RECENT CINEMA REVIEWS

''You can't ask me to battle nature in my own heart.''

A chronicle of the life of 18th century aristocrat Georgiana, Duchess of Devonshire, who was reviled for her extravagant political and personal life.

Keira Knightley: Georgiana, The Duchess of Devonshire

Ralph Fiennes: Duke of Devonshire

The Duchess(2008) is based on Amanda Foreman's biographic book and is brought to life on screen by Director Saul Dibb.
The story revolves around Georgina, who becomes the Duchess of Devonshire, married into a marriage of convenience and stature, laboured with the task of giving her husband the Duke a male heir.

Keira Knightley is in her element as Georgiana and you can see she revels in it. Keira is at home in her depiction of the intelligent, beautiful Georgiana. Every scene she is in has life, depth and prosperity. Emotion and struggle effortlessly conveyed in her eyes alone at times.
What struck me were her loveless marriage to Ralph Fiennes Duke and the many problems she faces.
Ralph Fiennes plays a villain character very well in films in the past but in The Duchess I wouldn't class him as good or bad in conclusion. His Duke character in here simply has problem expressing his emotions and at times he beautifully acts out how insensitive he can be to Georgiana. His many faults and later affair with Bess, a friend of Georgiana, causes problems and even shows us of the mistreatment of women in this period. To me it's a fascination in a few hundred years; females have been given the freedom and right to do the same as men, and rightly so.

Georgiana is a woman ahead of her time, comparable to great ladies like Elizabeth or Catherine The great in the form and way of strength, resolve and striking intelligence; showing she's not just a beautiful lady of Aristocracy but one who is mentally and physically perfect.
I must admit her romance and deep love for Dominic Cooper's Charles Grey struck me to how tragic and moving the whole story is. The boundaries of protocol and what society expects of you is amazingly captured, showing real life to be a hugely fascinating and inspiration, as well as rival to anything fictional or fantasy based can offer us.

Charles Grey and Georgiana by the River sharing a moment of intimacy struck volumes with me. A long lost feeling of a love not yet felt with her emotionless seeming husband. as Charles and Georgiana look into each others eyes you can see the love there.
As they kiss and give into loves embrace, it's mind-blowing and even my eyes were unable to control the prospect of crying slightly.
The love scenes were surprisingly really well executed in amazing subtle yet effective ways. Some scenes with Keira and Ralph were obviously awkward but they were intended to be. Keira's love scenes with Cooper are an effective contrast to the ones with Ralph, which are void of love, this importantly helps us to notice the huge difference there.

The Duchess is simply a period masterpiece that may be predicted as being sad but it's not. It's positively radiant in all aspects. Costumes, locations, acting and the music and Score is in a class of its own. The Duchess is beautiful storytelling and a period film dream to put it effectively, a vision of a woman's life miraculously portrayed on the dazzling big screen.

Ralph Fiennes provides a character who you love to hate, but redeems himself somewhat, Keira Knightley is the shining Goddess we all thought she would be.
Dominic Cooper gets another amazing film besides History Boys and Mamma Mia under his belt and has convinced me he's a rising star.
Ralph Fiennes making everyone laugh on various parts from the way he says things so unemotionally is perfect. I've never seen a Lady with her head on fire before in a Period film, but what made it even more memorable was the fact Ralph has to say ''Put out The Duchess's hair please!'', or something to that effect.
My favourite part near the end; where we actually see a glimpse of Ralph's Duke's emotion was so moving for me. Where he looks out the window and says something like, ''How wonderful to be that free.'' For the first time he actually connects to Keira, and we see he is as mush a prisoner as she is in this world of Aristocracy.

In conclusion The Duchess has humour, struggle, a moving score, beautiful cinematography, and an ending that concludes things in such a way; you will be moved, you will be happy and most importantly you will be satisfied and be left glowing from the experience.

[he examines the joint]

''It's almost a shame to smoke it. It's like killing a unicorn...with, like, a bomb.''

A stoner and his dealer are forced to go on the run from the police after the pothead witnesses a cop commit a murder.

Seth Rogen: Dale Denton

James Franco: Saul Silver

Pineapple Express is one of the best Comedies I've seen in ages. I don't usually like American humour, due to it's nonsensical crass fashion but this surprised me in lots of ways.

Happily Director David Gordon Green's Pineapple Express starts with an old fashioned flashback that sets the ball rolling. Pot being made illegal by the military. Then we see present day, Seth Rogen's Dale in his car smoking Weed savouring it's mindful influence, while doing a US job that everyone ends up hating you. Yes you have guessed it, ''You've been served'', THAT job.

We also discover Dales High-School Girlfriend which adds another mark against Dale, in the sense of being in-politically correct. It gets better still, in the charismatic charged James Franco playing Saul, Dale's weed Dealer and seemingly a friendship is there although Dale likes to just think of him as merely a dealer.
What Pineapple Express gives us throughout are non stop laughs, action and gore befitting of more black comedic belly roars. The plot is so daft it defies belief, as does the fight scenes that are so unrealistic you sometimes fail to notice due to the momentum of the film.

What begins as a drug related film progresses into an action, chase laden, non-serious thriller infused with slapstick comedy. Pineapple Express blasts joke after joke on screen, a funny run about in a dark forest between the pair, a Police Car chase where Franco kicks his foot out a slush puppy drenched windscreen, and the young Girlfriends parents giving Dale a hard time.
What's interesting about Pineapple Express is that it's story is predictable. You see scripts like this all the time but you get to a point where if you are having so much fun in the process you fail to care. Pineapple Express like it's weed inspired title is like a roller-coaster of unfortunate accidents in a drug induced state of madness.

I mean characters can fight and fight, get shot repeatedly,then miraculously begin running about frantically like nothing is wrong. The third character Danny R. McBride as Red shows the nature of the film. That character's can sustain superhuman damage and not die yet the film is adult and action packed. Is it serious? Is it comedy? Or is it sometimes switching backwards and forwards between the two perhaps.

The villains who commit the murder of an Asian Drug Rival, a certain Gary Cole as Ted Jones, the gangster boss guy and
Rosie Perez as Carol, the crooked Cop. They to me were 2 dimensional characters who weren't really fleshed out due to the involvement round the main two, Franco & Rogen. Things do kick off in the final segment and we get some cracking unbelievable fight scenes.

Pineapple Express is another film with Seth Rogen, whom I usually despise, but in this comical piece, I can say it's his best film I've seen yet, where he actually is funny with his hoarsely stupid voice and his mumbling accent.
James Franco remains a talent that keeps getting better and better every role I see him do, Pineapple Express allows him to do some different material and show versatile he can be, in this case a funny, drugged up dealer, with a bit of a vacant dreamy disposition.
So Pineapple Express to conclude has renewed my faith in the American comedy genre.
A very good effort, now I've just got to catch Tropic Thunder which looks fairly certain to be having more desirable effects on the genre for me.

''That's his favourite painting, his...his lucky painting...''

In London, a real-estate scam puts millions of pounds up for grabs, naturally attraction the attention of some of the city's scrappiest tough guys (Butler, Elba) its more established underworld players (Wilkinson), and others -- all of whom are looking to get rich quick.

Gerard Butler: One Two

RocknRolla is pretty much Guy Ritchie showing us all that he hasn't lost it. Let's face it, with Revolver he was trying to be clever but it went abit wrong. Lock Stock and Two Smoking Barrels & Snatch are at the level of top form, what we, the audiences want from Director Guy Ritchie.
At the start of his career Guy Ritchie was compared to legend Tarantino. This isn't necassarily a good person for him to be compared to.
Whereas Tarantino can write great plots and fantastic arrays and splashing's of dialogue. Ritchie is usually quite poor at plots, but good at putting witty gritty words into people's speech. Here there are too many double crosses and back handed deals, the plot sometimes lingers. When Ritchie learns that this doesn't always work and simplifies the equation, he really will be a great writer & director. At least though it isn't as bad as Revolver was when it came out.
Thankfully RocknRolla is him back in control and back into the swing of what Guy does best.

One thing that's instantly improved to his Revolver piece is the fact that he's got a flawless casting this time, a plot that is untouchable as is the script and a killer Soundtrack that had me bobbing my head in rhythm to it, yes it was that bloody amazing!

May I say Mark Strong as Archie, had to be one of my favourite characters besides Gerard Butler in RocknRolla. I mean this Actor seems to have something cheeky about him that always produces a wry smile with me. Whether it be Stardust or even him in Revolver, he was the best thing in that film, Mark Strong makes Archie a hard guy yet one with a certain dark humour.
Gerard Butler as One Two is such a fun character who has his fair share of experiences in the movie.
Thandie Newton is sexy as hell, never stops smoking and never stops looking beautiful, seductive and icily intelligent.
There's a dance scene between Thandie & Gerard that's one of the coolest segments within the film, using Graphic Novel-esque subtitles as they talk and dance, pure genius.

Tom Wilkinson plays Lenny Cole, the bad ass boss, who really can play a Mob Boss well, whereas Batman Begins he's an American one, RocknRolla shows a pure grime London man who's a bad man.

If your sense of humour is warped and dark like mine, you will love what's on offer in RocknRolla. Homosexuality, the Rock industry, Russian dealings, and crafty back stabbing between deals gone sour are all explored. A certain scene in which Archie finds two Russians, doing some very strange things to Gerard is so funny as are a number of other surprisingly effective scenes.

Look out for Sweeney Todd's Jamie Campbell Bower popping up in the middle as a Rocker. As well as Ludacris, Jeremy Piven and Idris Elba.

Overall RocknRolla has rekindled my faith in Guy Ritchie and even Madonna must be breathing a sigh of relief. It's class, it's violent, it's funny and more importantly it's dark, rich and satisfying.
Roll on The Real RocknRolla!

''You're gonna die.''

A young couple staying in an isolated vacation home are terrorized by three unknown assailants.

Liv Tyler: Kristen McKay

Scott Speedman: James Hoyt

Firstly the film The Strangers shouldn't be watched by certain people thinking about moving to the US. Seriously it puts you off. Moonlighting as a Texas Chainsaw Massacre or a Jeepers Creepers flick, it's obvious with any horror film there is not going to be any degree of originality. This applies to The Strangers.

Having said that who blooming well cares? Horror movie. Scares and jumps, that's what you want right? You don't want depth and a complex plot, we the audience want it simplified.
Although The Strangers begins suddenly with it's Resident Evil like narration, then deteriorates into slightly boring proportions, involving the two main stars, Kristen and James. Despite the relatively boring details about them Strangers throws at us once the film begins to get going with the scares and the suspense, it soars.

Liv Tyler gives us a very different role to her iconic Arwen in LOTR, as Kristen McKay she tries her hand at the horror scene. She can't really do any wrong with the material provided, and she genuinely appears scared at the proceedings.
Scott Speedman of Underworld, gives us James Hoyt, the other side to the troubled relationship. He can do action, he's proved that. He again proves it with Strangers, same again for the acting here. Standard stuff.

Bemusedly enough, Strangers did succeed in making me jump on various occasions and my girlfriend, who ended up scaring me more than the film did.
Weirdly I did also find it funny in places, Three masked individuals and a penchant for violence and mystery. Funnily enough, this film gives amazing tips for Halloween as well as being somewhat serious. The freedom in America means we get some twisted, sick individuals out there who don't care about money, wealth, emotions or possessions. They just want blood and in their minds, it's Fun...

I mean who can honestly say that they don't have some kind of weird secret obsession or strange hobby, it's just this specific one is a tad extreme I admit.
Strangers trio cleverly are never unveiled and personally I'm pleased it's kept like this. Relatively realistic in not showing them even when they remove their masks to show that this is random, this could be anybody...

Annoyingly enough in the cinema when the film finishes people murmur about Strangers having some kind of point. Ok, firstly this annoys me, does no-one have an imagination, secondly we aren't all scientists, not everything has to have a point.

In essence, Strangers isn't lying to us in any way. It's real, don't expect no happy ending because truth be told, your not going to get it. But then ask yourself, were you expecting there to be one?

''Why do you wear pyjamas all day?''

Set during World War II, a story seen through the innocent eyes of Bruno, the eight-year-old son of the commandant at a concentration camp, whose forbidden friendship with a Jewish boy on the other side of the camp fence has startling and unexpected consequences.

Asa Butterfield: Bruno

From Director Mark Herman comes forth Boy In the striped Pyjamas(2008); an adaptation of John Boyne's Novel. May I first start by saying that this is another of the finest holocaust movies I've ever seen; told from a unique perspective, as opposed to the likes of The Pianist and Schindler's List. We see it from an innocent child's perspective, Bruno and his turbulent childhood faced with a changing world of growing up.

Boy In the striped Pyjamas shows us the Nazi Regime in it's glory and peak. Bruno's father has been given a promotion and the family must move out into the country away from the grandeur of Berlin. The new house, the loss of all his friends, and the isolation of the country obviously doesn't please him at first, and boredom creeps in. Although a mysterious people in pyjamas emerge from the grounds behind the house and he meets a new unlikely friend...

Asa Butterfield as Bruno, with his piercing fantastically blue eyes, shows us one of the greatest child performances this year. Whatever Herman did to direct has payed off because Asa is a flawless character who comes off as resolutely believable and real. His innocence and imagination comes across just as easily as the beautiful cinematography and feel of the period.
Jack Scanlon plays Shmuel; the new friend Bruno meets and they forge an unbreakable friendship that is so lovely, so innocent, I still have a lump in my throat and an unrelenting tightness in my heart strings.
As the story transpires we see Bruno begin to see the truth behind the Farm, and the people in Pyjamas. The truth turns out to be; as we all know terrifying.
Shmuel, the fragile and so sweet boy, is unfairly treated and we see his world, has been torn apart by the hatred and persecution of a propaganda driven Regime.

David Thewlis plays Bruno's Father very well, showing us a Nazi Soldier bound to his duty by the letter. An English Veteran at acting he makes the role is own and the material he is given may be controversial but he bravely takes it on and conquers all aspirations.
Rupert Friend as Lt Kotler gives us a cold, ruthless young man who's ambition, cold emotionless resolve, seeps through in his unwavering facial expressions. Kotler also is shown to have a father who seems to be the exact opposite of himself; a teacher of Literature whom left for Switzerland. A certain scene at a dinner table beautifully shows his frustration as Bruno's Father questions him of this topic. Kotler being humiliated decides to take it out on the Jew serving them; a sign of hatred.

Boy In the striped Pyjamas has some really beautiful poignant music that really touched me in ways I can barely describe. As Bruno runs through the forest to meet his friend Schmuel; it's soul touchingly soothing in it's playful melody.
Equally the cinematography, locations, costumes are exquisitely divine.
The shocking events that happen in the end are simply unforgettable, tragic and so moving that it's sudden conclusion will take you by surprise and as the lights come on, and the credits roll, you quickly have to catch yourself, to hide your saddened face from others in a similar state of emotion.

Boy In the striped Pyjamas is definitely a masterpiece in it's perspective and visionary charm; through a child's eyes and ultimately a family unraveling under the pressures of allegiance, politics and right wing National Socialism.
This is also a timeless, eternal friendship that knows no persecution, anti-semitism or racism.

''Yo asshole! This motha' fucka's dead. Ain't no Chris Angel Mindfreak, David Blane trapdoor horse shit jumpin' off here!''

Through a series of freak occurrences, a group of actors shooting a big-budget war movie are forced to become the soldiers they are portraying.

Ben Stiller: Tugg Speedman

Firstly I must say Tropic Thunder achieves exactly what it sets out and strifes to accomplish. What it equals is one of the best American Comedies to come out that tries something new and isn't achingly hard to fathom. This is simple undiluted Black Comedy with crazy action war antics.

''Same thing happened to me when I played Neil Armstrong in Moonshot. They found me in an alley in Burbank trying to re-enter the earth's atmosphere in an old refrigerator box.''

Tropic Thunder proceeds to rip the piss out of every Vietnam film in existence, whether it be a nod to Apocalypse Now, with Stiller going abit like Marlon Brando's character, was so amusing.
Or little intricacies like helmets resembling Full Metal Jacket and the Platoon nod with Stiller being shot near the beginning shoot in film.

Vietnam movie mocking aside Tropic Thunder also makes a stab at method actors, Comedians and wanna-be rappers. Not to mention an array of subjects like drugs, race and homosexuality.

''There were times while I was playing Jack where I felt...Retarded.''

The mock trailers at the beginning were very comical indeed focusing on the four main characters and showing ''other'' movies they have under their respective belts.
Jack Black's comedian Jeff Portnoy who is a comic of Nutty Professor proportions with his farting antic film.
Ben Stiller's Tugg Speedman who's the Action star, with a strange baby Sci-fi flick he's seen advertising. Later the pant wetting ''Simple Jack'' AKA Speedman doing retarded.
Robert Downey Jr. as Australian Method Actor Kirk Lazarus, who goes for Awards and becomes so immersed in a role, he stays there. Taking the piss out of all Method Actors in the field to boot out there. Thoughts possibly aimed at Forest Whitaker or Daniel Day Lewis with mad glee. Robert playing an Aussie playing a Black dude, it's priceless...
Brandon T. Jackson as the funnily named Alpa Chino(Where's De Niro tho! haha!), the rapper turned actor, who hides a riot of a secret regarding his sexuality.

''Now I want you to take a step back... and literally fuck your own face!''

Tropic Thunder has more appearances by random actors that its hard to mention them all. Faces like Nick Nolte, Danny R. McBride(Pineapple Express - obviously into comedies), Steve Coogan and Matthew McConaughey all pop up.
But the one that really tops it off, which even rivals Robert Downey Jr's transformation is that of Tom Cruise as Les Grossman. IT actually took me five minutes to register that it was in fact him. The main funder of Damien Cockburn's (Coogan -Wait till you see what happens to him! Laugh your head off!) film and a no shit taking corporate man. Cruise doing his lines and dancing, not to mention hair everywhere except on the top of his head is so funny, it Hurts...
I mean you get to the credits and your face is blowing more blood vessels because the chaos and laughs haven't stopped.

Tropic thunder rips the mickey out of everything and anything....
But it's so damn funny you wont mind unless of course you do, but in that case you may have missed the point.
A grand effort from Director and Star Ben Stiller and Thunder has a killer soundtrack to boot.
Can I see Tom Cruise dancing at the end again? Quality!

''Mama, I'll see you again tonight in my head movies. But this head movies makes my eyes rain!''

''I love this game.''

Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.

Jason Statham: Jensen Ames

I wasn't sure what to expect with Death Race. On one side of the coin I was worried it may just be another vehicle action junkie driving film for Jason Statham, on the other I'd say from the trailer it looked like one hell of a rush with more action you can shake a massive stick at.
Death Race pleasingly falls into the latter and much to my surprise was very enjoyable and the time flies. For all it's seriousness it applies dark warped humour and injects proceedings with madness and action packed stunts.
This makes Fast and the Furious look like a paper bag, while Death Race pummels the shit out of bag with a heavy laden crowbar.

''Okay cocksucker. Fuck with me, and we'll see who shits on the sidewalk.''

The action packed Death Race offers us interesting characters within a prison complex, and a plot that has a simple premise. Drivers pitted against each other in a vehicle gladiatorial battle for freedom.
Old hand Actors such as Ian McShane, Jason Statham, Joan Allen, Tyrese Gibson, not to mention the ultra sexy Natalie Martinez, all of them and more spice up the heavy onslaught of action packed carnage that arises.

The action and effects will have fans of this genre drooling and baying for more. I couldn't refrain from bursting out laughing throughout. Definitely some high octane shit going down. Plot wise it's hardly original, story wise it's predictable, it's highly unrealistic in places but you're hardly going to care when you have cars flying in the air flaming and heavy weaponry ripping the shit out of anything that moves.

Director Paul W.S. Anderson has taken the inspiration of Death Race 2000 and spat out this crossbreeded show of Running Man proportions with some ace heavy artillery accompanied cars.
Saying all this, and I haven't even got onto the music and Soundtrack of Death Race which is awesome. It had me banging my head in accompanying rhythm, bloody fantastic variety to say the least.

''Don't talk to the other drivers. Frank never did. Part of the mystique. Let the mask do the work.''

In conclusion, Death Race does exactly what it sets out to achieve. Which to excite, to electrify and to dazzle. It's the kind of action movie that doesn't require any thinking but the simplicity of seating back and going with the flow per say. Plus Statham gets another car movie like Transporter under his belt. A sheer colossus of a scorcher that accelerates right up till the end.

''You wanted a monster? Well, you've got one.''

''Most people respect the badge. Everyone respects the gun.''

Two veteran New York City detectives work to identify the possible connection between a recent murder and a case they believe they solved years ago; is there a serial killer on the loose, and did they perhaps put the wrong person behind bars?

Robert De Niro: Turk

Al Pacino: Rooster

Two Cops. One Serial Killer. Which could be one of their own, a cop with a poetic streak.
Righteous Kill I was looking forward to seeing for a while . Featuring two legends, two respective seasoned Actors. Yes Al Pacino and Robert De Niro, who were good but I couldn't help but notice the aging. Sorry boys, but hey I sure wouldn't complain if they were both my grandads from both sides. Now boy there's a thought.

But anyway straying from the topic at hand. Righteous Kill begins a promising start with hotly paced creds and music to die for. We also get De Niro & Pacino popping some bullets at the shooting practice range, this had me hyped up for a start.
Righteous Kill proceeds to give us a plot that I wasn't expecting, one consisting of a cop who's a killer, who's taking the law into his own hands. The twist is that it's De Niro's Turk. But what concludes really bites the bullet and I won't spoil the proceedings my telling. It's a fascinating journey albeit a sometimes slow paced one. Granted there's some good male, female relationships between characters on show which ups factors in Righteous Kill.

''Nothing wrong with a little shooting, as long as the right people get shot.''

As well as the Two main attractions, the pairing of the Two Oldies, we have some fresh players in the form of Carla Gugino, Donnie Wahlberg, John Leguiezamo, Brian Denneley and smiley 50 Cent/Curtis Jackson giving an assorted cast.
Curtis manages to not do badly at acting, rather he smiles and stands around.
Carla Gugino shows a relationship that would be reminiscent of her dating grandad, her and De Niro cranks up the cringe factor.

''He's gonna kill again. You know it, and I know it.''

There wasn't as much action as anticipated, plus the plot wasn't what I expected. Righteous Kill's twist isn't easily guessed and the build up ends up being worth it mainly. The chemistry of Robert De Niro & Al Pacino is brilliant yet isn't as powerful as classic Heat but then again you cant replicate greatness they shared in that.

To conclude Righteous Kill doesn't offer anything relatively new but does deliver in giving a solid Cop study, action thriller of sorts.
Was also amazing to see on my Birthday, with friends Martin, Kiri and my sis Andre, aided by random commentary by me on certain parts. Amusing parts where we all laughed I liked alot also.
I would definitely watch again, with the added ability to fast forward areas. Director Jon Avnet aims for right between the eyes but manages to miss the mark by a tad. Overall Righteous Kill ends up being a righteous effort.

''You don't become a cop because you want to serve and protect. You join the force because they let you carry a gun and a badge. You do it because you get respect.''

''If you let my daughter go now, that'll be the end of it. I will not look for you, I will not pursue you. But if you don't, I will look for you, I will find you, and I will kill you.''

A former spy relies on his old skills to save his estranged daughter, who has been forced into the slave trade.

Liam Neeson: Bryan Mills

Director Pierre Morel, you have picked a rocket ship of thrilling intensity to cling upon, parnering up with Luc Besson just works every single time. I'm sad that his declaration of being finished with the director's chair may be true, however, his scripts are mounting and pumping out many action packed, entertainment laden efforts. If one can get the Transporter series to make money from its wit and smartly executed action, you know you are doing something correct. I've yet to see these two guys' first collaboration, District B13, but as far as the solid effort goes, Taken, I have one more reason to finally seek it out. Released in Europe, in recent months, and finally making its way stateside at the end of January, the tale places a retired US government preventer agent, with the Albanian captors that stole his daughter in Paris. His job ruined his marriage, strained the relationship he had with his child, yet gave him the specific skill set to get it all back. All he has to do is pulverize some very bad men, kill countless thugs and criminals, without a glimpse of remorse, and call in a few favours, while burning some old bridges in the process. Liam Neeson shows the physicality that George Lucas must have seen when casting him as a Jedi warrior, but didn't utilize or harness that power correctly. Well, Morel sure opened the floodgates and Neeson does not disappoint.

The European flair shows face right at the start with the film's opening credits. Sure the star gets top billing, but who do you ask gets second and third? That's right, the director and writers, then followed by the title. Someone understands the true creativity behind a feature film. Well, not just someone, a continent.
It's a shame that the name Luc Besson won't fill the seats by itself in America, because I'm sure if you mention alot of his filmography to a film fan and ask what they all have in common, the answer would be, "films I really connect to and enjoy". And yet the person answering probably has no idea what the common factor is allowing them to be such.

Lenore: You sacrificed our marriage to the service of the country, you've made a mess of your life in the service of your country; can't you sacrifice a little one time for your own daughter?
Bryan: I would sacrifice anything for her.

Shot with a kinetic pace, not quite Tony Scott, more Bourne Supremacy, but even slightly clearer than that, the action excites at every turn. Neeson is a man on a mission; a man with everything on the line, to find and save his daughter before the estimated 96 hours are up and she is lost forever on the black market human trafficking scheme. Friends, enemies, strangers, you name it; they are all potential targets to be shot at. Neeson's Bryan Mills is the ultimate badass working from his heart through to using his head, but only to survive, and to get one step closer to the truth. He gave it all up to rekindle a relationship with his seventeen year old, yet I'm sure never thought that the only way to do so would be to use all that training. The flip remark from Leland Orser, calling him Rambo, is more appropriate than you may think.

The supporting cast is definitely a necessity to keep the plot moving, but, in the end, it's all about Neeson moving forward and bull-rushing his way through extras. Maggie Grace can sadly get very tired, but I don't fault her as much as casting. She is a 26-year old playing 17, so her overly annoying, girlish tendencies are overblown because she is overcompensating for the age difference. Famke Janssen and Xander Berkler, are solid in small roles, while my favorite supporter is Olivier Rabourdin's Jean-Claude. Playing a French Internal Government agent, an ex-associate of Neeson, he portrays the duality of wanting to help his friend while still keeping his job and financial influx intact. He knows that whatever is uncovered in the one-man vigilante escapade could potentially harm his paycheck by exposing illegal dealings with criminals on the part of the police force, so he is never completely open. And that guardedness leads to a fantastic dinner scene.

Overall, Taken is a film not to be under estimated. It carefully addresses the subject of human trafficking which does take place in todays modern world. It also intriguingly makes cleverly placed stabs at immigration, criminality, and the scum which lurk in societies shadows. Liam Neeson's interaction, with a group of Albanians sums up the level of corruption allowed behind the lines, in a democratic country such as France. Of course, the real question being one of money, and treating girls like pieces of meat, as such a commodity.
Taken therefore doesn't just entertain, it educates, and ultimately makes you think even harder if you the viewer happens to have children of your own.
The only shame I felt about Taken was the poorly constructed ending which felt rather artificial, considering Maggie Grace fails to make us feel that this girl has even remotely been effected by this terrible ordeal. One would have thought Director Pierre Morel, may have cleverly shown a change in her character but rather we see her being ''spoiled'' again with a singing session with Holly Valance.
Everything up until this confusing conclusion, does thrill, does excite and ultimately does makes us think and root for Liam. Again a story in which one man takes on corruption all by himself is admirable and certainly courageous. Taken is definitely a pleasure for action fans and fans of thrillers alike.

''You come to this country, take advantage of the system and think because we are tolerant that we are weak and helpless. Your arrogance offends me. And for that the rate just went up 10%.''

''You don't care about me, all you ever wanted was my sister!''

Based on Evelyn Waugh's 1945 classic British novel, Brideshead Revisited is a poignant story of forbidden love and the loss of innocence set in England prior to the Second World War.

Matthew Goode: Charles Ryder

Brideshead Revisited is another period drama offering, this time from Director Julian Jarrold. Having never watched or experienced the series I came into the film from the trailers with a heightened interest of wonderment.
Was expecting to be either really disappointed or really impressed. Thankfully with Brideshead Revisited it results in the latter of the two.

Wonderfully it begins where it ends and we experience this wonderful life of a certain man, Charles Ryder and his entanglement with the Flyte Family.
The times and era is displayed perfectively throughout the film and it provides bedazzlement and awe throughout.

''I want to look back and say that I didn't turn my back, that I was happy.''

There are some beautiful locations and costumes on offer in Brideshead, not to mention stunning locations which include Morocco and Venice. In fact the only thing that matches the quality of the scenery is the music and respective array of casting.

We have some fine performances on offer here.
Matthew Goode is Charles Ryder, and he's a handsome, artistic, talented young man who wants to become a painter. Goode's acting is a bold effort that succeeds in being both believable and effective. With more power comes the lust for more and this is conveyed wonderfully as the drama unfolds.
Hayley Atwell as Julia Flyte again shows a penchant for Period films since her recent Duchess days and shows us a new and intriguing period.
Ben Whishaw as Sebastian Flyte also shows he's got a knack for Period dramas, I loved him in Perfume and he was reasonably good in Layer Cake etc...
Whishaw single-handedly kills two birds in one stone, acting as a fresh character who's both homosexual and an alcoholic. A very impressive feat, yet he's not the biggest chain of the story just a vital part of it to begin with.
Other old hands like Emma Thompson & Michael Gambon give quality solid acting performances as you'd expect from these veterans of the screen.

''You banish me from your house, you poison my friendship with both your children...''

There's some nice twists and turns here on offer and some fine complex relationship triangles on display. Ryder's lust for more and what he wants inevitably always ends up backfiring thus leaving us enthralled by the nature of his ambitions and greed.
From an artists opinion there's alot of eye candy here that's equally jaw dropping. Ranging from statues, windows to mosaics and church implements that beg to be drawn and studied.

Overall, Brideshead Revisited is one of those films you may ask at the end of it what the point is, So I will ask that. What was the point? Well to me the point is this, and thats the wonderful journey and experience we the audience have just witnessed. It's a blessing to see such characters being brought to life, and it gives me an incentive to read Evelyn Waugh's 1945 Novel.

''What does Charles Ryder really want?''

''It's not just another kiss...''

Broke and alone on New Year's Eve, Wilson just wants to spend the rest of a very bad year in bed. But, when his best friend convinces him to post a personal ad, he meets a woman bent on finding the right guy to be with at midnight.

Scoot McNairy: Wilson

Sara Simmonds: Vivian

Told in a lush black and white, Indie flick Midnight Kiss results in one of the sleeper hits of 2008. Directed by Alex Holdridge he hits home with the fact that this is not some fantastic tale of epic proportions, but one thats firmly rooted into the entanglement of gritty, hard pressed life. It doesn't lie, it has no need, it's telling us a story of a man who's just had a terrible year and he's had enough. So it's time for a clean break, a fresh start...easier said than done.

Main character Wilson, wonderfully played by Scoot McNairy shows us a main guy who's a tiny bit on the weird side. Strangely Wilson is first caught wanking over his mates girlfriend from an image he creates on photoshop, Midnight Kiss is a weird film, an indie film, and I loved it. Even better the film gets weirder and wonderfully impressive in its simplicity yet complexity.

''Please help us find whatever we are looking for tonight...''

We proceed in getting two unlucky people who come together thanks to a myspace profile ad.
Sara Simmonds as Vivian is the blind date Wilson ends up being with on New Years eve, and boy is she weird too, if you weren't afraid of Online Dating already then after this film you will be or hopefully you will be.

Midnight Kiss proceeds to inject the proceedings of the day for the characters. Not just the main ones but his mate Jacob(Brian McGuire) and Jacob's cheater girlfriend Min(Kathleen Luong).
We also see the relationship between Wilson and Vivian evolve over the day and their time together. Vivian will succeed in making some scoff at her apparent air pigheadedness or her hobby of taking pictures of shoes that happen to be single and abandoned, lost.

''Welcome to L.A, embrace the pain.''

Some could say Midnight Kiss is a sort of echo of Woody Allen's Manhatten. Sure they could be right too in alot of regards. It's got that Black and white feel there that is used in Manhatten but plus the fact it's focusing it's energies onto relationships in general. The big similarity the relationship between the main two.
Midnight Kiss however does give it's own unique blend of dilemmas and scenarios which you will find quite refreshing and original.

Midnight Kiss overall is a huge success if you're into Indie films. This one is another that shouldn't be missed, and as soon as you begin to watch you become sucked into this black and white world you're enthralled by.
Definitely true to life and most definably a life study of sorts.

''It's all the hope of romance culminating in just one moment...''

''If you find truth you have to pursue it!''

For generations, the people of the City of Ember have flourished in an amazing world of glittering lights. But Ember's once powerful generator is failing ... and the great lamps that illuminate the city are starting to flicker.

Saoirse Ronan: Lina Mayfleet

Well where to begin with City Of Ember, where to start. Was quite looking forward to the prospect of seeing this film after seeing tantalizing trailers that pummeled me into submission. Unfortunately the film City Of Ember results in a film that succeeds in said trailer but when it comes to the crunch and the material itself misses the mark by a wide degree.

It's main plot consisting on a child version, fantasy-styled Logan's Run that seems to be hard to take seriously when all the characters appear to be two dimensional and to a certain extent flimsy.
Director Gil Kenan focuses mainly on the story which seems to be the main flaw of Ember. It's drawn out, slow and some characters hardly any screen time or impact whatsoever. The also following fact that Tom Hanks also produced this doesn't help matters.

Performances I would say aren't too bad, or the other extreme too good.
Saoirse Ronan of Atonement glory, shows she can at least act once again and makes most of an impact when she uses her dazzling blue eyes.
Harry Treadaway as Doon Harrow also does well as the male young hero, who's put to use in the pipeworks area after he swaps with Saoirse.
Tim Robbins also plays Loris Harrow, his father who previously tried to escape Ember but he's hardly given any screen-time, although he's part of the ending which has convenient written all over it.
Bill Murray surprisingly plays the villain of the piece as the Mayor who's literally a greedy pig of a man interested in providing for himself and not the City's needs.

City Of Ember starts off with a group of old architect people deciding to make an underground city, putting some daft secrets in a box, handing them down through a leader or Mayor every generation for a period of 200 years. We are given various questions but never answers to counter certain issues why they couldn't make a city that lasted longer or one where you could get out of it easily at the end of the designated time. When we finally get onto the futuristic old styled City we are given a fantasy setting laced with a modern complied feel, we get strange creatures and insects that are so huge but why? Why are they so big and not the people? Why can people grow food and vegetables underground without sunlight? Why do they have to have random jobs when some of them may not be suitable for their selected job? City Of Ember raises so many questions and has so many gaping holes in the story and plot I find myself torn between simply enjoying proceedings, questioning them or pondering at the lack of originality and imaginations in it's material.

The first half of City Of Ember does explain the general routines and goings on of the City and I do admit it was quite nice to see how the inhabitants receive their occupations and the general roles they play.
It's a weird concoction but City Of Ember has it's moments, just more Tim Robbins might have done the trick or more focus on what actually happens when the protagonists actually resolve the escape situation and proceed in saving the others. A computer game called Abe's Oddysee also seemed to remind me of this ballad, the whole escape scenario.
I did love a huge Moth creature on the film which made me have a sudden lapse and peeked my interest, definitely has it's spark at certain conjectures.

City Of Ember, let's face it is for the children, although some parts with a giant mutant mole rat thing aren't for them, but overall it's a tale that's best watched if you have no questions to ask about the crazy proceedings. The fact there was hardly anyone in the cinema and the length seemed to show that Ember isn't as hot as I thought it would be. Definitely more interested in kissing my girlfriend, and having her back home for the weekend, which seemed to be the highlight of seeing this film above all things.
I'd recommend if you're interested in fantasy/Sci-fi/Children's films, otherwise don't bother.

''My family's not dying tonight.''

An ex-cop and his family are the target of an evil force that is using mirrors as a gateway into their home.

Kiefer Sutherland: Ben Carson

Mirrors begins by showing us a security man trying to escape from an unseen force in the confines of a locker room.

Then cue to Kiefer Sutherland as he starts his first day on the job in a large complex that resembles a castle or museum with giant ceilings and Greek columns. The mall burnt and ashy, currently vacant only containing leftovers from the stores mainly mannequins, furniture, and huge mirrors. The mirrors are immaculate. We are informed that Kiefer's predecessor slaved over keeping them clean.

The life of Kiefer's character is a contorted mess. Jobless from the police force, divorced and in trouble with his lovely wife over the two siblings, sleeping on his lovely sister's couch and apparently with some type of a prescription dilemma. His shifts at his new job present something all together odd. A hand print on a mirror. The print can't be erased at all. It's on the other side of the mirror. He also discovers a flooded underground basement. Back at home he starts seeing things in the mirror. And starts investigating things about the place and the security guard who he replaced. He suspects that it is not just in his head as others tell him but that something is not right with this building and it's bizarre mirrors.

It turns out next to the complex was a hospital where strange treatments took place in the psychiatric unit. As a result of what happened there to a young girl, the mirrors in the complex are trying to convey a message. Kiefer continues with the investigation tracking down the girl. In the meantime the mirrors start attacking his family.

The actual woman when he finds her is the biggest let down of all. It's got white Noise, Silent Hill, The Shining written all over it. It doesn't stop there in the fact that a remake rarely has a chance or glimmer at actually succeeding.

Performances are as follows from the respective cast.
Paula Patton who plays Amy Carson, who I've previously remember seeing in Deja Vu succeeds in her performance in the sense that a black outfit focuses my attention to her cleavage and body, while her wet clothes also distract me from the fact there is horror going on here too. Her sexiness and beauty seems to be used to serve the Director's needs but he only distracts us from being scared. Performance wise she can act when I'm not distracted by other attributes.
Kiefer Sutherland as Ben Carson recounts his 24 days horror style, and transitions from Sentinel thrills to Mirrors supernatural horror. He's right at home in the role of a weathered ex-cop caught up in strange events.
Amy Smart as Angela Carson doesn't really have a big part but what happens is memorable and jaw dropping indeed.

Overall in Mirrors there are a couple of twists near in the climax. The story takes on quite a different character from the mirror-attacking-people story. But is this a good prospect?
The end isn't really anything new, reminding me of a sort of echo, of every horror video game out there a la Resident Evil, Silent Hill.

Alexander Aja knows how to direct horror and actors but that in itself doesn't equal anything new or indeed good. Mirrors is nicely executed in the way it's shot and has great camera work and angles in places. There are frequent scares and gore throughout to keep audiences satisfied. The story itself is relatively placid but more flat-lining than electrifying.
Mirrors is also too long at nearly two hours and could have used some heavy editing for a more compact resolute solution. The mirrors are as much as a character as Kiefer, who himself ends up equaling a very non-reflective hero in this.

Overall a watchable horror film that could use either more horror or deletion of scenes to make it a bit more of a thrill ride.
A scene with the old nun lady ruins the film in being ultra-unrealistic and an ending that feels recycled rather than new and mystifying, but overall Mirrors succeeds in what it sets out to do. With the added re-watching power for males in the capacity of seeing Paula Patton show us the female anatomy in a wet fashion.

''What a clusterfuck!''

A disk containing the memoirs of a CIA agent ends up in the hands of two unscrupulous gym employees who attempt to sell it.

George Clooney : Harry Pfarrer

What Burn After Reading results in, is one of the things the Coen Brothers to best and that is black comedy.
It equals them going back to the style of Fargo and some real character detailed figures and their relationships and bonds with each other. Not to mention them all having affairs and sleeping with each other in a confused multiple array.

What's nice is that as soon as it begins we are thrown right into proceedings with a CIA Analyst who is demoted, then he quits seeing it as a major insult. We then have him having a shot at writing and recording his memoirs that compile of his time at the CIA.
Also we find his wife is having an affair, and also the man having the affair is a womanizing hot shot, who's also married and begins dating a woman at the Gym.
Things begin to hot up, going back to the Analysts memoirs, everything starts to get interesting when two Gym workers find the CD in a locker...

''Appearances can be... deceptive.''

Performances are actually a star lit success from all the major players.
George Clooney as Harry Pfarrer, is right at home here as a bearded Law enforcer type guy, who's got all these strange allergies and attractions to alot of different women.
Frances McDormand as Linda Litzke shows us yet again she can do funny black humour like she did in Fargo. Her chemistry with Pitt & Clooney is top notch. Her marriage with Joel Coen finally seems like its paying off after this 2nd outing and her last Oscar win she secured.
John Malkovich as Osbourne Cox, the fading drinking Analyst, is such a funny character who is always swearing, having a temper and generally well versed in the ways of writing and speaking given his previous position at the CIA, this is understandable. Results in a pivotal and indeed memorable character.
Tilda Swinton as Katie Cox who is the Doctor wife of Mr Cox, shows Tilda can play the stone cold bitch, who likes her partners on a leash. Especially not just with Malkovitch but with Clooney too, who seem to have got back together since their Michael Clayton days.
Brad Pitt as Chad Feldheimer, the other Gym guy, who everyone wants to see dancing and doing his moves. He was funny I admit, but I think a little over-hyped in what people expected out of him in the movie. You're never going to believe what happens, I can assure you.

''You're a Mormon. Compared to you we all have a drinking problem.''

Overall Burn After Reading has Comedy, it has tension when needed with thrilling music, it has a star drenched cast and a plot that really explodes into action when the ball is rolling. Once all the characters are fleshed out, things do get very interesting.
The ending with David Rasche as CIA Officer and J.K. Simmons asCIA Superior, is going to be iconic and memorable for years to come I'm thinking, it was pure genius. While No Country for Old Men had a poetic flair, Burn After Reading has a piss take of sorts on the whole intelligence Agency/Government ability to know what's going on. So what you waiting for? Go see it!

''What did we learn?''

''Disobey, and you die.''

Jerry and Rachel are two strangers thrown together by a mysterious phone call from a woman they have never met. Threatening their lives and family, she pushes Jerry and Rachel into a series of increasingly dangerous situations, using the technology of everyday life to track and control their every move.

Shia LaBeouf: Jerry Shaw

Michelle Monaghan: Rachel Holloman

Let's start my review by saying Eagle Eye isn't that original, it's been done before and it's got one of those plots you can predict and guess before events transpire. I know I certainly could determine what in fact was going to happen.

Does this stop Eagle Eye from being thrilling, action-packed, tense and a thrill ride of mass proportions that never slows down? You bet your socks it doesn't stop one thing, and Eagle Eye results in one of the sleeper hits of 2008. It's a film that could be ripped apart by critics if looked upon negatively, but I'd say to them that they may have missed the tantalizing action and chases which for me make the film.
Eagle Eye is the best form of entertainment and the one thing this type of film excels in cinema viewing. The blaring sound, fast pacing and crazy shoot outs and action all equal a tour de force in the blockbuster stakes.

''We are everywhere.''

Granted the plot of Eagle Eye resembles Matrix mixed with I,Robot then throw in Terminator or anything A.I.related and that pretty much sums up the originality and predictability of the equation. I also like the way the film aims and hits certain points on how loop holes can exist in constitutions or laws, and that the advancement and use of A.I. combined with technology and control can result in our downfall as a species. Which begs the question do we learn from all these books and films that warn us of this impending doom? The answer I like to come up with is it does and it doesn't. Like trying to solve global warming or a financial depression, or even fuel inflation prices, the only way these problems like the first one, get resolved are when the actual problem becomes so close to destruction, that people have to notice. Which is often the crucial point where it's hard to cure the said problem.

Eagle Eye shows us an Enemy of the State kind of world, one in which we are living in here and now. The problem is that whether it be corrupt people with their own agendas or a computer intelligence hell bent on correcting us, it's one issue of Control...

''If you're staring at me, it better be because I'm the suspect. If not, get back to work or I swear you're all demoted to something that involves touching shit with your hands!''

The casting of Eagle Eye is a pretty tight ship.
We have likable young Shia LaBeouf as Jerry Shaw, the troubled and seemingly every day man who's the unlikely Hero of the story. We have Michelle Monaghan as Rachel Holloman as the female heroine, who also excels alongside Shia.
Then we have veterans and class Actors like Rosario Dawson, Michael Chiklis and Billy Bob Thornton as a Agent Thomas Morgan. Never would of thought of Billy Bob as a Special Agent but he seems to pull off the role with an array of positive results.

We have a thrilling soundtrack, clever camera work and you actually feel like you're on the run with the heroes thanks to CCTV footage, monitoring Cameras and surveillance Technology, which makes proceedings even more thrilling and heart ravishingly intoxicating.

A chase involving a plane through a tunnel, a huge orb room and a beginning which puts a whole new perspective on terrorism, cultures and religions and ways of the Eastern World clashing with Western values. Showing that not all decisions the US Army, US Air force or the US Government make are correct. All of this assert and cement Eagle Eye as not being a thriller chase movie but one with an underlining deeper message about our world we live in and the growing factors that need addressing.

Overall Eagle Eye is like Enemy Of the State 2 with a Terminator Sky-Net plot thrown in for good measure. A plot that you can work out easily as mentioned and tense thrilling chases that never stop until you finish the film's formula 1 game of cat and mouse.

''Do you think she can derail a train?''

She got hundreds of fire arms into my apartment, she added $750,000 to my bank account, she helped me escape from a high security holding in the FBI in a way I'm not even going to try to explain because it sounds so crazy, and she called the phone of a stranger sitting next to me on a bus, I'd never even seen the guy before in my life. Yeah, I'm pretty sure she can derail a train. She could turn a train into a talking duck if she wanted to.''

''...I want to play a game. Right now, you are feeling helpless. This is the same helplessness you bestowed onto others. But now, it's unto you. Some would call this karma, I call it justice...''

A detective who seems to be the last person alive to carry on the Jigsaw legacy must now work his way to protect his identity before it is revealed.

Tobin Bell: Jigsaw / John

''Today, five people will become one, with the goal of surviving.''

The SAW franchise starts up again in this fifth installment, what I expected from SAW V was an equation of parts that ultimately offered something fresh and new to all the other chapters. What I actually got from the whole experience wasn't a enlightened twist at it's end like SAW, nor a range of multiple characters all pieced together like SAW II. It wasn't a dysfunctional family man's torment followed by more revelations and trials like SAW III offered. Nor a jumble of inspiring confusion like SAW IV.
What I actually got from the whole affair was that each future installment takes the whole film to explain the previous film, but this is where this installment ultimately fails.

We the Audience aren't treated to more gore, or even better traps, devices and ways that shock us the viewers. In essence SAW is supposed to be psychological also...So where I ask is the thinking material? Where is the twists and belated answers?
What we get is a mess, more questions, more excuses for back tracking and pointless flashbacks which make the whole franchise start to appear faded. It's resulted in a good cop bad cop routine where Jigsaw isn't even in the equation anymore.

''He was supposed to be the hero.''

We are indeed treated to more people we don't have a clue about, trapped in a similar predicament to SAW II's set up. Only problem is we can't actually feel sorry for them when they have no redeeming qualities.

The opening cracker of a trap that sets the ball rolling for SAW V also isn't shocking enough. We expect something to top off the previous film and for me it just doesn't cut it, pardon the pun. Either increased gore or increased puzzlement/twists required, for a film about a anti-hero of sorts called Jigsaw it seems to be missing it's vital pieces. Where the vital piece seems to be the Director's ability to hold his creation together. David Hackl seems to have waltzed onto this project and not actually looked at the other pieces properly, it's meant to be better not gradually declining in quality.

The cast also seems to be detached from each other.
Tobin Bell as Jigsaw is having a ball with his iconic Jigsaw, who must be having a a bellowing chuckle at home with his flashbacks. I mean a character who's been dead for the duration of 2 films already still has the main chunk to do here. It's like Jigsaw is always trying to be explained in each film we see, it's like the makers don't seem to realize, we get it already. So let's get that message across, he doesn't kill people, he sets a trap to test people then if they fail they die, if not then they are rehabilitated. I'm surprised some places haven't adopted Jigsaw's legacy into a law format already, which cannot be denied, there are indeed gaps in the law and loop holes in the system. When Tobin Bell says this as Jigsaw, thanks to his manipulative nature and disposition, you can believe what he's saying. You can even relate to his cause on some levels. Although this has been done in detail through all 5 chapters, how many times does it take?
Scott Patterson as Agent Strahm, is the main character, who opposes the new nemesis in town, but as with all the films the supposed hero never fares well in a SAW film.
Costas Mandylor as Mark Hoffman, seems to have his actions and meeting with Jigsaw explained in detail for all those who wondered why he did what he did in SAW IV. He's a character like Jigsaw we can sympathize with, yet also at the same time condemn his choices and actions.
So we find he's had bad luck with the system of laws and convictions when we find out that his sister was killed and her murderer only sentenced to five years because of a technicality. We already see just from this he's going to have a connection and seduction to Jigsaw's way of seeking justice.
All the other people involved in his game, which apart from a lady getting her head chopped off and a man getting blown apart which amused, didn't really impress me much. The cast ultimately are B Grade more at home at some late night television slot.
Amusingly also five people, five more excuses to have some formulated reason onto how these individuals are connected to each other, and five being the number of SAW films now. They think it's clever doing this...It's not.

''A technicality gave you freedom, but it inhibited you from understanding the impact of taking a life.''

This SAW V results also in the most boring installment of all of them. I felt compelled to yawn repeatedly half way in due to the fact there wasn't enough going on to engage my brain. Long gone is the compelling kills and back stabbing, who's done this and that but more of a festering game of cat and mouse that never achieves substance. Even SAW IV had a lightening pace at times, while SAW III had truck loads of gore and aggression. This one seems to be like a snail on a hot day then suddenly it pours down and the film can't wait to end. The ending is meant to be the highlight yet it is for all the wrong reasons. The resulting climax is a baffling affair that just stops without letting anything sink in or linger but leaving an empty disappointed feeling of regret. I honestly couldn't believe it.

If there is to be a SAW VI which I hope there isn't, unless there is a major change in story development or a new path of conjecture for plot contrivances, there really needs to be a point of stopping. The issue being that each sequel cannot be another explanation of what happened before. Because I'm now at the point I don't care what's in Jigsaw's box, I don't get care if the new guy carries on testing people, and I certainly am past the point of wanting anyone to stop him. But saying that maybe someone needs to or it's going to be a never ending snooze fest of repetition.

So overall SAW V has peaks of interest on a few scenes but overall it's nothing new and nothing to puzzle over. Jigsaw will quite literally be turning in his grave...

''I am the man you call Jigsaw.''

''Come back soon.''

''What a terrible thing to say in a hospital.''

Bertram Pincus, is a man whose people skills leave much to be desired. When Pincus dies unexpectedly, but is miraculously revived after seven minutes, he wakes up to discover that he now has the annoying ability to see ghosts.

Ricky Gervais: Bertram Pincus D.D.S.

Well my expectations weren't high on Ghost Town before seeing it. Sometimes I find it hard to get into certain comedies especially US ones. What I got from GT was a massive pleasant surprise that never stops making you smile, laugh and entertained throughout.

Whats clever about GT is the blend of interesting characters, environment and music all thrown together to give us this film which at first you think it's not to be taken seriously, but under all its multitude of layers, there is a recurring message about life and death.
The other area that comes into play is the fact that the main hero, Pincus, a Dentist, dislikes people, they annoy him and he prefers his own company.

''Ooooh..err...No talking!''

The performances in Ghost Town are a treat to watch. Especially Ricky Gervais & Greg Kinnear who steal the show.
Ricky Gervais as Bertram Pincus D.D.S. has some of the best dialogue in GT and rightly so, he's got charisma, he's got acting capabilities, and he's got a sardonic sarcasm that results in belly rumbling laughter. Whether it be Star Dust, Night At The Museum or his series The Office Ricky is bound and already on the course for greatness.
We see his character, a dentist who's only looking out for himself at first, who undergoes a procedure at Hospital, which results in him being dead for 7 minutes.
However after this altering experience he has the ability to see the deceased. Everywhere and anywhere. Much to his annoyance, Bertram hated living people let alone dead ones too contacting him.
So when he's faced with a mob of Ghost people following him home like some Zombie hordes staggering after him, he meets another pivotal character that will link him to a lady in his apartment building.
Greg Kinnear as Frank Herlihy is this character. He fits the role of a recently deceased guy who's trying to get rid of his wife's new fiancée, with the help of Bertram. Greg always seems to be electric when it comes to these types of films. As Good As It Gets, Little Miss Sunshine instantly come to mind, now Ghost Town shows what a charismatic feel good yet serious in places, actor he really is.
Needless to say as Ghost Town progresses so does the complications and plot details, which have a new perspective and spin on proceedings.
I must also mention Téa Leoni as Gwen, the love interest and lady on the scene. Who ironically plays an Archaeologist, and Gervais & Leoni have a fair few funny scenes including one with a mummy, one with a huge dog and another with the duo and her new fiancée.
GT is ripe with a supporting cast chock-full of recognizable faces, Alan Ruck and Bill Campbell are both fleeting presences, while Kristen Wiig repeats the Knocked Up process.
What I also noticed was Aasif Mandvi as Dr. Prashar, who I recognized from Spider-Man 2, took me a few minutes to realize he's that Pizza guy from the beginning of SM2.

''Sorry you babbling idiot can we talk about my bowels?''

So Ghost Town ultimately results in not just being a comedy or supernatural tale but one of romance and love also. One where it will proceed to make you laugh over and over until your cheeks hurt from too much.

The script and plot is fairly well conceived for this type of genre film, it even elvates further into an evolved state of mind, as plot threads are tied together towards the climax. Pincus becomes more human, Leoni finds inner peace, and the dead pass on to heaven/afterlife just like other Ghost Type flicks The Sixth Sense, Ghost, Hearts & Souls...
Director David Koepp has created a comedy satire that just works for all the right reasons and has a warm heart that also warms us the audience to it's meaningful conclusion. Koepp's last offering Stir Of Echoes was deeply insightful, while Ghost Town does it in a light and breezy fashion, it also shows Koepp has a sense of humour and can do comedy.

So overall Ghost Town is a feel good movie that isn't one to be taken so seriously like a few pro critics have, and just to sit down and appreciate it for what it is. A light refreshing comedy that isn't too serious, thats designed to make you laugh, not designed to be an explanation of what happens when we die. We all have an imagination surely to come to our own conclusions to that effect.

''I've got a very sensitive gag reflex...''

''Have you ever lost someone you loved?''

Seeking revenge for the death of his love, secret agent James Bond sets out to stop an environmentalist from taking control of a country's water supply.

Daniel Craig: James Bond

Casino Royale was a reboot of the Bond Franchise. Reinventing Bond and making 007 a more believable, grittier, cold Agent of MI6, breathing life into Bond again like GoldenEye did. So why do the film's creators give us this offering of disappointment?
Quantum Of Solace barely has the authenticity to actually be a Bond movie, with all the equations of previous older installments stripped away, to make this a realistic venture.

So we have no gadgets, no memorable villains, no Q and no Money Penny again like Casino. The result is a violent and sour affair, and 007 has become a uncharismatic charmless thug of sorts.
As for action, it is fast and extremely realistic but alot of proceedings are too close, too in your face, too dizzyingly incompetent. Like the makers again are trying to make a Bourne film. Let them remember this is BOND not BOURNE, we need a more Gentleman Agent not a lifeless copy visage of another franchise.

So the story of Quantum Of Solace consists of what, I wonder? What was the plot or Story here? It's hard to make heads or tails of the mess that I've witnessed. The scenarios, villains, and threatening action that resided over Casino Royale are curiously absent from this strange sequel.
The motivation of Quantum appears to be revenge, to be a look into his dark side and his few redeeming ways. He's a shadow of his former self, and this goes for the idea of Bond. It's no longer Bond when you change everything that makes Bond what he is.
Quite frankly all characters in this installment are 2 Dimensional cut outs that are never fully explored or explained in detail.

''I am motivated by my duty.''

The so called Story in the light here seems to be mainly concerned in covering Bond's private life, and the romance he had with Vesper from Casino. Did she betray him or not? Well there I was thinking at the end of Casino that she didn't, but Quantum draws the whole affair and plot thread line out even further. Much to my dismay, this unnecessary procedure only succeeds in giving us the audience the answer we had to begin with, feeling like we are going round in a huge circle.

So the new Bond Girls that enter the lime light on this Bond adventure, Gemma Aterton, is completely miscast in a brief, still born role, as an MI6 Junior Agent who comes to get Bond. Perhaps that was a joke I missed in the film.
A bedroom scene with the pair is not convincing at all and abit awkward. This film needs to be higher than a 12A or push the boundaries, because Bond needs a decent Love Making Scene to make it a Bond.
Camille(Olga) a Bolivian with her own revenge plot. Is extremely beautiful, has more action scenes than Bond, but the Romance between her and Bond seems to go stale before it even begins, resulting in an unconvincing snooze fest. Even the kiss they share doesn't have resonance or chemistry involved.

The real engine and star of the show is M who shows us a character who seems to know what they are doing. Although I do admit over-using M lessens her power and ranking. A sure sign that the director is clutching at straws.
Daniel Craig does the same thing he did in Casino Royale minus the one-liners and charm he seemed to send out with Campbell at the helm.
No smiles, no jokes and a very serious man makes for a very wide miss of the target as far as capturing Bond. It's almost as if I would beg on my knees for Martin Campbell to come back and fix all the wrongs Solace has committed by giving us this dire offering.
Marc Foster who's done The Kite Runner just doesn't seem like an ideal candidate for a Bond film, and it shows.
An attempt at political sophistication and debatable questions raised, are shots at cleverness. American and British Governments collaborating with Greene really is the icing on the cake. Not to mention having the names and characters ''Fields'' and ''Greene'' in the same movie. The whole Political side of things are done better in Bourne and it's depressingly apparent when you see this.

The villain Dominic Greene played by legend Mathieu Amalric, the star of Diving Bell & The Butterfly, but on this with all due respect, is the weakest excuse for a villain I've seen in a Bond film for an age. He's short, he's not menacing and has no charm or level of danger like Lechiffre did in Casino. Granted he's a human foe but he has no qualities to make him memorable or even interesting.

Overall Quantum Of Solace leaves alot of questions, no respective answers and gaping holes concerning what actually happens. If anyone can tell me what this ''Quantum'' was meant to be, I'd like that. Or the fact there seemed to be a shroud over the leak ending, and the shoddy song at the beginning sandwiching the whole affair together.
Bond kills indiscriminately, Bond is cold, and Bond's reputation has been tarnished and ruined slightly by Forster. Hopefully the next one will redeem matters, or we wait for the day Campbell comes back to reignite our beloved James Bond. And for Gods sake bring back some gadgets, charm and gentile ways while you're at it, otherwise I may as well be watching a Bourne...

''I think you're so blinded by inconsolable rage that you don't care who you hurt. When you can't tell your friends from your enemies, it's time to go.''

''I don't know about Heaven, but I believe in angels.''

Coming together to solve a series of murders in New York City are a DEA agent whose family was slain as part of a conspiracy and an assassin out to avenge her sister's death. The duo will be hunted by the police, the mob, and a ruthless corporation...

Mark Wahlberg: Max Payne

Let's start of by saying I really loved the Max Payne video games, in their simplistic nature of fast paced shooting accompanied by an interesting concept of Matrix styled Bullet Time shoot outs. Also a hero with so much pain and anguish, so much so he has to take pain killers to numb himself from the experience. So how does the film live up to these expectations everyone asks? Well quite frankly it does not in the slightest match any of the games. The script is appalling, for it's genre there is no action, there is no decent dialogue, there are no similarities to the game for us to latch onto apart from the superficial visual ones we gained from the trailers.

Recalling my mind back to the action sequences in question, I can only recall only two main ones of consequence. Director John Moore succeeds in giving us no wish for any sequels and a comical rendition of Robbie Williams Angels song on the Credits, just to put salt upon the wound.
The Score and music on Max Payne is poor and executed to a point where it is hardly memorable or effective, some scenes being totally void of any music that would emphasis a standard fare of happening to a higher perspective of sorts. Yet no, we are given chaotic alternative loudness of no specific genre that gives the film no soul or resonance that it sorely needs. To say the least what I expected and what I was given on teasers was mysteriously missing from the proceedings.

So Max Payne begins with a segment that is such a rip off, of the Bourne series, its untrue. Underwater and a growling excuse for narration, we are pummeled into boredom before things even begin to take flight. It starts to look up when we have a cool looking 'One Week Later' motto on a building come up, then some cool angles and shots, which happen to tell us the rooms of the Police Station, for us dumb Viewers which we assume the Director assumed. When we see Max Payne in his office, I'm scrambling my brain trying to decipher this filth...I mean how can this BE Max Payne when he resembles nothing of the games magnetism. If the story, plot and action had been the same as the game, there would be no problem. If it had some of the frantic action that drowned the first Max Payne, if it had the flaming romance and passion of Max Payne 2, then we would have a fine film in the bag, but it's worryingly void of all these, even bending the plot out of context. When we see a film that has nothing to keep us glued to the Screen we ask ourselves why? Maybe if the age restriction had been higher then the Makers would have had more reign to do more, but yet, I still doubt it.
Max Payne may look like a variety of different films, but unlike Hitman, Constantine, or Bourne Ultimatum it falls flat on it's face regarding originality and keeping its audiences interested. This film will anger fans of the game and non-fans in equal measure in all likely hood, with it's uneven threaded story that results in a jigsaw thats unfathomable.

The actual cast actually display some of the worst acting I've seen in a fair while. Mark Wahlberg emulates his The Happening choice of film, with this dud to follow.
Mark Wahlberg refused to play Rockstar's Max Payne game before performing in this film, but, in addition, I must assume that neither the director nor the screenwriter ever played this game before either. If there weren't so many shots of the background scenery that tied in with the game (although they were never fully or, in some cases, partially explored, such as the Subway, the absent dream sections, or Police Station or even Ragnarok), I would assume that no one involved in the movie had even seen cut scenes from the game. I would have assumed that they got a one paragraph synopsis on the game, with character names, and just made up their own story that barely connect to the games.
So the first problem with Max Payne is heavy handed and droning attempt to develop a two dimensional character? Why? It's not like Max Payne needs alot of development, he's a dude with a vengeance on, shut up and let it happen. Instead you're walked through all of these really bad scenes filled wit the worst dialogue put to page. It's like watching soft-core blue movies without a nut to bust. That's just the first 20 minutes. The movie continues, but first let me tell you how they open the film, because it really set the bar for the rest of really badness of it all.

We open on a man walking down a hallway towards a door cracked open and light bleeding through it? A baby is crying in the distance. The man moves closer to the door and on that door a big sign reading "Baby" is hung on it. If they're assuming that an audience is that dumb; they didn't just put a big old title on the screen, or put an interpreter up there to point and say ''Baby Come back'' I know it ties with the video game, but this is an adaptation, some changes for the sake of not raping the audience's intelligence have to be made. And, believe me, it doesn't stop there, the film is filled with some of the most heavy handed art direction, really bad sound design and some of the worst editing I've seen since Happening. It's that crud basically.
Later on in the film Max and the Mila Kunis, playing a Russian girl, supposedly to move the plot forward, but ultimately becomes a tragic and unfulfilled, unresolved and disjointed piece.
They stop into a goth tattoo parlor, where they go through a catalogue of tattoos and stop on the reoccurring one they see. They question the proprietor and at the drop of a hat, he pulls out an old book about Norwegian mythology and starts talking about Valkyrie's, the symbol and the significance of the mark/tattoo. This brief wikipedia presentation ends with such a blatant inconsistency with Mark Walberg/Max Payne asking one more question and then the shop proprietor responding with a really big and dumb "Huh?" So in one single turn he goes from Mythology and theology expert into dumb goth guy.

The movie spends so much time building to a conflict, but without any tension, just trivial scene after scene.

There were points in the movie that we were really laughing, but they really weren't supposed to be funny. Dramatic tension was the goal, but the exact opposite occurred. In particular Mila Kunis talking to Max about how much of a dark time bomb he is. The dialogue is all, poorly written that the scene becomes comedic, a piss take.
Beau Bridges(Podge) is also laughably bad.
Other miserable notes? Chris O'Donnell(Robin) is awful.
Nelly Furtado's cameo? Was one of the most laughably bad moments on the screen and the first shot of Ludicrous, was also really funny. Like ludicrously laughable.
It wouldn't be so bad if not for the fact that Payne tramples the detective genre for cliches that only someone who has never seen a movie before would be surprised by. Someone dies after ripping off another character and thus pinning suspicion on him, another leaves a frantic phone message about meeting up to discuss new details in a cold case and is found murdered in that other guy's home, and it turns out that you can't really trust anyone(obviously). Again, obviously the filmmakers tried to study the works of the detective genre of old, they just didn't bother to do anything new, which means it fails.

Thorne's script is so short on explanations that it barely holds together. The movie throws drugs, hallucinations, a murder mystery, attacking birds, a devil's army, and the cover-up by a pharmaceutical company and for the most part I felt like an ass for even trying to make sense out of anything this silly. The rest of the plot can be seen coming a mile away and the dialogue said is some of the most ridiculous I've heard all year long. A character says of Payne, "He's looking for something even God wants to stay hidden." What will probably disappoint fans, however, is how few scenes of actual action are really in the movie, and how utterly devoid of excitement those few scenes are. Moore is a hack director in every sense of the word, relying on senseless, video-game style shootouts (accompanied by vile mood lighting) that don't thrill as much as glorify the violence. Is there a more overused action shot than turning to slow-motion to present a gun battle? Most of his computer visuals smack of being stolen from Francis Lawrence's far superior "Constantine," except they look messier and far too overdone to really respect. And how many times can we see digitally created snow falling on the city in the dark night? This movie is style over-drive at its worst.

And the actors don't seem to care. They seem to be approaching this movie with all the subtlety and dramatic weight of a porno. Wahlberg walks through the movie with a bored puss on his face, never digs deeper to show the character's tortured soul, and throws out lines like he could really give a crap what he's saying. I don't really blame him either cause I felt the same way. Milla Kunis (That 70's Show) is in the movie for some unexplainable reason, and she puts on her tough face in a performance that can only be described as laughable. Chris "Ludicrous" Bridges seems to be playing a detective in this movie but for the most part he just seems to be playing Chris "Ludicrous" Bridges. Amaury Nolasco (Prison Break) is a charismatic young actor who I wish could string together some decent movie roles, but that string isn't going to start here with his performance in the role of "crazy guy who likes to stare at people and sometimes look down on them from stairwells and rooftops." I have no idea what happened to Chris O'Donnell but he's taken a sharp decline since Batman and Robin. Clooney seems to have surpassed it and made up for it, as has Arnie. And Beau Bridges comes off the best here but that's like saying that a half-eaten hamburger(Podge) in a bag full of soiled nappies, is the best.
What really bothers me about movies like this is that it's all just violence and how best to package the violence in enticing, simple-minded wrapping paper. The villains are a collection of junkies, prostitutes, pimps, killers, and thugs who wallow in the gutter and the hero isn't that much better because all he wants is vengeance and blood. Both shoot their guns with as much care as if they were shooting in a video game. Both savagely beat on other people, sometimes doing it till death. Is there a difference between the two? Are we supposed to care here or just watch the bullets fly? Why is it that a movie featuring characters that are just violent and bloodthirsty can get a PG-13 but a movie that dissects the violence and ideas of vengeance like "Unforgiven" gets an R? It doesn't make sense to me and it sends out the wrong messages. I wish the MPAA would learn that.

Overall, the real problem of this project(and why I was so disgusted by it) lies in the fact that they took a deep, layered and emotional story and made it into a big, dumb, boring action movie. Well, at least to a degree. On one hand, you've got ridiculous Matrix-indulgent action sequences. I realize this was part of the game, but at least in the game they were entertaining. If this had been done years ago, maybe it would've had some sort of impact. As for the other side of the movie, it tries to capture the game's mood-setting film noir storytelling, but ends up one big bore. Few of the important details at all are revealed in the entirety of the film, leaving a sort of Lost effect stagnating the air. But who knows... maybe they intend to save that for the sequel, God help us.
Best thing about this film was that they had the Watch-men Trailer at the start beforehand, which pretty much says it all really.

''There's an army of bodies under this river, people who ran out of time, out of friends. I could feel the dead down there, reaching up to welcome me as one of their own. It was an easy mistake to make.''

''Ain't nobody likes the Middle East, buddy. There's nothing here to like.''

Roger Ferris uncovers a lead on a major terrorist leader suspected to be operating out of Jordan.

Leonardo DiCaprio: Roger Ferris

Well Director Ridley Scott tackles the issue of the old Middle East Terrorism and also a look at how intelligence agencies and their respective Agents act. Body Of Lies has been unfairly attacked by critics on the basis that other films have done the same thing and executed the same problem. These attacks are unjust and unfair mainly because alot of Horror & Romantic films always emulate the same recurring aspects for example some not coming under scrutiny. Some of the other films which have addressed Middle East, Terrorism, and Counter measures and Agencies attempting to thwart the former, are in my memory...Rendition, Syriana(Also starring the wondrously talented Actor Mark Strong),The Kingdom, Three Kings, all films set in the middle East that add to this specific genre, this battle with terror and religious fanaticism yet also a stab at the mistakes and moral leanings of Western Powers and the murky cloudiness of diluted intelligence twisted round.
Body Of Lies should be considered to be among these interesting looks at the Eastern situation or war on terror, whatever you prefer to view the state of going ons.

''You Americans are incapable of secrets because of your democracy.''

Interestingly enough Body Of Lies begins with an imminent explosion in Manchester UK with some Terrorists loyal to Al-Saleem (Alon Aboutboul). This sets the ball rolling and at the same time keeps us the audience glued and straining to keep up with the intense intelligent dialogue which educates as well as entertains us.
Before the main titans appear on screen we know Ridley Scott has all the strings to pull and cards up his sleeves to reveal. So when Leonardo comes on screen with his unshaven appearance and brown contacts in, we can fully believe he is an Agent undercover doing his hard pressed job, he knows disguises, can speak fluent Arabic. Roger Ferris is made into a fully three dimensional character by Leonardo DiCaprio.
My other fascination among many, was Russel Crowe as Ed Hoffman, who really shows his age with his plump aged self. I mean this is the man that was the young heroic actor of Gladiator, or the determined protagonist of the recent American Gangster. Here we have a family man, fat Crowe playing a US Operative who's only interested in his own loyalties and affiliations to his government.
What I really loved in this is that he is always doing his work 90% of the time, in phone conversations with Ferris while he is at home with the wife and kids, or watching his daughter's soccer game, even helping his son brush his teeth and pee. This is a man, this Hoffman is detached yet enveloped in the proceedings but from afar, its a genius scenario that really shows what it must be like in the field. Succeeding in being a book adaptation and also a realistic venture of sorts, showing a situation that needs to be addressed.

Mark Strong as Hani really was one of the favourite scorchingly talented inspirations I came out with, with Body Of Lies. He's just a treasure to watch every second, his screen-time has a resonance about it that stays memorable. British Actor plays Hani, the Jordan Ally of Ferris with finesse and believability, coming across with a charismatic aura that had me smiling. Whether it be RocknRolla or the fun StarDust, Mark Strong always makes the film that little bit sweeter merely with his esteemed presence.

''This is unusual. Your Ed Hoffman would rather have less information than share what he has with me.''

A certain romantic aspect is explored with Golshifteh Farahani playing Aisha, a romance that blossoms out of a chance meeting between Aisha & Ferris at a clinic. This relationship they share, informatively helps us see also the lack of freedom women have in the Middle Eastern world. As Ferris and Aisha share a drink outside a coffee establishment notice how the men sneer and look down at them, even the old man serving them, seems to disagree with their shared presence.
Another scene in which they talk, after Ferris meets her sister for approval and her two boys, the talk outside ends with Ferris going to shake her hand. Then we notice everyone above including her sister is watching, disapproving. For this is how it is in their world. It's frozen in time, bound to tradition, when it changes, ironically only God knows that answer, and I can say it wont change anytime soon.

So the film's screenplay by William Monahan & David Ignatius who wrote the Novel, seem to have given Ridley Scott the material and story necessary for a great piece of educational entertainment and a dazzling array of characters.
Interestingly enough for the beginning, I discovered that the Manchester scenes (filmed on actual streets in the USA), any overly "American" curbside items (like certain fire hydrants) were hidden by dropping bottom-less slatted metal trash cans over them and then adding prop "English" rubbish; however, extras and crew unaware of this subtle artful touch continuously filled the apparently-normal-looking receptacles with their own trash. Between filming sessions, rueful set dressers would have to remove a foot-high layer of discarded plastic water bottles (and then reset and fluff the "official" rubbish)

Roger Ferris: I can't do this anymore.
Ed Hoffman: Yes you can. Now you go home, get a few hours sleep and you call me when you're thinking straight.
Roger Ferris: Your know what, I AM thinking straight, alright, you're not, you can't 'cause you're a million fuckin' miles away.

Body Of Lies maintains a class and favourable conclusion for me and a great example of how sometimes the critics can be wrong on films, on books or on music. End of the day, it's something that I've always said after missing out on some impressive films critics have slated, and because I've been dissuaded from seeing it from what I've read. I learnt a long time ago that it's sometimes best to make up your own mind and come to your own conclusions. To conclude Body Of Lies is a web of deceit and characters who all end up lying to themselves as well as each other. The heroes all seem to be after the same fanatic nemesis, yet they don't trust each other. Would of liked more emphasis on the romance side of things, but the ending leaves things pretty much to the viewers respective imaginations, which I liked. Musically, visually, I was engrossed by this tense thriller and also woken up to aspects of ideology to religion to trust. All important, all up for discussion and to be thought upon. Body Of lies ironically succeeds in portraying alot of truth to our Modern present, now let's do something for the future.

''Nobody's innocent in this shit.''

''I used to tell Walter, "Never start a fight... but always finish it." I didn't start this fight... but by God, I'm going to finish it.''

Inspired by actual events that occurred in 1920s-era Los Angeles, Clint Eastwood's "Changeling" tells the story of a woman driven to confront a corrupted LAPD after her abducted son is retrieved and she begins to suspect that the boy returned to her is not the same boy she gave birth to.

Angelina Jolie: Christine Collins

Let's begin by saying that Changeling is a film that ambitiously strives and sets out upon a vast journey, delivering a powerful insight and a story from the not so distant past. What I came out with, with Changeling matched my expectations and literally blew them apart, with perfect cinematography, a perfect score, cast and Director Clint Eastwood shows his best film to date. Not only has he captured the era of the 1920s onwards, not only has he created a timeless emotionally charged account of one woman's struggle with evil and corruption but he's set about getting the ball rolling for some cataclysmic standards set for the films of 2008.

Right from the starting title you just know that Changeling is going to take your breath away and thats just the beginning. It's been a while since I've seen a film which can effect and dazzle all your emotions, I cried, I got goosebumps, I squirmed and shuddered at events transpiring. Changeling hits the nail on the head and shows us a society and it's Police with something sadly missing. What shocked me was Clint's effort to capture this and succeed in making it relevant to today's modern world. In that sense I mean alot of the problems addressed in this film about certain aspects mirror what happens in current affairs in the US and other Countries even today.
Corruption and politics are an omni-present factor of civilization.

Changeling gives us a woman who loses her boy, which is just the tip of the ice berg; it proceeds to punch it's way through our minds, like a jabbing jolt of lightning between the eyes, to show the Police, not only apparently finding her son but giving her back an imposter. We then receive a glimpse the Police force unable to admit making a mistake, never in the wrong and when they have a problem they magically wave their magic wand and make it go away.
There's a million things running through my head about Changeling it's hard to grasp all of them in this review; Clint Eastwood does a masterful job of blending music and visuals together equaling the times. To me this is the 1920s, theres no question about it; whether it be the costumes or cast, everything is perfect.

''Fuck you and the horse you rode on.''

The performances in Changeling are the kind of quality you come to expect from an Eastwood film. Unrivaled, unrelenting, and virtually impossible to criticize.
The leading lady, Angelina Jolie as Christine Collins, really shows Changeling IS without a doubt Angelina Jolie's best film. There is no shred of doubt in my mind that Jolie will win Best Actress at the next Oscar ceremony. Her disposition and poise the epiphany of perfection, so much so that I could sing my praises of her in this triumph all day long. One look that she gives in Changeling conveys more than any mere words could hope to achieve. Angelina practically embodies the role of Christine and moulds a fully breathing character, fully believable, fragile, victimized, a crazed mother desperately trying to get her son back.
Her appearance is flawless as is her pale complexion emphasizing her Red ruby lips. Everything about her echoes Clint's vision of how a woman should dress in this golden age.
The supporting cast were phenomenal, Jeffrey Donovan as Captain J.J. Jones was highly successful in being one of those characters you love to hate.
John Malkovich as Reverend Gustav Briegleb, was an absolute emotionally charged ally of Collins in her search. Criticizing the Police and the State for their sloppy and brutal policies of shoot first ask questions later. The fact they just want problems to go away not to be resolved really shows the people of the Law being above the Law, Gustav addresses these inadequacies of the Department well.
Devon Conti plays the boy who the Police bring back to Christine, he plays the part well. Enigmatic and weird in his ulterior motives, his scenes with Angelina are furiously charged in a blaze of a cuckoo bird scenario where an imposter young-ling takes his place in the nest. The same principle is applied here with startling results.

Capt. J.J. Jones: Mrs. Collins, your son was missing for five months, for at least part of that time in the company of an unidentified drifter. Who knows what such a disturbed individual might have done. He could have had him circumcised. He could have...
Christine Collins: ...made him shorter?

Changeling features one of the most horrendous twists and impending conclusions in the middle segments committed to any work of 2008. What transpires and happens is mind blowing; to the stage where I was starting to cry from the shock of it. It shows how a system which is flawed cannot cover up it's tracks forever, justice can take alot of time to prevail. The Lawyer defending Collins and Captain Jones questioning in court has to be one of the most engaging scenes I've seen in a while, not to mention Collins emotionally screaming at a villain and being subjected to barbaric methods in a mental institute. There is alot to offer here and alot to admire in the level of film making; the level being the very highest quality available.

Overall Changeling is a very powerful piece, resulting in one clear defining notion and answer, an answer and shining example of untarnished, unresolved defiance of a lady who never gave up and who's love for a son came first before anything. Changeling is without a doubt a passionate, human, story of timeless truth, of hope.

Christine Collins:But one thing I know is that boy gave me something I didn't have before.
Detective Lester Ybarra: What's that?
Christine Collins: Hope.

''Words can be very powerful...''

A young girl discovers her father has an amazing talent to bring characters out of their books and must try to stop a freed villain from destroying them all, with the help of her father, her aunt, and a storybook's hero.

Brendan Fraser: Mo 'Silvertongue' Folchart

I lose count at the amount of fantasy films that seem to be churned out of film studios nowadays. After LOTR and the HP series escalated in showing public interest and a great source of inspiration, film studios are capitalizing once again on this genre. Unfortunately resulting in fantasy blunders like Eragon, a mediocre Narnia series, or the below average Golden Compass. So where does Inkheart fall and fare among all these clones and repetitive efforts? I'd say it lands squarely into being not something of greatness, but rather mindless fun like City Of Ember was.

Character development and elaboration seems to be lacking or missing, while action and plot seems to be detailed in some areas while lacking in others. For instance the concept of reading books and everything coming to life from them, could of been done so much better. Inkheart goes for a safe option, it neither goes all out on this idea but it feels to me like some alternative take on The Last Action Hero but with books instead of films. Don't get me wrong, there are some brilliant ideas on offer here, and I believe it must be an intriguing book to read but it's hardly new or awe inspiring.

So performances, firstly Paul Bettany as Dustfinger, almost proves to be about as half annoying as he was in A Knights Tale, he just seems to be typecast and miscast these days, Inkheart is a perfect example of this.
Brendan Fraser as Mo, seems to be the same problem, he always goes for these family father type role figures, whether it be Mummy or Journey to the center of the Earth, you know exactly what to expect if he's in it. Which isn't necessarily a good thing.
Helen Mirren is no Gandalf, Andy Serkis seems to be having too much fun as Capricorn, Jim Broadbent looks like a weathered old leaf and some girl, Eliza Bennet shows us an awful dress and deep voice in a bizaare final showdown. We even get Rafi Gravon showing us some Prince of Persia antics.

Whats funny about Inkheart is the fact it has all these famous stories, and it has creatures, people and monsters coming to life from a silver tongued reader. We see flying monkeys from Oz, A croc from Peter Pan, even a Minotaur. Sadly some concepts and ideas aren't elaborated on. For instance when character's swap over, one thing comes into our world, while another is swapped. The explanation or elaboration for this is left strangely missing. Inkheart at it's heart is a film for the family, there is no doubt. It's hardly deep or educational nor is it new or ground breaking. Upon reflection it is fun and the time flies by while watching it. While a dark nemesis at it's peak called the Shadow was abit Lord of the Rings or Never Ending Story inspired I suppose it can be forgiven for not hiding it's efforts to emulate them.
Andy Serkis getting his just desserts also seemed to be a rip off of Philosophers Stone, which was amusing if what something of a parody of misconception again on strains of originality.

If you have children or young friends then this would be a good watch for any fantasy appreciative fan, while also giving some escapism to boot.
Overall the effects are without fault, the music accompanying does its job, and the cast turn in so-so acting and charismatic efforts.

''If the Earth dies, you die. If you die, the Earth survives.''

A remake of the 1951 classic sci-fi film about an alien visitor and his giant robot counterpart who visit Earth.

Keanu Reeves: Klaatu

To start with I never had any major expectations upon seeing The Day the Earth stood Still. Initially it's an effect laden disaster movie disguised as an Alien encounter of sorts, and of course it's a remake of a major Classic B&W film with a deep message between it's lines. This is the beginning problem with this new project, combined with a typical cast and a routine battering of pointless plot. The Day the Earth stood Still begins very slow and this is the start of it's unraveling, and ultimately it's predictable demise. I was willing to give this affair a chance, give it a shot per say, for criticizing it or knocking it before viewing would perhaps be unfair. Now I wish I hadn't bothered but at the same time glad I've got it over and done with.

At it's core it's got some good points, obviously the plot isn't one of them or the depth. It's effects and visual efforts are very impressive, which almost disappoints me in the fact it hasn't the story to support these lush renderings. For instance we have the huge spheres of light artistically stimulating and a huge metal man guardian who are either under used or misused with the ongoing script occurring. The Day the Earth stood Still plot has been done so many times before that it's almost a crossbreed between The Happening, Independence Day and even having a resemblance to Spielberg's Close Encounters of the third Kind. I mean The Day the Earth stood Still is a typical American goody two shoes movie, the center of disaster, the main sphere of destruction is, you've guessed it, in the good old US, Manhattan. I'm sick and tired of these disaster/Alien movies always having the main bloody event occur in their Homeland. To me this is just unbelievable and byaist, while also being very big headed.
Which brings me to yet another annoyance worthy of mention, the other countries shown in the Alien occurrence. The glimpse of London UK is disturbingly awful, which shows America's perspective of us to be a Taxi Infested city with Old people wearing stereotyped caps. Come on guys, this is the 21st Century here too, not the 60s. Also the middle Eastern Countries shown, are truly inaccurate, giving us the impression that all denizens in Egypt or surrounding Countries ride around on Camels and are primitive cultures. All this just shows how stuck up the film makers are and a diluted Western view we are given.

Keanu Reeves as Klaatu is another reason why fans of the original, will hate this intrepid re-make of pointlessness. He's got that type cast role, giving nothing new in a lifelessly wooden drab performance. We have an Alien beginning to feel empathy for the human race yet in fact the evolution towards this empathy is missing. Granted he has a few moments that are fun, like his control of technology, but it's all a mindless dizzying waste because there isn't enough life in the acting or the disposition of how Klaatu is represented by Reeves. The fault doesn't just lie with Reeves but with a weak script and a tired story of Alien Encounters that offers nothing new whatsoever.
Jennifer Connelly as Helen Benson, is the female star, yet this choice for her is a far cry from Blood Diamond, this is something she should of stayed clear from. Her performance isn't great, more of acting with her blue eyes and staring towards camera rather than adding any weight to her dialogue.
Kathy Bates is an annoying 2D character, Jaden Smith backs her up as another deadpan cop out, while John Cleese as Professor Barnhardt is meant to pass as a renowned Scientist type character. The film at this point becomes unable to be taken seriously in any regard, with miscast people, a mindless remake with dire consequences.

This could have been really amazing but it turns out to be as flat as a pancake and one of the worst disaster Sci-Fi excuses this year, or hell this decade.
The Day the Earth stood Still is a wonderful example of how a movie's effects alone cannot carry a lifeless husk of events along. As for humanity being able to change it's ways for this Planet, well don't make me laugh. The Day the Earth stood Still shows a stupid military and characters making some of the worst choices since Deep Impact, you can laugh when people get blown away, you can smile when bad atrocities happen, when metallic bugs eat away anything in their path, because it's all so laughable, so unbelievably executed and displayed, it's hard not to scoff at proceedings.

Overall The Day the Earth stood Still is best to be avoided, unless you are like me and a glutton for punishment, wanting to see what the fuss is about, if indeed there is one. Granted there have been some bad films so far in 2008, and as we hit the twilight of this year I can safely say The Day the Earth stood Still can be added to the pile.

''And so the lion fell in love with the lamb.''

A teenage girl risks everything when she falls in love with a vampire.

Kristen Stewart: Bella Swan

After reading so many positive reviews of Twilight from Critics and friends alike, I was more than willing to give the apparently awesome Teen Vampire story a chance. After actually seeing this seemingly appetizing vision I'm somewhat baffled as to what everyone is going on about. Either the critics are on drugs or they have succumbed to the swarms of angst ridden female fans, (and some male supporters) being payed off in the process. It would seem to me that as soon as this so called Twilight, I was bored to tears with it's sloppy narration and poorly structured plot. Having not read the book previously the film has done a thorough job of putting me off reading it.

The acting is truly abysmal, for a start, not helping me to take it seriously at all.
Pretty boy Robert Pattinson portraying the sulky Edward Cullen, is a pouting, emotionless, pale faced lout whom will have the girls drooling over for his feminine looks. We have him weakly formulating a strange romance with Kristen Stewart as new arrival Bella Swan, who doesn't so much as act but only utilizes her looks and nothing else. I'm actually shocked how critics have been fooled by this disgusting piece of film, and I'm sure a few jobs will be lost when audiences see what a drab, unsophisticated piece of shoddiness this is. Twilight could have been the next best adaptation since Harry Potter but ends up being a cross between Underwold, Buffy & Covenant. If you do go and view this at the cinema, more than likely, the majority will be either A fans of the book, or B girls who after a soppy romantic fix. God knows, after hearing some comments, how people can endure this monstrosity multiple times and not resist the need to systematically vomit or succumb to sleep. It honestly, in the politest way possible is like watching newly used paint on a wall dry.

''I know what you are. You're impossibly fast. And strong. Your skin is pale white, and ice cold. Your eyes change colour, and sometimes you speak like, like you're from a different time. You never eat or drink anything. You don't go out in the sunlight.''

Twilight abuses the Vampire lore in many ways, opting for our sucker friends to have glittery skin in sunlight(More like sweat visually), playing baseball in stormy weather, and also being able to have a reflection in a mirror. All of these and more crash this nightmare into unbelievability and beyond, causing me to lose hope for Vamp films in general. Being a fan of Bram Stokers Dracula and Interview with the Vampire, this Twilight is a wet dream of teenage hormones realized. It's got no class of a sophisticated vampire whatsoever, also lacking a decent nemesis or threat throughout. When a problem is presented in the guise of three evil Vampires, we are too bored to even give a damn about our characters or even what is to transpire next.

Granted Twilight isn't a complete catastrophe, it's got some good qualities here and there, that seperate tedium from torture. The music for one seems to be good in places, as is the parts where Bella visits Edward's family. It just takes too long for these to kick in.
Before we even get to the juicy segments we are given supposedly romantic encounters between our pair. Their acting and slushy antics are about as frozen as Edward Cullen's facials appear to be. A frosty love that's about as easy to believe, as blooming Freddy Kruger or King Kong materializing before us from a hurricane of misconception. Which in other words is unbelievable, in every formulated way possible.
Billy Burke as Charlie Swan also seems to be lost throughout these strange happenings as Bella's mistreated father. Not to mention Native American friends who are brushed aside with Bella's infatuation and dazzling romance with Edward. After seeing this it's fair to say, you will want to grow up fast if this the most imagination they can conjure up on the screen for us. The realism has just sizzled from view and burst abruptly out the window.

As for Director Catherine Hardwicke, has she even bothered to read the book? Or watch any Vampire films of late? I'd say she hasn't bothered doing much if this is the best she can give us. Her direction to me, seems to be poorly threaded together, resulting in a rushed, heightened, chaotic jumble of genres that makes me embarrassed to bear witness to. I mean Melissa Rosenberg screenplay is as flimsy as paper in a storm, it seems to move at a slug's pace, while Stephenie Meyer Novel is systematically raped by this on-screen apparition. You could say that I'm not easily impressed but I'm having on by a thread as to what to be impressed by as I come out of this venture. My girlfriend is as confused as I am, as it finishes, and she was the one that wanted to see this. I'm at a crossroad as to what to think. It's nearly Christmas and Twilight seems to be the only film people talk about. Simply put God help us if this is the best we can get. Hopefully in the next few weeks a certain two films will redeem my flattened cinema viewing and give me something better to feast upon.

''Death is peaceful - easy. Life is harder.''

''Just because it is, doesn't mean it should be.''

Set in northern Australia before World War II, an English aristocrat who inherits a sprawling ranch reluctantly pacts with a stock-man in order to protect her new property from a takeover plot. As the pair drive 2,000 head of cattle over unforgiving landscape, they experience the bombing of Darwin, Australia, by Japanese forces firsthand.

Nicole Kidman: Lady Sarah Ashley

''Welcome to Australia!''

Director Baz Luhrmann gives us his new vision Australia, and what a joy it results in being. Let's just begin by saying that all my expectations were met and in a way exceeded them, in the guise of being educational, historical and in essence, capturing the spirit and power of the mesmerizing land of Australia. It's dreamy yet sometimes rough, chaotic yet beautiful,and plagued with racism yet rays of hope lying with the rare handful of good souls, among the inhabitants.
The strengths of Australia really are numerous in number, not to mention it stays true to Baz's style and nature. Being loud, vibrant and charged with wild energy and visual flair. The history here on offer, is most important, we learn, of the aborigines plight, the unfairness that the white men bring to their land, and the unfair taking off their children. The so called Lost Generations. This instantly told me that Australia wasn't to be your usual overblown Box Office Epic Romance, this told me Australia was to be something of substance, and ultimately something to learn from.
"Australia" is set in the northern part of the country in the early stage of World War II. Due to a misfortune, an English aristocrat named Lady Sarah Ashley receives a vast cattle station which prompts English cattle barons to scheme to take this land. With no other option, she joins forces with Drover, to drive a 2,000-herd of cattle across hundreds of miles through the merciless desert at the heart of Australia. Drover and Ashley also face the bombing of Darwin by the Japanese first hand who only months earlier attacked Pearl Harbor.
With the help of fantastic acting, a brilliant screenplay, incredible directing, and breathtaking cinematography the film manages to become the greatest Australian film of all time. The powerful scenes and the remarkable scenery will send the viewer through the darkest chapter in Australian history. The film offers a chance for anyone to highly respect what Aboriginal people went through during the time and to know that much like Prime Minister of Australia, Kevin Rudd, they are sorry.

''Mama say, I Galapa. I magic-man. I wizard-man!''

For all it's historical information and seriousness, Australia isn't without it's fun and unrelenting charm. We have breath taking landscapes, humourous characters and a load of charming Australian subtleties, on display for us to feast upon.
Nicole Kidman as Lady Sarah Ashley, really displays some of the finest charisma charged performances of her career. She does often pick some questionable roles, however, Australia is the best film she's done to date. Her energy and disposition holds a life of itself, even her horse riding abilities, are to be commended, whole heartedly.
Hugh Jackman as Drover, also gives one of his best performances to date, and giving an actual decent Australian accent justice. Although he is an Aussie. Jackman adds another triumph to his roles in this ace up the sleeve, the macho, morally correct, and strong Drover hero of Australia. Also giving one of the best romances with Nicole, this year 2008.
Brandon Walters as Nullah, really was the cutest treasures amongst the gems of Baz's crowning achievement. Nullah has a sweet innocence and mighty heart accompanied with a playful nature and temperament. His grandfather King George, also show, the plight of the Aborigines well, and shows the land's true people. Right from the stories beginning, Nullah narrates the happenings for us, drawing us in, to this wondrous world of wonder.
David Wenham as Neil Fletcher, gives us one of the best villains of 2008. Fletcher is a man, whom audiences will love to hate. Wenham succeeds in making a truly snake of a man. A man unafraid of killing his own flesh and blood even.
Bryan Brown as Carney, I found irritating and a pointless character.

Lady Sarah Ashley: Let's go home.
Drover: There's no place like it.

Australia's Music and cinematography is simply breathtaking in it's majestic scope and execution. Baz really knows how to impress, not just with colourful pictures, such as maps and newspapers, but he actually shows us Australia in all it's glory. Giving us wonderful aerial shots of lush wilderness, mountains and terrain usually unseen for us mere mortals.
The duration of Australia may be one of it's weaknesses, yet the unrivaled attention to detail and hypnotic story-telling, more than make up for it. We have nothing but pure admiration, for the whole tale after it's finished, because it's a journey of multiple roads for all characters in it's wake.

''Mrs. Boss! We gotta get those fat cheeky bulls into that big bloody metal ship!''

Overall, this film, this Australia, is Baz Luhrmann's greatest film yet. A true spectacle, featuring the best costumes, scenery, passion, humour, romance and wildest adventure to offer. Unsurprisingly enough, good old Classic, Wizard of Oz pops up, and surprisingly Baz Luhrmann's Australia is another classic in years to come. As the beginning informs us, wait for the finale, Australia is a masterful adventure with an educational point, and crickey, does it hit home.

''This is our country...''

''I do want to take guitar lessons. I do want to learn how to fly. Yes, I would like to learn Korean.''

A guy challenges himself to say "yes" to everything for an entire year.

Jim Carrey: Carl Allen

Let's first begin by saying, Jim Carrey is getting older, unsurprisingly Yes Man shows this little factor off all too well. As does the minute fact being, that Yes Man is another comedy vehicle for Jim Carrey,whom is renowned for doing. Whether it be Mask, Ace Ventura, Liar Liar, Carrey knows how to make us laugh and he knows how to do it well. So why does Yes Man feel to me to be another churned out comedy piece,lacking in originality and diversity? Why does Carrey do a film thats an emulated and tired out formula Comedy Caper?
Let's assume he's going back to what he's good at, he's having abit of fun and that this Yes Man is a bit of fun. Definitely Yes Man results in a brainless humour laden roller coaster of craziness.

So Yes Man has strengths, being when you see past it's flaws and switch of your logical thinking per say, and quite literally go with the flow. It's got some seriously clever characters, Rhys Darby as Norman, Carl's work colleague seems to be hilariously portrayed, throwing some crazy parties that pay homage to the likes of 300 & Harry Potter.
We also have Zooey Deschanel as Allison, who has a quirky romance with Carrie's Carl. Terence Stamp pops up as Terrence Bundley, the YES founder, and Bradley Cooper & John Michael Higgins playing Carl's mates.

So Yes Man is about a man named Carl Allen, who is always saying no and making excuses for events and people in his life. All of a sudden one day, a situation presents itself, in the form of a form of positiveness, wherein a group of cult-like attendees, always say yes to life. This group is led by a very white haired Terrence, whom makes Carl take up the Yes way of life.
From here on in, the story shifts from gimmicky comedy, to the more subtleties of character development and romance between the energetic pair. This shift in gear helps break Yes Man away from its early Bruce Almighty styled antics, with its soulless scenes of illogical chaos, and develop those who inhabit the screen into characters we become embroiled with. Carrey, who adopts a tone here that is similar to his work in Eternal Sunshine of the Spotless Mind(his finest serious acting film), manages to establish a distinctive plausible mix of genuine warmth and his usual shtick and slapstick; those who appreciate both sides of the actor will get a lot out of it, though one suspects many will only be distracted by the more zany sides of Carl. On the opposite side of the story, Zooey Deschanel plays a role not that dissimilar from her earlier effort from this year in The Happening, but is certainly given alot more to do here. As a love interest, Deschanel is as alluring as she need be, and counterbalances her softer core with a welcome independent edge.

Of course, Yes Man isn't all yes, of course, there are flaws, and one cannot help but be somewhat critical towards proceedings. Yet despite the pacing issues, and a lack of drama or conflict that feels natural or warranted, there nevertheless remains an enjoyable, heart-warming core to Yes Man's story that is very hard to refute. There will be moments, when you may look at your mobile, perhaps wonder where your pop corn has all gone, at the movie's more OTT antics, which clash with the adult-orientated parts, but by the time the credits roll, there's little doubt that you'll be feeling uplifted, warm and fuzzy from the hysterical.

As far as comedy or romance goes, Yes Man is by no means anything new, in fact both elements are still and unprecedented, for a large part of the feature, but as a character-drama, the feature remains compelling to watch transpire. For that reason, I recommend this to those who want something fun and not necessarily original or high in the thinking department, but at the same time, more contemplated, more reserved in nature. There are strong moments in Yes Man, yet these are moments of mere background explosive temperament, contrasted against sweet melody that is played in the foreground. Also wait for the end, for a nice addition of footage accompanying the credits for some same styled fun, along the lines of the film's feel.

''My city, I can not deny her. My city screams. She is my mother. She is my lover, and I am her Spirit.''

Rookie cop Denny Colt returns from the beyond as The Spirit, a hero whose mission is to fight against the bad forces in Central City.

Gabriel Macht: The Spirit / Denny Colt

The Spirit is Frank Miller's independent Directing response and vision of Will Eisner's comic book series. Using Techniques he learnt from Sin City and 300 he's gone ahead on his own, to create something unique, without any Zack Snyder or Robert Rodriguez at the helm. Yes The Spirit, is completely driven, in entirety by Frank.
So what is The Spirit like? Is it good? Yes it's fun and silly, yet in places serious and dark. Is it in the same league as Sin City & 300? Not exactly. Mainly the disadvantage of The Spirit is that it's restricted to a universal age restriction, not allowing for OTT blood,gore and shootings. So it felt to me, like it's never allowed to let rip and go all out with the actiony antics that happen.

I can see Frank Millar is in a way, paying homage to detective film noirs, with The Spirit. With it's Chinatown-esque superhero, it's gritty narration, and it's dark art. Granted it's a modern day merge with 1940s life, we have old hair styles and mobiles, fashions and modern day weaponry all in the same place. Which sums up The Spirit, Frank Millar's modern re-telling of Will Eisner's comic novel, done his own unique style.
Gabriel Macht as The Spirit, does a reasonable job of fleshing out the masked spirit, while giving some awesomely edible dialogue/narration.
Eva Mendes as Sand Saref, shows a commendable love interest and childhood flame, while showing off her body and assets.
Samuel L. Jackson as The Octopus, kind of ruined the feel of The Spirit, with his over the top villainy, he dresses up as a Samurai, a Nazi, uses silly toilet humour and has demented clones and a sexy sidekick. That all lean towards the hectic tones of a lighter toned, styled comic venture, rather than the dark descent, you expect The Spirit to be.
Scarlett Johansson as Silken Floss, shows her dark side, a quirky funny role yet not the greatest performance she's done. Fun though.
Arthur the Cat & Frank Millar also make stellar appearances, which give us something to smile about.

''You're in love with every women you meet, Mr. Spirit. You say lovely things to all of us and you mean every word you say.''

There's some good idea's on offer, and marvelous scenes of Spirit running and jumping through his city. His love of cats reminded me of Hellboy, while his appearance resembles vigilante Zorro.
Although on other part's we the audience tend to flag and become bored, due to unnecessary flashbacks that kind of slow the story down, to scenes with the villains or Sand Saref that seem to be focusing on extreme laughs.
Samuel L Jackson dressed as a Nazi, giving a kitten some strange glowy serum, seems to be one of the big laughs on offer.(His toilet humour and usage of toilets seemed abit weird yet amusing) Followed by a sexy Plaster Of Paris lady giving some seductive allure to a receptive Spirit.

The Spirit is typical Frank Millar. It has a hero whom is addicted to seducing the ladies, a hero who is dark and handsome, and a town where people find sometimes the best choice is to shoot one self, to help matters. That's Frank's philosophy, that's his city, yet this isn't Sin City. This is The Spirit, this is his take on someone else's dream, and the conversion seems to show all too well in it's results.
More romance, more action, and a stronger emphasis on plot and script, could have made this piece, incredible rather than another offering and film, which feels like another Sin City, another 300, and another Frank Millar offering.

Overall, The Spirit isn't all bad. It isn't all good, yet it is an artistic triumph of effects and comic-book life coming to life. The dark tone and colours create a believable breathing world at times, only spoiled by being overly unrealistic, as opposed to just being a little bit unrealistic. Sometimes less is better, sometimes more can be a help, what The Spirit needed is balance, and an experienced director. However Frank Millar, on his own, does a good job in essence to bring this project together. Theres even nice artwork and effects, on the credits to look out for, after a bizarre finale.

''"What are you?" That's what the woman asked me. Am I some sort of ghost? I still move. I still breathe. I'm still alive.''

''It is written.''

The story of the life of an impoverished Indian teen Jamal Malik, who becomes a contestant on the Hindi version of "Who Wants to be A Millionaire?", wins, and is then suspected of cheating.

Dev Patel: Jamal Malik

Winner of the Audience Award at the Toronto Film Festival, Danny Boyle and Loveleen Tandan's radical Slumdog Millionaire is the feel-good story of an orphaned, street-wise young man trying to strike gold on India's version of the TV show "Who Wants to Be a Millionaire" while hoping that the girl he has loved since childhood is watching. Based on the novel Q&A by Vikas Swarup and supported by the stunning cinematography of Anthony Dod Mantle and the music of A.R. Rahman, Slumdog shows us the chaos of Mumbai (formerly Bombay) India where it was filmed. Submerging the viewer in a cacophony of colour and sound, the camera swoops and swirls in an often dizzying pace, taking us from the desolation of back alleys and garbage dumps to modern high rises and the fantastic beauty of the Taj Mahal.

Boyle has nine different non-professional actors in three different time frames, each faithfully representing their character as they grow and develop. In the opening scene, the hero Jamal Malik, brilliantly performed by Dev Patel, is being questioned by Police Inspector (Irrfan Khan) who simply cannot understand how a mere slumdog like Jamal, without any education, can answer question after question on the game show without resorting to lying or cheating. In a city of 13 million people where the police know they can get away with almost anything, the methods of torture used to extract a confession are graphically displayed. With Jamal, however, they only succeed in uncovering the deeper layers of his character as the film flashes back to specific incidents in his life that reveal how his knowledge was gained by personal experience.

He knows, for example, that the star of the 1973 film Zanjeer was Amitabh Bachchan because he was his favourite actor/idol as a little boy and was willing to cover himself with filth just to get his autograph. Built on memory, the film relives Jamal's life from the death of his mother, to his entry into service to a cynical gangster who turns street children into blind beggars, reminding us of the millions of third-world children, not as lucky as Jamal, who fight against unending poverty each day. Jamal is fortunate to have allies, however: his brother Salim(Azharuddin Mohammed Ismail) and Latika (Rubina Ali), another orphan that Jamal becomes attached to form the "Three Musketeers", ready to do battle with the world.
Salim reminding me of a City Of God result for his character, whom inevitably also redeems himself, while showing God as a salvation for greed and killing.

Though circumstances lead the three into different areas when they become adults, Salim (Madhur Mittai) into the criminal underworld, Latika (Freida Pinto) to be kept by a rich man, and Jamal to become a chai wallah, a server of tea to telemarketers. However Jamal does not give up, knowing that his life is governed by destiny, fate and ruled by unending love. Using their wits to survive, the funniest scenes include Jamal and Salim finding themselves as tour guides at the Taj Mahal, inventing stories or the part where Jamal is locked inside an outhouse while his childhood hero star Amitabh is outside signing autographs; escape involves having to go through smelly excrement. Highly amusing and the child actors maintain the harshness and innocence realistically similarly to City of God.
The center of the film, however, revolves around Jamal's contesting for millions of rupees on the game show "Who Wants to Be a Millionaire"; not necessarily to become rich but to woo his soulmate Latika whom he knows is a fan of the show.

We cheer for Jamal to win his fortune and most importantly, to get his love back. While we are aware that the story is an unlikely fantasy, we also know that as barriers between individuals and nations break down and the world moves toward a greater sense of unity, the distinction between what is possible is broken down into a singularity. Slumdog Millionaire may be the best film of the year, while in real life headlines telling us daily that the economy is dying, and that climate change threatens our very existence; a film that is a pure celebration of life is welcomed with open arms. Danny Boyle gives us his best film yet.

''I'm an old broken down piece of meat and I deserve to be all alone, I just don't want you to hate me.''

A drama centered on retired professional wrestler Randy "The Ram" Robinson as he makes his way through the independent circuit...

Mickey Rourke: Randy 'The Ram' Robinson

Darren Aronofsky has always been a Director whom has been close to my heart. Whether it was the film that blew my world away, the much loved The Fountain, or the cryptic puzzler Pi, or the emotionally entrancing Requiem for a Dream, whether it's any of these Darren always proves to be a man of vision. Why am I not surprised Aronofsky's latest, The Wrestler proves to be equally successful? It's because it's a firestorm of truth, a blur of sophistication and a hurricane of a man's struggle with his career and life.
Which is essentially a question of stop doing what you love and die, or keep doing it and go out doing the thing you love most.

Let's just say Mickey Rourke was born to play this part, Mickey is in my eyes The Ram, he envelopes the part and engulfs it as his own. It's magical, wondrous and dazzling without even breaking a sweat. The Wrestler isn't just about wrestling, but about a man, about this living, breathing being, whom is alone, and lonely. His passion is his hope, his hope is life and when his daughter doesn't want to know, and a potential new love of his life, he is a broken man. He has only one thing left, and age and a bad heart have caught up with him, he has to go back to the only thing he knows.
Rourke embodies the struggle Randy faces, and we're along every step of the way as he fights not just in the ring but outside of it also. I find myself in love with everything Rourke does, every syllable he mutters, every breath he takes. This is the role he was born for, he shines, and a film about Mickey is begging to be made.

''The eighties fucking ruled, man, until that pussy Cobain came and fucked it all up.''

Another shining light of The Wrestler is the gorgeous music by Clint Mansell, using a combination of rock and heavy composites, with dazzling results. Shots are used effectively albeit shakily, different to anything Aronofsky has ever done. The backward shooting of Rourke or his daughter is used effectively, as done in a part of Dark Knight, and numerous video games. It's an original way of panning and capturing a moment or series of events.
Acting wise Mickey Rourke is backed up by a wonderful array of fellow Wrestlers and fans. Not to mention two Actresses whom shine for this film and story.
Marisa Tomei as Cassidy really acts to perfection in this, also showing a duality mutual respect for strippers too, in the fact, that what they do is hard work too. Wrestling maybe hard, but pole dancing and dancing also is a complex grueling task. Her performance and chemistry with Rourke boosts this film into the stratosphere of love and new found love. The way she helps him find his daughter a present or the fact she cares enough about him to meet him outside of work is heart achingly real.
Evan Rachel Wood as Stephanie Robinson, plays the estranged daughter of Randy all too well. Shes resentful, hurt and mad at him, in the sense he hasn't been much of a father to her. Many of us may take her dispositon towards him as unpleasant but understandable considering her life without her father's influence. As he faces his heart complication, a chance for a rekindled bond between them emerges, and a one to one presents a new awakening for their love for one another. This however is short lived, as one thing leads to another and Randy let's her down yet again. A scene with the pair on the beach, gives us one of the most moving parts between a father and daughter.

Overall, The Wrestler is a very powerful film about love, passion and loneliness. A love for something you can't live without, a life that knows Wrestling, that sacrifice is not an option,where anything is possible no matter what the consequence. Mickey Rourke is the reason to see this film, his performance is the best of his career, his Sin City gravelly voice is a pleasure to hear and his body the pinnacle of experience and ripe for this role. Darren Aronofsky and Rourke etch out a place in time for a notch in greatness, the ending being one that leaves what happens, up to our imaginations, and Darren knows this is the cleverest way to play upon us. For leaving it open to suggestion and discussion, is to envision and emblazon one thing to us, and that is a message of hope.

''In this life you can lose everything you love, everything that loves you. Alot of people told me that I'd never wrestle again, the only one that's gonna tell me when I'm through doing my thing, is you people here.''

''Without the loyalty between us, we are no better than the beasts at our door.''

An origins story centered on the centuries-old feud between the race of aristocratic vampires and their onetime slaves, the Lycans.

Michael Sheen: Lucian

The third outing for Underworld takes a number of new paths. One in the guise of its prominent new Director Patrick Tatopoulos, and another in the shape of it's prequel story. Yes, there is no Kate Beckinsale on display but another personified beauty in the role of sassy femme fatale, this being Rhona Mitra playing Sonja. Old characters are fleshed out and given their murky pasts emphasis and show, old favourites like Lucian and Viktor all return to their magnificent parts.
The main strengths of Rise of the Lycans is in it's fantasy, it's amazing costumes, vibrant battles and gore, and dark tones. However this is an entertainment strain of story, a benevolent product of fun. The cast and crew know it and don't try to make it something it's not, this is a part of a franchise and growing mythical world.

It must be said the romance feels abit forced and the battles feel too fast to be appreciated at times. Opting for blurry, heightened, rushing of sorts without being able to appreciate the glorious moments on offer. The violence seems to be not as bad as intended in the sense you're used to it by now if you're an Underworld enthusiast or fan.
Sadly,for me I miss the guns and modern feel the other films had, especially the original one.

''Sonja, if I were to leave, would you come with me?''

It must be said, that Bill Nighys Viktor is too good to be without, hence why he's stuck around for two films after his demise in the first. In this he shows a villain, whom is cold and merciless yet in moments compassionate and full of dread and regret for his ominous decisions. Like any Royal family of any kind, he has principles and wants to uphold traditions of old, and Bill Nighy gets these factors across magnificently.
Michael Sheen as Lucian also shines in his role, as Lucian, thus taking up his mantle of one of the first roles I ever saw him play. He has a passion, and fierceness to him that is resonant in all parts I've seen him play, whether it's Tony Blair, shady business men or monks, he always makes the part his own with his beneficial talents.
Rhona Mitra as Sonja, Viktors Daughter, effectively sinks her teeth into her role, making it similar to Beckinsale. Even her signature moves are a pastly echo of Selena, which is pleasing.
One sex scene that Sheen & Mitra have felt abit wooden I must admit, even a bit of a giggle with him hanging from a cliff, held by her thighs. If you aren't paying attention, then you might like I wonder what the hell is going on. I was certainly bemused by this.

The music, setting and era, are all dark and effective, similar to Legacy of Kain and Soul Reaver video game series perhaps?. Rise of the Lycans is a story anyone familiar with the previous installments will know already,how it will enfold. Yet some parts are enigmatically told in a fresh way, that we didn't know before.
It starts with little Lucian being born and spared by Viktor, and brought up and raised as a slave. The Werewolf people being servants for the Vampire kind. The Werewolf servants being called the race of Lycans, hence the title. The film proceeds to emboss things, facts and issues that were previously discussed on the other stories in the future. It's fun, and thrilling but I did manage to spot a few loop holes as weaknesses, but these aside, Rise of the Lycans is to be enjoyed and taken in for fans and newcomers alike.

Overall, this is a feast for the eyeballs. Fans of fantasy, romance, vampires, creatures and detailed costumes and settings will love it. Of course the gore, blood and fighting too also is a peak of excitement for all. So Rise of the Lycans is a valuable delving into Underworld mythology, and without a doubt, I loved it, despite flaws, I indeed Lycaned it...

''I have lived by their rules my entire life...I've protected them, envied them, and for what? To be treated like an animal...we are not animals! Is this what you want? We can be slaves... or we can be LYCANS!''

''I'm a soldier, but in serving my country, I have betrayed my conscience.''

Based on actual events, a plot to assassinate Hitler is unfurled during the height of WWII.

Tom Cruise: Colonel Claus von Stauffenberg

The story of Valkyrie starts by giving us a haunting memoir of the Nazi oath of allegiance to Hitler, a token of total obedience to the Fuhrer, to Hitler. We are given the title transitioning from German to English.
Valkyrie opens with a Colonel Stauffenberg in a Nazi campaign of Africa, penning in a personal journal his thoughts about World War II, and how he feels Hitler is destroying Germany. Stauffenberg states he took an oath to swear allegiance to Hitler, an oath we were given in the beginning of the film layed on the Nazi flag, but our Colonel feels he owes more to Germany, the Fatherland, Sacred Germany. Shortly after, he enlists the help of a general played by Bernard Hill, in a relatively small part, he agrees, yet tragically the camp in Africa is attacked, the general killed, and Stauffenberg is badly hurt, losing his eye, his right hand, and two fingers from his left hand.

Then moving on, we are shown Hitler visiting a base camp in Germany, and a nervous General Trescow(Kenneth Branagh) onlooking. As Hitler prepares to depart, Trescow and an associate hide a bomb in a gift case of drink, and give to a man on Hitler's plane, but it fails to detonate in flight, and Trescow must return to headquarters to retrieve it. Once he arrives, he meets up with who is revealed as a fellow conspirator, a General Olbricht(twitchy Bill Nighy). Trescow safely retrieves the wine case and he and Olbrict discuss a member of their secret committee who was recently arrested. Trescow recommends Olbricht contact Colonel Stauffenberg as a replacement, which Olbricht does, and introduces Stauffenberg to one of the clandestine meetings.

''To understand National Socialism, you must understand Wagner.''

In the meeting, Stauffenberg meets three of the most important figures in the resistance. A Dr. Goerdeler, who will become Chancellor of Germany should the plot succeed, a General Beck, who will lead the Armed Forces, and a man named Witzleben. After tempers flare, Stauffenberg agrees to help. At a later meeting, Stauffenberg suggests they utilize Operation Valkyrie, which is a plan that uses the Reserve Army to keep amongst the Germany country should anything disrupt communications from Hitler, or should Hitler be killed. Stauffenberg rewrites the order to exclude the SS from taking control, which would leave the head of the Reserve Army, General Fromm, in charge of Germany. Reaching out to General Fromm, Stauffenberg and Olbricht are surprised at his rejection, but Fromm keeps quiet, choosing to neither support the dissenters nor reports them to the authorities. Meanwhile, General Trescow is sent to the front lines. Stauffenberg is promoted to head of the plan, and he, along with his assistant Lieutenant Haeften, take the order to the Berghof to be signed off by Hitler himself. Hitler, with his inner circle present, praises Stauffenberg's loss of appendages as the attitude necessary for his military, and states Stauffenberg is the ideal German. He then signs off on the bill, saying he's sure the changes are adequate.

The Operation Valkyrie of the title, was a plan developed for the Reserve portion of the German Army and approved by Hitler himself. It was intended to be used in the event of a breakdown in law and order within Germany or the countries it occupied, a breakdown caused by Hitler's death or civil unrest. A group of officers who were a part of the German Resistance to Hitler, could see the way the war was heading, that Europe was being laid waste and Germany was losing, and they were also disturbed at aspects of Nazi rule - the Death Camps for instance and the killing of civilians ? so they plotted to kill Hitler and utilize an amended Operation Valkyrie for their own ends to take control of the nation after Hitler's death and to negotiate a truce with the Allies. If it had worked, they would have used Hitler's own plan against him. But crucial to the plan was Hitler's death. The plot was aborted once, and when finally carried out in 1944, failed to kill its target. Poor communication, indecision on the part of some of the plotters and a late start in implementing Valkyrie led to complete failure and within hours all the plotters had been rounded up and executed.

''You can serve Germany, or the Fuhrer. Not both!''

The plot was lead by Colonel Stauffenberg (Tom Cruise) who was put in charge of Valkyrie and made Chief of Staff to General Fromm, after being badly injured fighting in N. Africa. He had access to Hitler but was also to be vital in the follow up to the assassination, which according to a source I read, ruled out a suicide attack. Which was a pity, because as I watched this, I couldn't help pondering how much the course of history might have been changed had Stauffenberg chosen the current favoured method of assassins, the suicide bomb. Had he got closer to Hitler at that fateful meeting and sacrificed himself, instead of leaving the bomb under a solidly built wooden table which helped shield the Fuhrer from the blast, the whole course of history since 1944 might have been different. Still, it wasn't to be. Hitler was dead anyway nine months later, committing suicide in his Berlin bunker as the Allies approached. Berlin was carved up amongst the Allies, the Death Camps were finally liberated and the Cold War began.
Tom Wilkinson plays General Fromm, who was commander of the Reserve Army, and the only person apart from Hitler who could put Operation Valkyrie into effect. He ordered the execution of Stauffenberg and the other plotters but was himself executed in 1945. Other plotters included Colonel von Quirnheim (Christian Berkel), Lieutenant von Haeften (Jamie Parker), General Beck (Terence Stamp making a rare appearance as a good guy) and Fellgiebel (comedian Eddie Izzard, who is the most miscast Nazi I've ever seen) They all excel with their roles and scripting, apart from under-used Branagh and weird Izzard. The location shooting is perfect, often using the real life settings in Germany (for instance the plotters are executed by firing squad in the courtyard of the real Bendlerstrasse.) The lack of German accents (widely commented on) is quite appropriate. Given that everyone in the movie would have been speaking German, there is no need to give them distracting accents at all. The use of accents is really only necessary when the audience is expected to distinguish between several different nationalities in a movie, this to me felt like a Boy in the striped pyjamas or Schindler's List manner of usage language wise, in the sense it works because of the audience and Western world it is aimed at.

Overall, Valkyrie is a historical, accurate portrayal of a group willing to stand up against corruption and decadence, a man whom sacrifices so much for his Country and one whom is willing to stand up to a sadistic mass murdering proclaimed dictator. This film Bryan Singer has given us, works, it clicks and it also gives us a tense thriller laced with intrigue and a story that needs telling, needs emphasis and passion in it's passionate attempts to take us back to a time of great suffering and injustice. With most films with this type of plot and story telling we know the end, but that's not what's compelling, it's the journey.

''Long live sacred Germany!''

''I'm saying that when the President does it, that means it's not illegal!''

A dramatic retelling of the post-Watergate television interviews between British talk-show host David Frost and former president Richard Nixon.

Frank Langella: Richard Nixon

Ron Howard and everyone responsible for the creation of Frost/Nixon have selected an historic event, so wonderfully captivating and awe inspiring, that a subtle, restrained documentary styled drama approach works with dazzling results. I haven't seen the original stage play on which the film is centred on, but I can firmly assume that it emphasises alot more focus, on the stage-friendly interviews sequence and less on the depiction of the whirlwind events leading up to the interviews, which occur over extended periods of time and in many locations which the film jumps from very rapidly. In order to bring order to the chaos, screenwriter Peter Morgan, also the playwright of the original stage version, employs a very effective technique of splicing within the film interviews with the characters in the film, taking place some time after the Frost/Nixon interviews but, unlike those ones, are not based on real interviews which occurred in real life but rather are the fruit of Morgan's imaginative world, his mind. It's certainly far more original and interesting a way to portray characters' inner thoughts, to deliver important information quickly and to arrange all the events in the audience members' heads than to use voice-over narration, for example. The film's structure altogether allows for a divulging and highly entertaining drama, the second half focuses on the actual interviews, which are of course naturally dramatic, but the first half depicts the equally interesting behind-the-scenes events, providing us with fantastic character development of both David Frost and Richard Nixon and also with the inherent dramas of Frost's being ridiculed, claims he wouldn't be up to the challenge, his difficulty in securing funds and his descent into an obsession with the interviews while still managing to keep his cool and never lose his focus or stability.

Howard and Brian Grazer's production value is through the roof in terms of quality and execution, all the elements in this film come together magnificently, including excellent cinematography from Howard(Similar to the story telling of Cinderella Man) Salvatore Totino and an extremely effective, emotional musical score by Hans Zimmer. But it's undeniable, perhaps because of its roots on the stage, that the centerpiece of the film is the acting. Aided by a stellar supporting cast including familiar faces such as Oliver Platt, Sam Rockwell, Kevin Bacon, Toby Jones and Rebecca Hall, the two pillars of acting, the tent poles of the film, are Michael Sheen and Frank Langella, each of whom delivers an outstanding, truly striking performance, with one ever-so-slightly overshadowing the other. Frank Langella absolutely dominates the role as Richard Nixon. I haven't seen many other films depicting the former president, the most famous of which is probably Oliver Stone's Nixon which features Anthony Hopkins in an interesting, heart-felt and yet slightly off performance, and yet I say with confidence that Langella's performance is the greatest and most convincing cinematic depiction of "Tricky Dick" ever done. Langella nails two very important aspects of depicting a real-life, public individual: the first is perfecting his mannerisms, physical look and voice, which he does outstandingly well. But what differentiates between an imitation and a performance is when you take those mannerisms and that accent and apply them to any dramatic setting. Langella does this so expertly that it's simply a treat just to watch him getting angry and emotional as Nixon. And yet, Langella, Morgan and Howard take special care not to portray Nixon as a total monster; they manage, very carefully, to craft a very full-bodied, rounded character with immense depth and personal drama; the storm brewing behind Langella's eyes, the inner turmoil of Nixon, is utterly spellbinding.

Richard Nixon: That's our tragedy, you and I Mr. Frost. No matter how high we get, they still look down at us.
David Frost: I really don't know what you're talking about.
Richard Nixon: Yes you do. Now come on. No matter how many awards or column inches are written about you, or how high the elected office is, it's still not enough. We still feel like the little man. The loser. They told us we were a hundred times, the smart asses in college, the high ups. The well-born. The people who's respect we really wanted. Really craved. And isn't that why we work so hard now, why we fight for every inch? Scrambling our way up in undignified fashion. If we're honest for a minute, if we reflect privately, just for a moment, if we allow ourselves a glimpse into that shadowy place we call our soul, isn't that why we're here? Now? The two of us. Looking for a way back into the sun. Into the limelight. Back onto the winner's podium. Because we can feel it slipping away. We were headed, both of us, for the dirt. The place the snobs always told us that we'd end up. Face in the dust, humiliated all the more for having tried. So pitifully hard. Well, to *hell with that*! We're not going to let that happen, either of us. We're going to show those bums, we're going to make 'em choke on our continued success. Our continued headlines! Our continued awards! And power! And glory! We are gonna make those mother fuckers choke!''

Delivering an equally solid performance but perhaps overshadowed by Langella's towering turn is Michael Sheen as David Frost. Like Langella, Sheen is in the position of portraying a real-life public figure, speaking with an accent, perfecting mannerisms and applying the imitation to drama, but perhaps because Nixon is such a more instantly recognizable and even legendary figure to audiences than David Frost is, Langella seems to be taking all the critics' attention away from the equally deserving Sheen. This is the second time in as many years that Sheen has delivered an excellent performance portraying a real-life figure in a film only to be overshadowed by the other lead role: In 2006's The Queen, incidentally also written by Peter Morgan, Sheen played an expertly rounded, deep, fascinating version of Tony Blair only to be completely overshadowed by Helen Mirren's towering performance as Queen Elizabeth II come awards season. Even though it may not win any Oscars or even be nominated for one, I only hope that Sheen will take solace in knowing that his work is appreciated by many, and his performance in Frost/Nixon in particular is a great achievement.

Frost/Nixon is an excellent, entertaining, engrossing film/story/historical account that works on so many levels and features so many facets that all come together in an excellent example of film-making. Howard, Morgan and crew managed to take a subject that many would consider heavy-handed or irrelevant, and still make it irresistibly entertaining and fascinating to watch. The dramas of the behind-the-scenes antics and character interactions to the interviews is as dramatic and as captivating as the interviews themselves, and Howard manages to avoid his previous pitfall off an overly melodramatic finale by ending the film on a subtler, more realistic but still powerful conclusion. Morgan and actors Langella and Sheen manage to take two very public figures and craft multi-faceted, deep, three-dimensional characters with very well developed personalities and qualities, with Sheen and especially Langella delivering absolutely riveting performances. And throughout it all is director Ron Howard, conducting the orchestra, stepping back and letting every element of the film, the talented technical crew, absorbing story and interesting characters, speak for themselves. This isn't just a film about the interviews, this a telling of a relationship and bond of the two men, hence the title, cleverly a phone call sums up the mindset of Frost and Nixon, it shows that both have redeeming qualities that make them great men. Richard Nixon will always be remembered for his Watergate scandal yet if you look deeper, you find Nixon's humanity, a humanity that is fragile, caring, and like many politicians open to error, yet Nixon has the greatness to admit a mistake, and that took real courage and real honour.

''I let them down. I let down my friends, I let down my country, and worst of all I let down our system of government, and the dreams of all those young people that ought to get into government but now they think; 'Oh it's all too corrupt and the rest'. Yeah... I let the American people down. And I'm gonna have to carry that burden with me for the rest of my life. My political life is over.''

''Your life is defined by its opportunities... even the ones you miss.''

Tells the story of Benjamin Button, a man who starts aging backwards with bizarre consequences.

Brad Pitt: Benjamin Button

The Curious Case of Benjamin Button is nothing short of genius. A genius to be expected of a seasoned visionary director such as David Fincher. In the past Fincher has given us the greatest stories and films that have ever graced the screen. Whether it be Fight Club, Se7en, Zodiac, under-rated Panic Room, or even the drab Alien3,(which still had glorious potential) all of his works are ones that make you think, ones that capture your attention and make you work them out, a puzzle of the greatest magnitude which involves you using the old grey matter. It comes as no surprise that Fincher's latest is perhaps the most romanticized, most glorious attempt at Fincher explaining life in a curious fable about a fictionalized character, from a short story.
The Curious Case of Benjamin Button is a story of imagination, yet it's also a story of the raw unrelenting harshness that is nature, life and the confines of time itself. The premise being that a clock is made by a father whom loses his son during WW1, which ticks backwards, to grant the power to bring back all the ones who died, like his son, to counteract the harsh unrelenting merciless time which is forever pushing forward. Button asks us what if time went backwards for a person?

As events occur, Benjamin Button is shown to us, abandoned by a grieving father, whom loses his wife during the birth, we find he's different. Benjamin is born old. Ironically he is given to a family whom reside in an old peoples home, Benjamin is ultimately different in the sense he starts his journey as an Old wrinkled scrap of a human being. Subject to all the ravishes of time.
The Curious Case of Benjamin Button greatest achievements not only lie with the main story but within it's sub plots, it's whimsical sequences such as a man getting hit by lightening various times to symbolize life throwing unpredictable obstacles at us, in showing that life and random occurrences, are ones of unfathomable, unstoppable power.
The characters and locations also make life what it is. The same can be said of The Curious Case of Benjamin Button, it's a journey of the most imaginative kind, of originality and flair which breathes tragedy and loss into a truthful resolution of realistic yet fantastical happenings.

''My name is Benjamin Button, and I was born under unusual circumstances. While everyone else was agin', I was gettin' younger... all alone.''

Performance wise, the whole cast add pure professionalism to every frame on display within The Curious Case of Benjamin Button.
Brad Pitt shines as Benjamin Button, although his performance is blurred by some dazzling effects of aging and even smoothing out to appear younger later on, he excels in showing us a very complex character. He's a man who's alone in the world, alone in the sense he's aging backwards unlike anyone else. We the audience oblige him by relating to his situation, I know I did. Who can say they don't feel alone in the unforgiving pacing of our lives. Not alot I would conclude, Brad Pitt makes us believe and feel for Benjamin, he makes us take the road and journey ultimately with him every step of the way.
Cate Blanchett as Daisy, is simply another effortless masterpiece of acting from a dizzying queen of the screen. I've lost count of the number of masterpieces Blanchett has graced the screen for, her talent unrivaled and dizzyingly effective, she is beautiful in youth, beautiful in her aged appearances effectively making us feel for her as much as we feel for Benjamin. This isn't just a story of his but a story of Daisy, whom we feel for, we experience with and our hearts float toward.
This is their story, a duo tale of two souls, both beginning from different parts of life. Benjamin starting off old, Daisy young, when they meet in the middle it's wonderfully romantic yet short lived, a frozen moment of happiness for the two, Pitt & Blanchett make us believe this is a surreal yet real occurrence of love, tested by a sick joke of nature, of time.
Other fine supporting roles definitely deserving a mention would be Tilda Swinton, Jared Harris, and Elle Fanning. They all simply add wonder to the imaginative array of assortment.

Overall, The Curious Case of Benjamin Button has 13 Oscar Nominations and a further 47 Award Nominations in general, and it's not hard to see why. This sort of rareness only comes about in a blue moon. This is Fincher's perspective and strike upon what the purpose of life is, and it's delicately dressed up as a fantasy bi-opic of mythical proportions. Fincher cleverly uses a reversed idea of time, a symbolic usage of Buttons connecting life together, reflecting people gluing events and one man together, memories and chain reactions all eclipsing regret yet warming it with their embrace. Nearly everything The Curious Case of Benjamin Button gives us is a metaphors or symbols for deeper ideologies. Ideologies that transcend simple explanation, that require re-thinking, pondering, discussion and time to reflect upon, reflect on all angles available.
David Fincher has buttoned together a masterpiece and a story that is unlike anything ever seen on the Big Screen. This is the cleverest fantastical way of showing life for what it truly is, too capture on screen the struggle of keeping love, of sacrificing it, and of losing a loved one, and ultimately accepting it, like in turn we must accept our own fate. Time being a perception and illusion, an invention of ourselves to label our own existence.

''Benjamin, we're meant to lose the people we love. How else would we know how important they are to us?''

''I'm not frightened. I'm not frightened of anything. The more I suffer, the more I love. Danger will only increase my love. It will sharpen it, forgive its vice. I will be the only angel you need. You will leave life even more beautiful than you ended it. Heaven will take you back and look at you and say: Only one thing can make a soul complete and that thing is love.''

Post-WWII Germany: Nearly a decade after his affair with an older woman came to a mysterious end, law student Michael Berg re-encounters his former lover as she defends herself in a war-crime trial.

Ralph Fiennes: Michael Berg

The Reader is one of those diverse films and stories that has the eccentric audacity to be both moving, emotional, historical yet also focusing on aspects such as relationships, justice and forms of love. With an astounding cast of formidable weight, a script that echoes measures and doses of genius, and locations fitting of a Post-War Germany, The Reader succeeds in being a successful insight into a faceted range of characters. Especially the main two, Hannah Schmitz and Michael Berg, both with completely different personas and a bonding unseen by many, but coming across as rare and tranquil. We have the unlikely bond that presents itself between them in an unusual series of events which brings the pair together, we have the age gap the two have arise, and a love sparked about by a chance encounter. From here The Reader begins in giving us an unusual romance yet proceeds in giving us a story which is in fact deeper and tragic all at the same time.

The story cleverly switches between past and present, in carefully stitched sequences which ultimately tell the tale of the two characters. Hannah is the lonely woman who takes into her affection and confidence the innocent and clever Michael, yet shows a hidden past and secrets which are present, the more you scratch past the surface.
We have an evolution of a relationship, and The Reader contains a series of sexual scenes and naked displays. In spite of any prudish audiences whom may have the pleasure of viewing this, the scenes are modest, beautiful and soaked with the joys of blossoming love.
Kate Winslet as Hannah, gives us an Oscar worthy performance, which now it becomes clear why such a versatile Actress is beginning to get recognition for her abilities. In The Reader Kate not only gives a perfectly delivered accent and speaks with energetic strides of submerging talent, it's her acting with her eyes, her motions and her flawless expressions of awe inspiring deliverance which comes off effortlessly. I still need to see the totally different Revolutionary Road, but The Reader has assured me Winslet is finally going to maintain some of the recognition she deserves.
Her chemistry with David Kross playing the Young Michael Berg, is successfully believable. David Kross appears in his best role and film yet, giving us a Law Student with emotional strains of empathy yet effortlessly telepathically even, manages to make us feel like he feels, he manages to capture the anguish present in the character of Michael. As he begins to read to Hannah stories of intrigue and imagination, we find this relationship isn't just restricted to mindless sex but a deeper constrained bond of love and companionship. This is all heavenly and bold, but obviously we also begin to realise good things don't usually last. as the film progresses loss and tragedy present and rear their heads.
Ralph Fiennes as Michael Berg, shows my favourite Actor in action, and he doesn't disappoint. Ralph excels and soars with the portrayal of a grown up Micheal, whom we also see a performance that exceeds mere words, and emotional expressions which impact the hurt and journey of one man's burden and struggle with his souls secrets and unresolved meanderings. When Ralph begins to become teary eyed we are too, because we've felt the journey with him, we've been every step of the way with this deep individual, we've seen the loss and love he's been endowed with.
Other appearances I feel obligated to mention would be the exceptional Bruno Ganz as a lecturer and an upcoming new actress Karoline Herfurth whom I've seen before in a smaller role of Perfume.

The Reader is one of those films which has the unfortunate premise of being underrated and undervalued by many viewers, due to the fact it's not necessarily mainstream fodder. I'd highly recommend this film, The Reader is a vision of the past and yet a timeless account of a relationship, a bond, and a tragic trial of a woman whom made up for her mistakes. When we find she was previously a Nazi, an SS member, it's not the plain truth being found out, it's the reasons and redeeming qualities that make up for her misdeeds in the past. Ultimately what happens is tragic, it is a cruelly life portrayed, yet it's suffering and beauty echoes far into boundless leaps of eternities embrace.
Michael recording tapes and reading for her, while she is in prison seems to give her a glimmer of hope and something to live for. The Reader should definitely be watched by everyone who appreciates a powerful albeit saddening story of two soul-mates. The fact is The Reader has it's moments of humour and happiness, and like life it's the journey and experience which indeed counts.

"Did you just type: good angles on APRs, into Google?"

A college grad lands a job as a financial journalist in New York City to support where she nurtures her shopping addiction and falls for a wealthy entrepreneur. Based on the novel "Confessions of a Shopaholic" by Sophie Kinsella.

Isla Fisher: Rebecca Bloomwood

P.J. Hogan may be responsible for the refreshingly grim atmosphere of 2003 offering Peter Pan that tried to take away the timeless tale of the boy who wouldn't grow up away from its heavily romanticized robust roots, yet the ample book origins of Confessions of a Shopaholic, his latest film about a woman who wouldn't grow out of an excessive materialistic folly, is as substantial and as memorable as a flicker of a candle. Based from Sophie Kinsella's series of uber-popular books, this hybrid of The Devil Wears Prada and Sex and the City has all the profoundness one can expect from a Jerry Bruckheimer-funded project and a hypocritical underlying theme on anti-consumerism despite the extravaganza that's shown to us.

For a romantic comedy to remain in its genre, there are certain boundaries that it mustn't wrong. So we really can't begrudge such a film for playing it safe and Confessions of a Shopaholic is successful at that. Our financially naive protagonist inadvertently finds her calling while awaiting what she feels she's always longed for, but her addictions strive to bring her down. As she reaches rock bottom she will inevitably conquer her demons and rise once again. Perhaps closer analysis may uproot a deeper message as her boss's journey contradicts her own; while he yearns not to be defined by family she discovers that it is indeed those loved ones that define her.

Struggling with her debilitating obsession with shopping and the sudden collapse of her income source, Rebecca Bloomwood (Isla Fisher) unintentionally lands a job writing for a financial magazine after a drunken letter-mailing mix-up. Ironically writing about the very consumer caution of which she herself has not abided, Rebecca's innovative comparisons and unconventional metaphors for economics grants her critical acclaim, public success, and the admiration of her supportive boss Luke (Hugh Dancy). But as she draws closer to her ultimate goal of writing for renowned fashion magazine Alette, she questions her true ambitions and must determine if overcoming her "shopaholic" condition will bring her real happiness.

The finding yourself story, which has the truth come out eventually, seems to keep popping up in every single romantic comedy of late, Confessions of a Shopaholic is no exception, although the supporting characters and environment that surrounds star Isla Fisher is entirely more satisfactory. In fact, her wide-eyed, perky and cheery attitude brightens the screen, even if the plot is unduly contrived and understandably formulaic. She's believable, charismatic and similar to a great many, and eye candy for the rest - which is more than can be said for most of the generic female-oriented films that flood the field of foreboding romantic finding oneself genres.

Like last year's How to Lose Friends & Alienate People, Confessions of a Shopaholic revolves around the same humorous elements that made the far superior, serious executed story films of the 80s, Big and Working Girl successful: an open-minded boss who's willing to risk hiring an under qualified (or outstandingly creative) employee for the chance on a fresh point of view, and the joys of seeing said underdog rise to the top, against the norm, utilizing random luck at every turn, and combating jealous coworkers. The pattern is simple, the outcome is assured, and while no scene dares to stare originality head on, this fluffy, flamboyant romantic comedy manages to entertain unexpectedly.

''Yea? I blow a hole in your face and then I go in the house... and I sleep like a baby. You can count on that. We used to stack fucks like you five feet high in Korea... use you for sandbags.''

Disgruntled Korean War vet Walt Kowalski sets out to reform his neighbor, a young Hmong teenager, who tried to steal Kowalski's prized possession: his 1972 Gran Torino.

Clint Eastwood: Walt Kowalski

Gran Torino comes from someone who has considered some of his highly praised directorial works as over appreciated, I was absolutely in awe and pleasantly surprised with Gran Torino, a exquisite film and compelling story to boot.
Eastwood stars as Walt Kowalski, an ill-natured racist Korean War veteran living in the heart of a run-down and heavily Hmong-populated area of Michigan. When his 17-year-old Hmong neighbor, Thao, tries to steal his '72 Gran Torino, the ever-so-grouchy Walt is wrenched away from his lonely porch and is thrown into the life of this Hmong family. Not only is Walt now sampling southeast Asian cuisine but he begins to unwillingly mentor Thao, begrudgingly care about the family, and selflessly protect them from the local gang.

I disagree greatly with the suggestion that Eastwood is merely channeling his classic tough guy routine here in Gran Torino - I see and get far more out of his performance. There are many different facets to this Walt character, there is a lot from his past that he is living with and a lot in the present that he is working through. I think Eastwood brings out the conflicted nature of his character very well in a subtle way. Yeah, Eastwood is one tough dude in the film, but he works in his classic tough-guy persona while being very funny, layered, and giving a heartfelt effort. It is easily the best performance I have ever seen him give.

''Ever notice how you come across somebody once in a while you shouldn't have fucked with? That's me.''

Screenplay was probably written with Eastwood in mind (I am not sure of the behind-the-scenes details on this) and it shows. He captures Kowalski perfectly. The film is surprisingly humorous, something that isn't being captured well enough in advertising. It's absolutely hilarious at times (watch as Kowalski attempts to make a man out of Thao by teaching him how to talk like men do), and Eastwood handles the shifts in tone brilliantly. When the film takes a dark turn towards the end I sat on the edge of my seat in suspense, fully aware of where it was heading but still mesmerized by Eastwood's tour-de-force direction. This is an artist at his prime as an actor and as a director.
Whether or not Gran Torino will hold up as one of Eastwood's great films remains to be seen, and the film feels like it would be good for multiple viewings. The characterization is strong and not simplistic at all, you could argue that Kowalski is just another moody war vet, but Eastwood's beautiful, nuanced performance as well as some neat little touches in the screenplay (particularly towards the end) which I won't discuss in detail to avoid spoiling anything (and it's really fun to watch this movie unfold, Eastwood keeps the film moving at a wonderfully involving pace) would prove you wrong. The film works on yet another level as a deconstruction of Eastwood's image. I don't mean that as a negative, it just adds to the film's strength as a character study.

Overall, a Korean war veteran who has killed and has seen killing. His hate for Asians, presumably due to the war, is subdued after acts of kindness by his neighbors and the boy he befriends. Kowalski's parish priest is persistent in attempting to subdue the hate that boils within Kowalski. In the end the priest gets through to Kowalski, learning something from Walt as well. Kowalski repents in the end and offers up the supreme sacrifice for his Asian neighbors. A heart-warming story that leads one on an emotional journey of self discovery.

''The thing that haunts a guy is the stuff he wasn't ordered to do.''

"Watchmen. One of us died tonight. Somebody knows why. Somebody knows."

When an ex-superhero is murdered, a vigilante named Rorschach begins an investigation into the murder, which begins to lead to a much more terrifying conclusion.

Malin Akerman: Laurie Jupiter / Silk Spectre II

Zack Snyder's Watchmen is not your average graphic novel adaptation. Unlike with 300, which was short and sharp and shallow and easy to adapt, the original Watchmen is incredibly dense and, as written, un-filmable. So Snyder did something very clever - he didn't even try. What he did instead was to take the world of Watchmen and rebuild it in a way which made a virtue of this new medium (film) rather than try to cram the graphic novel into a cinematic form.

Nowhere is this approach more obvious than in the film's title sequence. A wonderfully composed collage of images depicts scenes from the universe of Watchmen in a way which is only possible in the movies. In this way, we are subconsciously introduced to a world where costumed heroes are a part of everyday culture and brought, in a stylish and fluid way, from the original days of the Minutemen to those of the Watchmen. This introduction is perfectly executed, and is indicative of the heights which the Watchmen movie is perfectly capable of achieving but not quite capable of sustaining.

"The only person with whom I felt any kinship with died three hundred years before the birth of Christ. Alexander of Macedonia, or Alexander the Great, as you know him."

Watchmen is a brave film for a major studio to make and without a doubt it would not exist in its present form without the success of 300. It is incredibly dark (both in tone as well as shooting style) with events that would be anathema to any other superhero story. The less you know about the story, the better, so there will be no spoilers here but suffice to say Watchmen's version of a happy ending is a far cry from the Hollywood norm.

Snyder's brings his unique approach to action to bear on Watchmen, expanding on the action scenes in the comic without making it feel too redundant. His efforts are ably supported by the incredibly game cast, excellent cinematography and near perfect visual effects - this film is incredible to look at but also manages to create an entire world in a way which most superhero stories never do. The attention to detail in even the smallest scenes is commendable and the dense flashback structure means the same attention is paid to the presentation of full and complex characters.

"Rorschach's Journal: November 12th 1985. Dog carcass in alley this morning, tire tread on burst stomach. This city is afraid of me. I have seen its true face. The streets are extended gutters and the gutters are full of blood and when the drains finally scab over, all the vermin will drown. The accumulated filth of all their sex and murder will foam up about their waists and all the whores and politicians will look up and shout 'Save us!' And I'll whisper 'no'."

Snyder has made a film which is gorgeous to look at, agreeably violent, well written, wonderfully designed and features some of the best small scale action sequences ever committed to celluloid. But, naturally, not everything is perfect. Most of the performances are excellent, with a cast of relative unknowns who manage to distinguish themselves despite constantly competing with overbearing effects and design. Patrick Wilson, in particular, does great work with a difficult role as Nite Owl, while Jackie Earle Hayley is blistering as Rorschach. Unfortunately in a film which could have done with a strong female presence, neither Carla Gugino nor Malin Ackerman make much of an impression, despite having quite a lot of screen time. Synder's musical cues are another bone of contention - often pushing the tone of the film into the realm of parody. And the ending... well let's just say it cheapens the experience in search of the lowest common denominator and the whole package suffers. On a related note, neither of the stories major revelations are handled that well. These moments were genuinely shocking in the graphic novel but are almost glossed over in the film.

Don't get the wrong impression, Watchmen is a good film, sometimes a great film. Snyder has managed to make a movie which is a terrifically well balanced compromise between accessibility and fidelity. That anyone can sit down in the cinema and experience a distillation of the Watchmen universe in just 163 minutes is a marvel. It does not deliver the depth of feeling and connection of the novel but that is more a matter of the differences in the media than a failure on the part of the film.

On its own merits, Zack Synder's Watchmen is a dark and twisted tale peopled with complex characters whose motivations are not obvious even to themselves. It is a solid film, sometimes rising into the extraordinary, and deserves to be successful. This is not Alan Moore's Watchmen but it is a competent extension of the universe into another medium and a worthy cinema-going experience.

"It doesn't take a genius to see the world has problems."

''Sometimes you find your destiny on the road you took to avoid it.''

An Interpol agent attempts to expose a high-profile financial institution's role in an international arms dealing ring.

Clive Owen: Louis Salinger

The plot deals with an agent (Owen) attempting to uncover and possibly prove a bank's involvement in sudden killings as well as arms dealing. The premise itself is good and sufficient enough to be carried through the film's nearly 2 hour runtime. This combined with a mostly solid story give the film an almost Tom Clancy-esquire style. Unfortunately, what keeps the story from being full realized from its potential is how it, along with most of the film seems to drag on to the point of yawns aplenty. Due to the relative slow pacing it can almost become hard to realize there's actually an interesting plot unfolding.

The events of the plot are placed on the shoulders of various characters, with Clive Owen and Naomi Watts carrying the weight of this task. While Watts, as with most of the supporting cast, seems to have on and off performance deliveries Owen really manages to shine as the lead. Most of the film's best lines of dialogue come from Owen and his conversations with other characters, especially Watts. Sadly, these line deliveries aren't too frequent and, as a result (as with the plot), it can become hard to realize the subtlety of some of the dialogue.
There are times, however, that the film manages to shine and show what it'd be like if every scene was handled as well. The one major action scene in the middle of the film is probably one of the better shot and more entertaining action scenes I've seen recently. There are also a few more suspense-oriented scenes that help make things interesting here and there, which also break up the seeming monotony. Unfortunately, these scenes are too few and far between to make much of an impact on the film overall.
Back and forth between Germany, France, Italy, New York and more, The International treats audiences to action and intrigue in some amazing locales. The most impressive sequence takes place in the Guggenheim Museum in Manhattan, involving the most unlikely ambush, machine-gun shootout and bloody getaway. The setup for location-hopping and international espionage makes this feel like James Bond, except there isn't quite enough action, the pacing is a little slow, and the first act is reminiscent of a CSI episode. That's not entirely a bad thing - although the film doesn't know what it wants to be, the constant chases, high-speed pursuits and thrill of the hunt is enough to keep things generally amusing.

Protocol, procedure and jurisdiction always get in the way of justice. No one can handle the truth because of the immense responsibilities; stepping out of the boundaries of the law is crucial to success, and no real solutions can ever change the overwhelming corruption that seizes each aspect of every government. This isn't a new premise for Hollywood, and The International isn't relying on huge twists or extreme creativity to separate it from the commonplace action films opening on a regular basis. Audiences aren't likely to get the resolution or confirmation they're looking for by the end of this confused thriller, but as far as anyone should be concerned, the inconclusive toxin results, edited police statements, cover-ups and assassinations are no match for Clive Owen's powerful stare. It's all he ever brings to a gun-toting engagement, and it usually suffices.

All told, The International is a film that shows so many signs of greatness but only occasionally successfully administrates them. If you're interested in the film's plot and how it unfolds you might find a solid watch with The International, but be ready for a rather slow story. This is far from a bad film, yet the well-executed scenes are too few and far between to make it worthy of an honest recommendation. For Tom Tykwer, this a far cry from Perfume and even a brief cameo by Ben Whishaw absently, subtly reminds of this fact, maybe next time Tom...

Jonas Skarssen: What do you want?
Louis Salinger: I want some fucking justice.

''You on one side, me on the other. It's perfect.''

A pair of corporate spies who share a steamy past hook up to pull off the ultimate con job on their respective bosses.

Clive Owen: Ray Koval

Duplicity comes from Director Tony Gilroy and is also written by him. The beginning starts of in a typical way, that entices said viewer into watching, with it's pair, in the guise of Clive and Julia, plus the two bosses fighting in a surreal, over the top, and heightened way, at a meeting.
This turns out to be a comedic piece combined with a blatant double act of a thriller and a medium paced play on play.

Performances and character wise, Julia Roberts as Claire Stenwick, is the crafty female lead whom teams up with Owen, and boy do they make a lovably effective duo. Getting past the fact Julia has the weirdest lips to look at,she does indeed look dazzling and uses witty dialogue and effective lines. The trouble being this isn't really a role different from any other role she has previously done albeit it's one where she has abit of fun admittedly.
Clive Owen as Ray Koval,really does succeed yet again, at showing us, that this is the guy who should of been Bond. Whether it be the manly gentleman way he acts, his seducing acting, and his usage of high-tech gadgetry, this really sticks it out in the sun to see in a way that is coming all too apparent with every new film Clive does.
When we first meet Claire Stenwick and Ray Koval (Roberts and Owen), they are drinking it up in Dubai at the US consulate. She isn't the least bit interested in him and he is working her as hard as he can. I didn't hear it but he must have said the right thing at some point because they end up in bed together. Of course, she was only sleeping with him so that she could drug him and steal some super secret international spy stuff. And naturally, he put aside all of his super secret spy training and allowed himself to be taken in by her beauty.
He has strength, he is no pansy and he is a typical cliche of sophistication and gruffness.
Moving on to the other players, we have great casting right here, Paul Giamatti, Tom Wilkinson as two corporate bosses get down to it, adding to the sublime acting and Paul reuniting with Clive Owen yet again after the wonderful collaboration with Clive on Shoot Em Up.

The other aspects that shine in Duplicity is the wonderful music,the locations and the witty dialogue.
Director Gilroy's last directorial effort was his first. Michael Clayton earned him respect from critics and contemporaries alike as the film went on to earn a number of Oscar nominations, including Best Picture and Best Director. Gilroy enlisted some of the same players he worked with last time out, including composer, James Newton Howard, cinematographer, Robert Elswit and even cast member, Tom Wilkinson, rejoins the gang as the head of one of these soon-to-be-conned corporations. How is it then that when all these wonderful additions got together last time, they achieved such subtle perfection while this time, Howard sounds as though he were ripping off the Ocean 11 through to 13 scores and Elswit is practically washed out?
Perhaps the blame can be placed on Gilroy's most tired screenplay in years. By keeping corporate espionage grounded in reality last time out, he made it fascinating and palatable. By infusing it with Hollywood convention, the whole game was played out before it even began.

Roberts and Owen have shared the screen before in Closer (2004) which was rather more adult, so I heard, yet still need to have the pleasure of viewing. There's a chemistry between the pair which, while not coming close to previous pairings, it is still fun and playful to watch. And this is where the show comes into its own. It's a flimsy, watchable affair that's fun for the most part. Duplicity is predictable, stylish and fun yet for it's flaws it still shines thanks to the killer lines and comedy that ensues.

''You're gaming me!''

''GOOD LAD!''

A look at Brian Clough's 44-day reign as the coach of Leeds United.

Michael Sheen: Brian Clough

The film effort The Damned United is a delightful inside glimpse at a period in time, focusing on a certain manager, a manager called Brian Clough. Director Tom Hooper incorporates live footage from televised news reels of the time with real time actors and happenings on set. The Damned United is going back to the day, living yesterday and being in awe of the good old days, the days when drinking and smoking before a football match were excepted, the dirty tactics of Leeds United and their brawling babaric methods with opponents, can be over-looked. This is a day when drinking tea on your lap was the norm, and football just wasn't simply about money, it was about pride and real competition.
Peter Morgan the talented Writer of The Queen and Frost/Nixon reunites for a hat trick with chameleonic Michael Sheen. Michael Sheen can tick off another box on his list, of his mimicking magic of iconic Englishmen as his witty performance is a key reason for what makes The Damned United a pleasure to behold. The performances stand out with many well done performances by the leading cast, in particular Sheen and Spall who show a very impressive on-screen bond, as Clough and Taylor.

Michael Sheen's Brian Clough is an entertaining, arrogant but likable character with self-destructive flaws. Obviously he has the best lines (unfortunately many of which feature in the trailer) and some of his best scenes are with Timothy Spall's Peter Taylor, whom finds their friendship severely damaged at various points as the events transpire. Clough's vulnerability and insecurities are explored in his relationship with Taylor and the audience learn that only as a team do they conquer English football. Clough's apparent hatred for Revie stems from being snubbed by the latter at an early Cup match. This experience drives Clough's ambition to not only succeed, but to attempt to eclipse the architect of Leeds United's Golden Age. Along the way we learn about the now familiar friction between the Manager and the Chairman, the task of signing players and the universal theme of pride coming before a fall.
Set in the late sixties/early seventies and seamlessly interspersing the action with real footage and interviews as aforementioned, this film enables the audience to embrace the spirit of the times.

Peter Taylor: Are you going to stop it?
Brian Clough: No, I'm going to fight him.

As with legendary picture Frost/Nixon the story caters for people with very minimalistic knowledge of the subject matter and as such, it can be enjoyed by football fans, history fans and film fans alike. Plus there isn't a huge amount of actual ball kicking by the cast, so people won't switch off. There is an obligatory montage, but it's nicely done and over quickly.
The only downside to this film is that it's a little bit short if anything, but it leaves you wanting more which can only be a good thing. There's a mild bit of comical swearing throughout, which is justified given the situations the lead characters face.

Overall, The Damned United provides historical entertainment, laughs galore and fun beyond most fantasy and blockbuster films dream of achieving. This is one of those Michael Sheen triumphs you want to be there for, especially at the end when we even see the end results for the characters in the aftermath of Clough's 44 day management of Leeds. This for me was a wonderful climax, a beautiful conclusion and an absolute pleasure to experience. Plus the fact I say again, that my friend whom is a football/film fan, plus me whom loves history and film, plus acting and brilliantly portrayed characters, this is a golden movie to watch and for a universal audience. The Damned United is a perfect adaptation and tribute to a man who wasn't afraid of burning ambition, perhaps showing off a tad too much but in doing so he did some amazing things. His friendship with Peter Taylor is beautifully captured here, Spall and Sheen shine, Damned United shines.

''If you want to be loved, you're going to have to change.''

''Your father was captain of a starship for twelve minutes. He saved 800 lives, including yours. I dare you to do better. Enlist in Starfleet.''

A chronicle of the early days of James T. Kirk and his fellow USS Enterprise crew members.

Chris Pine: James T. Kirk

To put it simply Star Trek isn't just a reboot of a dying franchise, Star Trek isn't just a summer blockbuster, Star Trek isn't just sci-fi effect laden fun, Star Trek is an adventure, experience and humourous coming together of characters and creatures. This gives Star Wars a run for it's money and ultimately taps into something new the originals and new sequels lacked, spontaneity.

It's not just fresh visuals and new characters the music is new also giving the whole film a fresh, reborn, vibrant feel. J.J Abrams has successfully tapped into his vein of originality, poise and vision with stunning effectiveness. LOST, Mission Impossible 3, the writing behind Cloverfield and now Star Trek show us how imaginative a director Abrams is, and that we can expect more to come from this man.
Star Trek features some of the best effects and action sequences, to rival anything Transformers or Wolverine can throw at us. Indeed they surpass the former attempts in some cases. An example of a fight scene on planet Vulcan, on a very large coil, was an amazing adrenaline rushing experience, with swordplay and fisticuff fighting between Kirk and some Romulan assailants. The space battles were competition for Revenge of the Sith with some of the best visuals to appear to date, reminiscent of the Halo series in terms of looks and execution.

''Live long, and Prosper.''

Characters are relatable and likeable to audiences. Whether it be rebellious Kirk, Intellectual Spock and their fiery relationship and clashing of personas, wonderfully played by Chris Pine and Zachary Quinto, who strike the nail on the head perfectly. Eric Bana plays villainous Nero effortlessly, Bruce Greenwood excels as Capt. Christopher Pike, Karl Urban is likeable as the quirky witty Dr. Leonard 'Bones' McCoy, Zoe Saldana is the beautiful Nyota Uhura, Simon Pegg is the comical Scotty, John Chothe sword trained Hikaru Sulu, Anton Yelchin the Russian Pavel Chekov, Ben Cross as Sarek and Winona Ryder as Amanda Grayson Spock's Mother.

The film has been compared to Iron Man in more than one review the similarities are clear. Both films feature excellent dialogue and character interactions, swift, clever characterization, a minimum of laborious exposition, and also have a common flaw: a rushed plot which overall is almost a side plot. The only reboot to truly escape this pitfall thus far is Casino Royale, which successfully told a very tight story and also consistently developed Bond as a character. Bana is menacing enough and his ship is well-designed but overall he's no Khan or Chang and was much better-written in the Countdown prequel comic than in the film itself. There are also a series of massive contrivances to get everything where it needs to be which will have viewers rolling their eyes, but even these are handled well by the script, which is smooth and fast as opposed to clunky and sterile. Plus, they're necessary for this origin story not to be a typical boring origin story and become what it is.

It's a new directive, yet totally faithful to Trek where it needs to be: in spirit and inspiration. In a world of dreary blockbusters and 'dark' reboots, this Trek, though grittier in terms of design than anything before, shines, from opening to closing, as an example of optimistic, exciting, thrilling, humorous, and thoroughly enjoyable adventure action packed sci-fi cinema.

''Space... the final frontier.''

''We've been fighting a long time. We are out numbered by machines. Working around the clock,without quit. Humans have a strength that cannot be measured. This is John Connor. If you are listening to this,you are the resistance.''

After Skynet has destroyed much of humanity in a nuclear holocaust, a group of survivors led by John Connor struggles to keep the machines from finishing the job.

Christian Bale: John Connor

Terminator Salvation blasts off the summer with it's action packed, sci-fi war time apocalypse theme and this time it doesn't even need Arnie magic to be a metallic mesmerizing piece of blockbusting glory. Yes we have Christian Bale hitting another franchise as the main prophet leader John Conner, looking slightly reminiscent of his Machinist days. But we can forgive that, this is the future, this is a world at war...at war with machines.
From the word go Terminator Salvation does not stick to the same formula the other Terminator films followed, not at first at any rate.

The twist being that we have not just humanities salvation in question but also the salvation of one man, or if you wish, one machine. The soul being equal to either in opinion. Terminator Salvation takes two roads and gives us a dazzling array of characters in which to relate to.
Whether it be Bale's wooden, angry, seriously brooding John Conner, or Sam Worthington as tough good guy terminator Marcus Wright, or boyish rogue Anton Yelchin as Kyle Reese whom strikes gold with another performance as with Star Trek for a rising star, he's got more films ahead of him I'm sure of it.
Helena Bonham Carter was an interesting appearance, although a computer sequence in which she explains the whole point of the machines purpose kind of made me cringe with unemphatic predictability.
Moon Bloodgood has a good romance with Sam Worthington which is believable, unlike Bryce Dallas Howard and Bale who fail to be considered a couple in love, the kiss they share is almost as wooden as Bale appears to act sometimes. Granted it may not be there entire fault but I fear a tension between the two during filming perhaps.
Common does a similar role of what he did in Wanted but shows he can do this type of action movie.

''You and me, we've been at war since before either of us even existed. You tried killing my mother, Sarah Connor. You killed my father, Kyle Reese. You will not kill me!''

So Terminator Salvation isn't overly original, it borrows some sequences from Transformers, for instance a tentacled machine tied to a table, mirrors a certain scene in the former. It may not have alot of new ideas, but what it lacks in originality it makes up for with great sequences, some great effects, despite a few plot holes and looping, this is a great effort to carry on the Terminator legacy. An animated appearance of Arnie may shock, and definitely to me seemed surreal, Bale being thrown around by a 10ft Schwarzenegger seemed to defy belief.

Overall Terminator Salvation is another blockbuster to start the summer, and definitely and adrenaline rush from the word go. It may not be a rival for the new Transformers popularity but it definitely has alot of spirit and ideas to a franchise that has been around for just as long. When you reach the end, you know it's not really the end...Terminator Salvation is just the beginning...again...and you know they have to make more terminator films to keep the money coming in.

This is Alex Curran, leader of the resistance, signing off...(John Conner is having a heart transplant, so standing in for the poor chap).

''Win or lose, this war ends tonight!''

''Here kitty, kitty...''

A loan officer ordered to evict an old woman from her home finds herself the recipient of a supernatural curse, which turns her life into a living hell. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.

Alison Lohman: Christine Brown

''I beg and you shame me?''

Sam Raimi's Drag me to hell is an interesting venture. Experience a piece of nostalgia as we go back in time and have this new story but with an Evil Dead style storyline. This horror film proves itself to be not a strictly scary piece of cinema but rather more a sort of black comedy which will have you in fits of laughter at the supposedly sick happenings. Despite the content Drag me to hell's sequences of blood and gruesome gore will entice and amuse rather than shock and tantalize.

I couldn't help but notice that Drag me to hell has some superb original ideas and to contrast that it can be boring and feature some poor acting. One thing is for sure this is B-Movie substance, just like Evil Dead was. I was particularly impressed with a fight scene in a car, a rather shocking kitten sacrifice, and a graveyard scene which was purely horrific. Yet the ending was abit of a let down in it's entirety, and sadly predictable. Other than that, Drag me to hell manages to be a rather comic horror, but not in the same league as Evil Dead. It's just not scary enough.

''I desire the SOUL of Christine Brown. We will FEAST upon it while she festers in the grave!''

Performances range from a Alison Lohman as Christine Brown, whom I haven't seen before, she manages to do a reasonably good job as the films main protagonist. Sometimes she proves to be abit wishy washy and naive, others she is believable. Which is strange.
Justin Long as Clay Dalton is typical Justin Long, he seems no different in his style of acting. Similar to Die Hard 4.
Dileep Rao as Rham Jas I liked as the Indian medium, he had a strange charisma about him which also was funny and also made you warm to him.

Overall Drag Me to Hell is full of its epic shocks, and the less you go in knowing about it the better. I could go on for ages about the story and spoil everything there is to know, but that would truly ruin some of its charm it has to offer. Which is certainly not to say that it is lost after a first viewing, just that it's an experience unlike any other going into this movie watching virtually no clips and reading very little about it. It becomes a truly rewarding venture.
Sadly no Danny Elfman doing the music for Raimi, due to their fall out. Instead we get the haunting tones of Christopher Young, which prove to be similar.
Drag me to hell proves to be a mixture of fun, a bag of goodies which have sweet and sour surprises for the viewer. For me when the end comes, there is still something I wanted but never got from the whole experience, but never mind.
Raimi going back to his roots after blockbuster franchise Spider-man, going back to his formulaic horror origins, and Drag me to hell is worth checking out if you are an admirer of his previous films.

''I beat you, you old bitch!''

''Whose fucking baby is that?''

A Las Vegas-set comedy centered around three groomsmen who lose their about-to-be-wed buddy during their drunken misadventures, then must retrace their steps in order to find him.

Bradley Cooper: Phil Wenneck

Well, well, well...I think there is so many things to write about The Hangover that I feel a sly smirk spread across my face as I contemplate the possible ways of explaining the experience in a detailed reviewed analysis. Just think, you go in expecting something funny but come out with something unique, intelligent and a storyline that isn't just funny but has a killer soundtrack and addictive watchable quality.
The other thing that amazed me about The Hangover was the amount of cameos and people that pop up during the escapade, even the appearance of a random tiger, and a baby.

The cast is one of those casts that isn't strictly well known, but this is a good thing, the main guys are strangely charismatic and we warm to them instantly as we follow them on their journey to Las Vegas. The music and the scenery merge together and the time seamlessly streams on effortlessly making for such a pleasurable film it becomes a joy rather than a chore. The Hangover cleverly starts off, by dropping us in the future and then zips us back in time to the trip the boys take to Vegas.
SO plot wise to explain, Doug Billings played by Justin Bartha (National Treasure sidekick) is taken on a stag do by his strange mates and future bearded brother in law. This is the normal part...introducing us to the characters.
Bradley Cooper is Phil Wenneck (Alias series),Ed Helms is Stu Price, and
Zach Galifianakis is Alan Garner. These men will make you piss your pants with pleasure, and still the belly laughs keep coming.
Other appearances include Mike Tyson, Ken Jeong and Heather Graham to name but a few who really give the film a surreal sort of awakening in the mists of crazy Las Vegas.

''No, it's a satchel... Indiana Jones has one.''

Another clever aspect about The Hangover is that thanks to the clever way it tells the story switching back and forth and not giving us the whole picture right away, we the audience begin to feel just as at a loss as the main protagonists. This means we are interested to find out where there lost friend is, where the chicken and tiger came from, where the hell a random baby popped up from in their hotel closet. Alan Garner making the baby wank...was so hilarious...A moment that was so wrong but it just worked...still crying from the memory.
The Hangover is a feel good film, probably saying this is an understatement but if you like your humour abit on the shady side, abit of crudeness mixed with a jumble of violent and chaotic chases, then The Hangover is definitely for you. As the movie goes along we see the characters evolve and we rejoice in their happy outcomes, we see them find out what happened, we see them fill in the blanks, and we laugh at WHAT did happen.

Overall, I feel The Hangover is one of the funniest films I've seen this year and I doubt if any others can rival it. Granted it may have competition from the controversial Bruno but I doubt it. This is fun, this is a tight knitted script, a collosus belly laugh throughout and definitely a good promotion for holiday makers planning on Vegas. I will without a doubt be watching this gem once again, for the baby, for the tiger, for the Phil Collins, the police car and woman with the nice rack, and a thousand more circumstances which I won't mention. So what you waiting for?! Go see it!

''I have a question. You probably get this a lot but this isn't the real Caesar's Palace is it?''