center, which just screams "Spy Movie!" It really is a spectacular set with great scope and a nice look. Pool of radioactive water hiding a core, control panel fore the satellite, the consol where the big bad sits and nice rock walls that give it that nice fortress of death look that would become a staple of spy films for many years to come. It really does catch the eyes nicely.
As being the first bond film, I wasn't expecting much action. Boy was I wrong. The first film had to be a big enough hit to spawn sequels, correct? The action is among those reasons. Right off the bat we get some nice fight scenes, car chases, attempted killings, death traps only evil masterminds could think up and the escape from the exploding fortress. All of these are done well. The car chase is a bit dated due to a green screen effect but Connery carries himself so well you are willing to buy it. Even a very simple scene such as Bond catching his would be killer in his bedroom is really well done in terms of tension. By far my favorite action scene is the final fight between bond and Dr. No over the pool of radioactive water. All it takes is one slip and game over. Given there are twenty some Bond films, I kinda knew who was gonna win, but it was still nicely executed. There really is a nice style to the destruction of the fortress with person after person leaping from the structure into the sea. Even James Cameron couldn't match this one with Titanic. There is also some fine usage of more low key action and suspense, such as the scene where Bond has to remain still to avoid getting bitten by a deadly tarantula and Bond and his allies using hollow branches as breathing tubes to hide underwater from their pursuers. These more, shall we say, restrained scenes really give a nice overall feel to the film, not leaving you much time to catch your breath. You think it is time for relaxation? Wrong. The coffee is poisoned.
Let's talk effects now. They are pretty good looking. Some really fine miniature and animatronics work. One of the film's bit set pieces is the fake dragon made to scare away locals. It may look a bit silly by today's standards...Okay very silly but it still looks pretty nice. Those big jets of flame coming out the front can make one forgive the campy look of the device. I was very impressed with the miniature work of the base. I could tell it was a miniature but it still looked very good. Obviously this model was very substantial in size. The only thing that made me not guy its size was the water. If the water was matted in, I might have been fooled. But the effective explosion that followed fit the scale so well, I almost forgot about the water. That explosion doesn't look small. It looks very big. To do pyrotechnics in miniature really is challenging, and even some of the greatest films of all time (Last Crusade for example) have flame effects that don't quite work in scale, but this explosion looks large. Whoever did this effects knew what to do to sell the illusion. Very nicely done.
One cannot talk Bond without music. The hit song Jump Up really does fit the festive atmosphere of Jamaica and would still be a great choice for a beach party. If I ever head down to a beach with friends, I am playing that shit. Unlike The Morning After, it has aged very well. I was hearing music like this when was a kid. Color me impressed with how well it has stood up. But about that main theme. For them to still be using it after almost 40 years, it has to be good. It is just one of the finest ever composed and may well be the first truly iconic movie theme. You don't even have to see a Bond film to know what it is from. From those opening bars, you know you are listening to Bond. What a marvelous theme. Monty Norman should be put up with Williams, Bernstein, Goldsmith and Herman for that alone. Almost 40 years and virtually no changes. If ever a theme stood up well. It, like the great themes is more than just a piece of music. It is a character itself.
I am sad to say I cannot talk about film for much with this one as it is a first viewing and I need to see a film several times before I get a good feel for it. I will say that what I saw flowed smoothly and emphasized the action . Nice cutting between close-ups, long shots. The dragon scene is especially well done to hide the more violent segments but still make you go "Ooooooh!" The destruction of the fortress is especially packed with creative cuts and shots. By far my favorite editing is seen when Bond blows away his unarmed would be killer. There is no blood in the scene, but like the shower scene in Psycho, the cuts really make you feel the bullets tearing into the guy's torso, especially that first shot.
Terrance Young is highly thought of among film fans as one of the finest of Bond directors, credited with some of the more beloved entries in the series.  He is able to depart from the mold in that he has made a fine suspense thriller Wait Until Dark. Looks like we got the great man at work here.
Dr. No is a fine thriller with beautiful scenery, tremendous acting, top notch action and unforgettable music. This series had to start somewhere, and while this wasn't the first adaptation, it is the one that really got the ball rolling with a bang.  I highly recommend that one see this film, a fine 60s thriller that really showed that action films can have class.

[close]

Great review, Mono. Glad to see you loved this film as much as I do.

You gotta get on them other Bonds, though.

[Hubbs]

Johnny Handsome (1989)

Curious little crime thriller based around a disfigured criminal that has a major face lift, almost like an early version of 'Face Off' really accept a little more realistic.

Its kinda unique because the film almost comes across as an endearing story of a criminal who turns his life around after receiving his new face but then turns into a silly revenge thriller towards the end, I thought the endearing story might have worked better.

The cast is pretty slick with Rourke as the main lead and almost a prediction of his future facial issues, Morgan Freeman looking and acting exactly the same as usual, Forest Whitaker looking really geeky with a stupid beard and Lance Henriksen looking completely hilarious in some very gay looking tight fitting 80's attire complete with a ridiculous earring.

Silly title and surprisingly for a Walter Hill film not that good, the problem being its almost two different films stuck together awkwardly.

[TheMonolith]

Spoiler

Dr. No
James Bond heads to Jamaica to investigate the disappearances of two fellow agents, and uncovers a scheme by criminal mastermind Dr. No.
Acting wise, wow. Sean Connery is a spectacular James Bond, and it will take a lot to sway me after seeing this film. His delivery of the line "Bond. James Bond." is still one of the finest lines in movie history. After seeing this, I am convinced I saw the birth of the movie badass. A swab, sophisticated, intelligent and resourceful killer, bumping off people with ease, even when the threat has expired. Connery's acting during the scene where a would be assassin fires at him with an empty gun and he promptly puts two in him is as cold as it gets, and just oozes with cool. In this film, Connery gave mainstream life to a lot of things such as the post kill one liner which Arnold would make his staple but never equal. Above all, he never stops looking good, and Connery knows it. He seems to have a grin on his face most of the time, even in the most dire of situations, giving the audience the feel he is thinking "I got this."Oh boy does he got this, and Connery's acting makes that all the more believable. I don't think anyone else at the time would have been able to sell it; much like only Bruce Lee could sell the fatal one inch punch. Moore was originally considered for the role and would later take up the mantle in the sequels, but one has to wonder, would the magic have still been there? I was familiar with Joseph Wiseman from the Twilight Zone episode "One More Pallbearer" so it was a treat to see him show up in this. What I like about him is that he never gets mad or steamed, making him just as sophisticated as Mr. Bond, but more illegal. Like Bond, he seems somewhat full of himself, though he carries himself in a way where it seems much more extreme, believing himself to be a winner even where Bond will say 'Hey, wait a minute." That is what I like about this guy. He is just so full of himself you know that is what will get him screwed by film's end. Despite his overconfidence, he never gets mad. Wiseman does a damn good job at portraying this primarily though his facial expression, which seems permanently set on "Max Smug". Ursula Andress as the first great Bond girl Honey Ryder is pretty cool and sexy. Acting wise, I must say I find nothing remarkable for the most part. This is possibly due to the fact that she was overdubbed. I would have LOVED a nice thick accent as it would have made her more of a stand out. Once again, facial expressions really sell some good points, such as when she casually tells how she killed her rapist with a black widow. That was pretty good acting. I do feel she was cast purely for looks and should have been coached better because she does have real talent that wasn't fully exploited in the film. Finally, there is John Kitzmiller as Quarrel, Bond's right hand man for this film. Kitzmiller's calmness after his face has been sliced with broken glass made me fall in love with him immediately. He plays a very fun and likable character who greatly spices up the cast. He also doesn't go the usual route and become a panicky pussy. He has a bit of fear but nothing that makes him useless, which is why he really is quite nice as a character. Many more spice up the front of the camera, but we will be here all day unless I get to the point.
Usually when I thought of Bond, I thought of fancy dress parties, not tropical islands. I wondered, would this work for me as my first Bond adventure? Oh yes it does. There is fine usage of the setting with great scenes on the water, on winding roads, in caves, the works. I didn't even need the fortress at the end, but it really did work great. It is at this point that I got what I expected, not to say that I disliked what came before. It becomes a different film at this point, and special emphasis is put in the fortress and its scope.
Sets are very nice. Most of them look like they were shot in expensive hotel rooms but I watched a doco before viewing the film and found they had in fact been constructed for the film. This guy should be working for top hotels because they would make a boat load for rooms as nice as the ones we see. The room used for the interrogation of the two is really catching, what with the aquarium in the background and subtle touches here and there, like the famous painting that had actually just been stolen in real life turning up in the layer. The best set is probably the control center, which just screams "Spy Movie!" It really is a spectacular set with great scope and a nice look. Pool of radioactive water hiding a core, control panel fore the satellite, the consol where the big bad sits and nice rock walls that give it that nice fortress of death look that would become a staple of spy films for many years to come. It really does catch the eyes nicely.
As being the first bond film, I wasn't expecting much action. Boy was I wrong. The first film had to be a big enough hit to spawn sequels, correct? The action is among those reasons. Right off the bat we get some nice fight scenes, car chases, attempted killings, death traps only evil masterminds could think up and the escape from the exploding fortress. All of these are done well. The car chase is a bit dated due to a green screen effect but Connery carries himself so well you are willing to buy it. Even a very simple scene such as Bond catching his would be killer in his bedroom is really well done in terms of tension. By far my favorite action scene is the final fight between bond and Dr. No over the pool of radioactive water. All it takes is one slip and game over. Given there are twenty some Bond films, I kinda knew who was gonna win, but it was still nicely executed. There really is a nice style to the destruction of the fortress with person after person leaping from the structure into the sea. Even James Cameron couldn't match this one with Titanic. There is also some fine usage of more low key action and suspense, such as the scene where Bond has to remain still to avoid getting bitten by a deadly tarantula and Bond and his allies using hollow branches as breathing tubes to hide underwater from their pursuers. These more, shall we say, restrained scenes really give a nice overall feel to the film, not leaving you much time to catch your breath. You think it is time for relaxation? Wrong. The coffee is poisoned.
Let's talk effects now. They are pretty good looking. Some really fine miniature and animatronics work. One of the film's bit set pieces is the fake dragon made to scare away locals. It may look a bit silly by today's standards...Okay very silly but it still looks pretty nice. Those big jets of flame coming out the front can make one forgive the campy look of the device. I was very impressed with the miniature work of the base. I could tell it was a miniature but it still looked very good. Obviously this model was very substantial in size. The only thing that made me not guy its size was the water. If the water was matted in, I might have been fooled. But the effective explosion that followed fit the scale so well, I almost forgot about the water. That explosion doesn't look small. It looks very big. To do pyrotechnics in miniature really is challenging, and even some of the greatest films of all time (Last Crusade for example) have flame effects that don't quite work in scale, but this explosion looks large. Whoever did this effects knew what to do to sell the illusion. Very nicely done.
One cannot talk Bond without music. The hit song Jump Up really does fit the festive atmosphere of Jamaica and would still be a great choice for a beach party. If I ever head down to a beach with friends, I am playing that shit. Unlike The Morning After, it has aged very well. I was hearing music like this when was a kid. Color me impressed with how well it has stood up. But about that main theme. For them to still be using it after almost 40 years, it has to be good. It is just one of the finest ever composed and may well be the first truly iconic movie theme. You don't even have to see a Bond film to know what it is from. From those opening bars, you know you are listening to Bond. What a marvelous theme. Monty Norman should be put up with Williams, Bernstein, Goldsmith and Herman for that alone. Almost 40 years and virtually no changes. If ever a theme stood up well. It, like the great themes is more than just a piece of music. It is a character itself.
I am sad to say I cannot talk about film for much with this one as it is a first viewing and I need to see a film several times before I get a good feel for it. I will say that what I saw flowed smoothly and emphasized the action . Nice cutting between close-ups, long shots. The dragon scene is especially well done to hide the more violent segments but still make you go "Ooooooh!" The destruction of the fortress is especially packed with creative cuts and shots. By far my favorite editing is seen when Bond blows away his unarmed would be killer. There is no blood in the scene, but like the shower scene in Psycho, the cuts really make you feel the bullets tearing into the guy's torso, especially that first shot.
Terrance Young is highly thought of among film fans as one of the finest of Bond directors, credited with some of the more beloved entries in the series.  He is able to depart from the mold in that he has made a fine suspense thriller Wait Until Dark. Looks like we got the great man at work here.
Dr. No is a fine thriller with beautiful scenery, tremendous acting, top notch action and unforgettable music. This series had to start somewhere, and while this wasn't the first adaptation, it is the one that really got the ball rolling with a bang.  I highly recommend that one see this film, a fine 60s thriller that really showed that action films can have class.

[close]

Great review, Mono. Glad to see you loved this film as much as I do.

You gotta get on them other Bonds, though.

Way ahead of your partner.
(Lights cigarette)

[SpaceMarines]

*takes cigarette from Mono's hand, takes a drag*

Good.

*exhales slowly through nose*

Good.

[Hubbs]

The Hunted (1995)

Bit of a silly but highly enjoyable thriller set in Japan as Chris Lambert is hunted down by a clan of Ninja for disturbing a ritual killing. Funny thing is about this film is Lambert isn't really involved in much of the main action throughout, it tends to revolve around John Lone's Master Ninja character and Yoshio Harada's modern day Samurai.

The whole film is rather basic really from the slightly bog standard action and fighting sequences to the rather cheesy and unfunny humour that has been wrongly chosen, the whole thing looks a bit like a TV movie really.

My enjoyment came from my love of Japanese/Asian culture as a whole as I love to watch anything to do with the wild East. The film is basically held together by the gorgeous Joan Chen in a small role unfortunately, the inclusion of Takayuki Kubota in a funny role which isn't really that funny and wastes his skills and the legendary Yoshio Harada as Ichirou Takeda the samurai, Harada's performance in this film is virtually unprecedented as he plays it completely seriously and looks damn good whilst doing so. His rough, weathered, wise looks, his deep, harsh, booming voice together with his fighting stance...the man IS a modern day samurai, the word 'epic' in the dictionary has a pic of Harada next to it.

Lone can't quite get into the rhythm for me here, he doesn't quite fit his ninja character in looks or performance really (he is Chinese) and as I said Lambert is in the background really right up to the very end, but his out of place feel suits the film well. Average film with highlights from the Eastern world

[Hubbs]

30 Minutes or Less

Totally ridiculous farce of a comedy that is more of a guilty pleasure than anything Its pretty stupid but admittedly quite amusing in many places, not hilarious but definitely makes you smile.

The duo of Eisenberg and Ansari as the bumbling blackmailed robbers is actually a surprisingly fun pairing that work really well together, the bank robbery is a funny scene and their constant bickering will raise your spirits rest assured. The other winner here is the second duo of McBride and Swardson as the bumbling losers trying to blackmail the other bumbling losers hehe again their dialog is witty and amusing as they talk nonsense getting nowhere fast.

Holds together quite well throughout but apart from a few various sequences its nothing that special, the casting is well thought of for sure but the rest is a bit daft, think along the lines of the film 'Nothing To Lose'.

Warrior

This is the first film I've seen that focuses around the now popular MMA UFC competitions which involve fighters from around the world in all martial art forms. I found out about MMA a few years ago and was thrilled at the thought, being a JCVD fan since a young age I couldn't believe there was actually a real life legal competition which worked along the lines of the JCVD classic 'Bloodsport'.

Since then I have become hugely disappointed with so called MMA as there is really very little martial arts going on, it all tends to be big men bulldozing each other to ground and simply pounding and hammering each other into the canvas, no skill or MMA anywhere to be seen accept for extreme wrestling, the lighter weights are easily the better fights to watch with more skill involved.

This film does better than reality for the heavy weights as it actually shows some martial art skill being used, not much but its there if you look closely. Its one of the most accurate and realistic fighting films I've seen for along time or ever actually, the director has wisely avoided the cliches and much used ideas along the 'Rocky' route and 'The Karate Kid' route etc...and added awhole load of character building and back story to immerse the viewer.

It is odd why a teacher seems to be some kind of street fighter in his spare time to make extra money (doesn't a teacher pay well in the US?) and how both he and his brother just decide to enter the MMA competition for money when surely there are other easier ways but hey. The story is solid and gives the film a big needed injection of regular life instead of the obvious mindless fighting route other films go down. Plenty of emotion and family values which everyone can relate too but in my humble opinion I just thought there was a bit too much emotion stuck in, O'Connor really crams in as much tear jerking info as he can just in case we forget to cry and realise how sensitive the film is.
One thing after another from the brothers unforgiving history with their father, Tommy Riordan being a big war hero but doesn't like to talk about it and the brothers predictably fighting each other in the final whilst their father looks on.

The performances here are very good, not Oscar material but very good, for me Nolte stands out as the brothers father with a sterling job as he tries to reconcile with his boys. Joel Edgerton as Brendan Conlon also shines here as a father trying to make money to save his home and family with a very down to earth, believeable performance as a regular guy. Hardy as Tommy fits the role as a fighter but his acting doesn't hit the target for me, his pouting throughout and unnecessary 'I'm hard' walk/vibe/persona during fight sequences (especially late on in the film) isn't required, don't show off Hardy, just play it real like Edgerton did.

A fight film with a difference as it actually has a decent plot within it but I wouldn't say its as uplifting or heartbreaking as I've been reading, there are strong emotional qualities along with redemption, forgiveness and reconciliation but at the end of the day I felt more of a rush at the end of 'The Karate Kid' (84) to be honest hehe.

Kudos for one of the most realistic fight films around, kudos for the story but I've seen better drama films that have hit me harder with the tissues. For realism this is one of the best but for all out balls to the wall fighting that will make your jaw drop 'Undisputed 2/3' are still the best fight films for me.

[Hubbs]

Hugo

I will be totally honest here and say that for much of this film I really didn't quite see what was suppose to be going on, a boy who lives in a railway station working the clocks befriends a young girl who is the goddaughter of a miserable old toy maker who also lives within the station, together they try to make an old automaton work simply because his father never finished it.

I simply couldn't quite fathom out what the point was and where the film was going, I had read allot of good reviews for the film but was lost. There is a huge amount of dialog and not much else going on throughout the film which admittedly is rather dull making it slow going, there are inclusions of attempted humour with Sacha Baron Cohen as Inspector Gustav (Frenchman with London accent) who merely comes across as a poor blend of Kenneth Mars character Inspector Kemp from 'Young Frankenstein' and the silly tall French policeman from the British comedy 'Allo Allo'.

It is only towards the end of the film that you finally discover the film is actually a biopic about cinematic legend Georges Méliès (had a clue but couldn't see it up to this point) and everything you have been watching is snippets from his life into the world of film. From this point on the film changes from being rather dull to a fantastic homage to the great man and his wonderful silent movies with a sublime montage of actual footage and the way it was probably created.

Don't get me wrong the film isn't poor by any means, its a visual masterpiece capturing France 1931 and comes across like a dreamlike fantasy with surreal images and very good performances from a stellar cast. Kingsley as Méliès is of course the highlight with a lovely contrast between his youth and old age.

In all honesty the film is pretty boring up to about the last 30mins where you finally see the film for what it is, this last part of the film is amazing as it highlights a long forgotten craftsman and genius whilst also highlighting how good modern films can be if they try. Scorsese certainly surprises with this outing as from the look of the film you would never have guessed he directed, beautiful to look at and with historical accuracy to boot! may require another viewing.

[Space Sweeper]

The King of Kong: A Fistfull of Quarters

Up there with Winnebago Man as one of the funniest documentaries I've ever seen. The whole thing plays out in a truly cinematic seeming style, but it's all real. There's no moment where you go "Oh, they clearly just told them to do that"-- it's all believable, but totally insane at the same time. A shining example of the phrase "the truth is stranger than fiction".

It was shot in an almost cinematic way, and all of the people involved were true characters-- especially Billy Mitchell, the "current" Donkey Kong champion of the world, and total egocentric prick.

"Helen of Troy didn't get that much attention."
-Billy Mitchell

I know what you're thinking, "Seriously? A Donkey Kong documentary?" No, no, no, it's much more than that. It's a hilarious look at the aspect of competition in general. The people in the film take this all so seriously, and you laugh at them at first for it, but as the film progresses you really do start to understand their mentality on it. Except some of those guys, there's a couple of true worms in there, and Billy Mitchell and his "henchmen" are absolutely f**king evil. 

It's all centered around a guy called Steve Wiebe, who is mild-mannered, kind hearted, and talented-- though he has not followed through with any particular thing in his life. He has a wife and two children who are supportive of him, but concerned for his emotional health (especially his wife). He has a Donkey Kong machine in his garage, and when he tops Billy Mitchell's high score (that was set in the 80's and never topped since) and Billy catches wind of it through some old friends, things get heated... and it's truly f**king hilarious.

Billy is successful in the business world, and Steve is a modest every-man, so the two don't combine, which is where much of the comedy comes from. Billy sending spies (who really are the most fragile looking nerds) to the local arcade named "Funspot" (which is owned by well known people in the video-arcade businesses) to check up on Billy's score and checking for any tampering had me in tears with laughter, as these "spies" are some of the smarmiest, serious, weasels I've ever seen.

Really cannot recommend this film enough, it's one of the best comedy-based (with a tenderly dramatic core, however) documentaries I've seen.