Movies, movies, I love movies!!!!!!

28 Weeks Later is a truly psychologically terrifying film that doesn't revert to sudden jolts or lingering shots of gore to unnerve you. You could feel every death, and that's a good thing. Real death IS tragic. The deaths in the movie (not just main characters) made people in the theater gasp, shift in their seats, put one hand to their face, and yes even cry at times. The violence is brutal and quick, and in one scene, involving helicopter blades, the gore is unparalleled with any film violence I've seen before. The characters are smart and believable, and the zombies are a real threat, since they actually run after their victims. The ending, while inconclusive, is dark and harrowing nonetheless. This film builds on what the first set out to do; create a realistic atmosphere in an unrealistic situation.

The Lost Boys is one of the movies that I think epitomizes the 1980's. It has a genuine 80's look and feel, as well as an awesome soundtrack and some fantastic performances by 80's legends. "The Lost Boys" is an entertaining modern vampire movie with lots of flash, style, 1980's music, and flamboyant effects and interesting design. Wiest and her two sons(Patric and Haim) move into her father's house in Santa Carla, California, a quaint little beach side town that has been suffering from a high homicide rate. While mom looks for a job the boys look for something to do, Patric setting his sights on the alluring Star and Haim settling into the local comic den, both fail to notice the ridiculous amount of "MISSING" posters on the walls. Patric is led astray by a group of youths who like to drag race and hang out in a cave, eventually peer pressure rears its ugly head and soon enough Patric is one of them. Then he finds out exactly why they only hang out after dark. "The Lost Boys" is one of those films that will definitely deliver what they promise.

The movie was an incredible and moving experience. The structure of the film is genius in itself, and is what the play version is mostover lacking. With the opening montage and character motivations, you immediately are attached to love these eight individuals. With the fun and excitement that follows through and pursues, your bonds are strengthened so much more with each of them so that when the heartbreaking conclusion does occur, you are all the more affected. Not one performance was lacking in emotion, and the choice to bring back the majority of the original broadway cast and bring onboard Dawson and Thoms were fantastic casting decisions. To me, the standout performance of the feature was Jesse L Martin as Tom Collins. Not only is he given the biggest character dilemma to deal with, and arguably one of the most fantastic character arcs in the movie, but his acting is superb and in the event of Angel's death - you're right there with him. Adam Pascal, good scene motivation, but incredible emotion and fantastic vocals. I feel like Christopher Columbus really stayed true to the overall feel and really stayed true to the fans. This movie could attain the cult status of the stage musical.

Kudos must go to the screenwriters for avoiding clichés whenever possible. Despite popular opinion, "House of Wax" is quite unpredictable for a majority of its running time. Unlike most horror scores, John Ottman's exhilarating work never distracts. However, as with Dark Castle's other releases, the visual aspects of "Wax" are award-worthy, and lift the film above its genre trappings. The talents of cinematographer Stephen F. Windon, production designer Graham Walker, art director Nicholas McCallum, and editor Joel Negron highlight the ghoulish imagery.
I am happy that the Hayes' actually took the time and effort to create likable and believable characters, thus making the events that much more urgent. It also gives the young actors portraying them something grip on. As she did in "The Girl Next Door", Elisha Cuthbert proves to audiences what a skilled actress she really is. In the 2003 remake of "The Texas Chainsaw Massacre", Jessica Biel silenced naysayers by delivering a raw and emotional performance, one that put the viewer right there with her. Here, Cuthbert does the same. Chad Michael Murray ("A Cinderella Story"), in one of his first more mature roles, is no slacker as Nick. Murray exudes charisma and a hard edge, as well as some impressive athleticism on top of it. Murray and Cuthbert gel perfectly, and have tangible, familial chemistry.

More so than anything else, the press and the American public have made a field day about Paris Hilton's major acting debut. As I expected, Hilton does not embarrass herself. In fact, she is just as good as anyone else in the movie (do with that what you will). Like Cuthbert and Murray, Hilton has screen presence. She is sexy and playful. I cannot think one of reason why she's gotten the worst of the film's harsh reception, other than they are simply picking on her. Jared Padalecki (TV's 'Gilmore Girls') memorably manages to overcome his underwritten role. Robert Ri'chard (TV's 'Cousin Skeeter') and Jon Abrahams ("Meet the Parents") do not have much to work with, but get the job done. With only one scene, Damon Herriman ("Soar") makes an unforgettable impression, and his presence hangs over the rest of the film. Finally, Brian Van Holt ("Basic") is superb and threatening in a dual role.
It is definitely worth a look.

Better than anticipated big-screen adaptation of the 1970s cult classic police drama about the elite Special Weapons and Techniques division of the LAPD skillfully directed by tv veteran Clark Johnson. The screenplay by Ron Mita, Jim McClain and Davids Ayer and McKenna keep things lively but allow the action to occur gradually after each new member is incorporated into the fold, and (finally) Farrell proves his worth as a leading man in a big Hollywood film as the head-strong yet by-the-book disgraced member looking for redemption and Jackson as his no-nonsense leader of the pack. Expertly choreographed action sequences and some needed humor add to the mix of the been-there-done-that histrionics that naturally unfold. Overall this is a reasonably enjoyable piece of noisy entertainment. If you expect anything unique or clever then you will be really disappointed. However if you are prepared for lots of running with guns, noise and macho posturing then this should be enough to satisfy you.

Ridley Scott has made the ultimate war movie with Black Hawk Down. Unlike some war films that temper the battle with slower character-building sequences, you have to wait only thirty minutes for the Rangers' mission to go into effect. And the action doesn't stop for the next two hours, as the rest of the movie is filled with flying bullets, explosions and bloodshed. The fighting is so chaotic that it is hard to follow the action and tell what is happening, at times, and it becomes almost too easy to become desensitized to the violence. As expected in a Ridley Scott film, the visuals and camerawork are stunning with the movie having a gray almost monochromatic look that makes the orange flames and red blood really stand out. Some of the best performances of the film come from Tom Sizemore as the gung-ho Lt. McKnight and Josh Hartnett, who plays the sergeant who leads the mission and feels personal guilt every time a man is lost. Eric Bana's part is small, but he has some of the best lines in the film, really driving home the point of why soldiers do what they do. Ewan McGregor's role is even more minor and insignificant, but his Trainspotting compatriot, Ewen Bremner offers the movie's little bit of comic relief. In a genre that has brought out some of the best in directors and actors, Black Hawk Down is easily the best war movie ever made.

John Hughes movie brilliantly captures that environment, that era in our lives, and all the social rifts that we all helped to create for ourselves. can honestly say that this is a representative cross-section of every high school in North America. The geek, the jock, the outcast, the rich pretty-girl snob, and the future criminal. They all exist, to some degree or another, in the classrooms of every high school on the continent. What makes this film rise above the rest is the character development. Every character in this film is three-dimensional. They all change, in one way or another, by the end of the film. Whether or not things remain the way they are long after this film ends is unknown. Still--a truly great teenage movie. A definite must-see.

Young Andie is one of the not-so-popular girls in high school. She usually hangs out with her friends Iona or Duckie. Duckie has always had a crush on her, but now she has met a new guy from school, Blane. He's one of the rich and popular guys but can the two worlds meet? "Pretty in Pink" is one of those great teen movies that only comes along once. It has a fantastic sound track, cute guys, a great leading lady and a clever plot with some of the most romantic movie scenes of its time. It defines the 80s high school years with its cliques, which still are around until this day, and the problems that occur when you fall in love with someone else on the other side of the tracks.

This is a film that John Waters created as a loving send up of 1950's teen and juvenile delinquent films. It's a good natured, never mean musical based in a world where a song can make jail prisoners dance and riot or make someone fall in love with you despite being from different worlds. A cast that includes Iggy Pop, Traci Lords, Waters regular Rikki Lake and a few other pleasant treats and cameos. The actors appear to be having as much fun with the subject matter as the film is. Borrowing for value from films such as Grease, Jail-house Rock, High School Hellcats, Rebel without a cause and a zillion others from the genre this film is a self-aware campy comedy that is very well crafted. Clean and ridiculous warmhearted fun with more than a hint of trash.

House is an inventive, original eighties horror comedy that has built its foundations on a thin line between laughs and scares. The effects and makeup are great for the eighties. This isn't a true Horror movie by any means, but rather silly 80s cheese--but in that sense, it is the best of its kind.

Expectations for this one were high, since Dead Man's Chest bombed, at least for me it did. It's really too bad that this time they felt the need to make things even bigger, more complex and conclusive than the previous two movies. Really not needed. In my opinion the first movie "Pirates of the Caribbean: The Curse of the Black Pearl" is still the best because of the reason that it's simple, fun and choices to be purely entertaining. They already went wrong with this approach during the second movie; "Pirates of the Caribbean: Dead Man's Chest", when they put in more new characters and different hard to follow plot lines. The movie is definitely big. There is no lack of action as some people claim there is. There is just as much action as there is in the first two movies, only difference this time is that the movie is nearly 3 hours long and therefor the movie also has some more talking-sequences and slower moments in it. I was also very pleased to see Geoffrey Rush back as Barbossa. His role was bigger which allowed Geoffrey Rush to shine even more. Bill Nighy was also as good as always as Davy Jones. Orlando Bloom's and Keira Knightley's acting also has really improved over the years. I was actually surprised to see how much of the movie Keira Knightley carries this time and how well she does this. Even in the sequences with Geoffrey Rush she does. She also gets to do more interesting in the movie when it comes done to action. "At World's End" is also probably Gore Verbinski's best directorial venture. He directs with real visual flair and fearless abandon. The musical score by Hans Zimmer is fantastic, particularly towards the end of the film as it compliments the huge battle scene ongoing.