Holiday Wish List

''Why don't you wish in one hand, and shit in the other. See which one fills up first.''

A miserable conman and his partner pose as Santa and his Little Helper to rob department stores on Christmas Eve. But they run into problems when the conman befriends a troubled kid, and the security boss discovers the plot.

Billy Bob Thornton: Willie

''You know what I see when I look at you? America's got a sad future ahead of it.

Let's begin by saying Bad Santa is like being whipped around in a paper hurricane of chaos and anarchy. Like great and rare comedies in the genre, it is without borders or boundaries.
Typically, around Christmas you will find yourself watching a generic, feel-good, moralistic Christmas caper, Bad Santa is the Adult version of the season. For those of you who are fed-up with dull repetitive antics, Bad Santa is the perfect accolade and a perfect choice, as it is an entirely altered perception of the Holiday.
It isn't It's a Wonderful Life, nor is it Miracle on 34th Street, or even playful Home Alone or playful Jingle All The Way, yet it still incorporates features from all yet in a darker vision of black comedy proportions.
Plus who isn't fed up with alot of Scrooge-type Christmas picks where the main character does not initially believe or is too caught up to celebrate, and in the end he's all celebrating, he's become a kind hearted role model for your children. Bad Santa is a welcome breath of originality. Many people have criticized it because they were expecting the usual boring sugarcoated winter holiday flick and thus usage of bad language may have come across as a huge violation. Well, Bad Santa certainly isn't designed for the kids(But you know children these days, most won't be shocked.). While the swearing and bitching provide humour, they also make the characters more realistic

Sue: I've always had a thing for Santa Claus. In case you didn't notice. It's like some deep-seeded childhood thing.
Willie: So is my thing for tits.

When a story begins with a guy in a Santa outfit, sitting at a bar, drinking his life away you know you are not watching your usual sloppy Christmas feel good gamble. From the crude opening narration, to the wonderfully explosive finale, Bad Santa is bad taste of comedic genius. Billy Bob Thornton performs as a crude, dishonest cynic who hates everyone and everything. Bringing comedic energy and offensive characteristics to his character he impeccably balances the grumpy scrooge of Christmas with heart.
Bad Santa, in spite of the language and sexual content is kind of a sweet movie sub-consciously. Zwigoff does a great job as the director, making not just a brainless tasteless comedy, dealing with themes quite professionally. I laughed out loud at the dialogues and one-liners and in the end I was left with a big wide grin upon my visage. Ficarra and Requa's writing is very good. We're provided with 90 minutes of wholesome entertainment. Even though the protagonist Willie, isn't likable, you can't help but laugh at this guy and eventually you end up liking him.

Only Billy Bob Thornton can excellently pull off 'Bad Santa'. I couldn't picture anyone else that could suit the part more.
It's good to finally see him in a more significant role that has more scope for his talent to shine. Child actor Brett Kelly is cast well as The Kid. He's not the usual filmy cute kid who gets on your nerves and reminds you why you hate child actors. Kelly plays his part naturally and is very likable. The sizzling Lauren Graham brings out the other side (a much darker one) of Lorelai Gilmore (of Gilmore Girls fame). She skillfully portrays Sue's weirdness, sensuality and sweetness. Lauren Tom is funny as Marcus's bitchy girlfriend. The late John Ritter has some of the funniest lines and he delivers them with complete ease. Bernie Mac, however, is the least funniest of them all. It's not his acting but more the comedy of the character that isn't enough. Otherwise he's quite adequate.

Kid: You are really Santa, right?
Willie: No, I'm an accountant. I wear this fucking thing as a fashion statement, alright?

Basically Bad Santa is one of the darkest funniest Christmas films, one that has a strong repeat value as it still makes me laugh in repeat viewing and sometimes when I think of the situations in the film, I at least end up with a positive result.
It is not a case of whether you are a lover of Christmas or not, as Bad Santa is continually entertaining and at times, even charming. Through its witty script, fuelled by grumpy, drunken humour it is almost impossible not to become entranced by the inconsiderate lines of raucous profanity. Director, Terry Zwigoff proves his quirky talent once again, after the success of 2000's Ghost World. Bad Santa is black comedic bliss and a highly recommended comedy for fans of something a little more extreme than the average, feel good Hollywood efforts out there.

''I've been to prison once, I've been married - twice. I was once drafted by Lyndon Johnson and had to live in shit-ass Mexico for 21/2 years for no reason. I've had my eye socket punched in, a kidney taken out and I got a bone-chip in my ankle that's never gonna heal. I've seen some pretty shitty situations in my life, but nothing has ever sucked more ass than this!''

''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.''

"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."

''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 get the Police force unable to admit making a mistake, never in the wrong and when they get 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.

''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...''

''You just couldn't let me go could you? This is what happens when an unstoppable force meets an immovable object. You truly are incorruptible aren't you? You won't kill me out of some misplaced sense of self-righteousness, and I won't kill you, because you're just too much fun. I think you and I are destined to do this forever.''

Batman and James Gordon join forces with Gotham's new District Attorney, Harvey Dent, to take on a psychotic bank robber known as The Joker, whilst other forces plot against them, and Joker's crimes grow more and more deadly.

Christian Bale: Bruce Wayne / Batman

Heath Ledger: The Joker

When we think back to truly worthy sequels, sequels which surpass even their original predecessors, many of us would proclaim such masterpieces as Aliens, Godfather II, Empire Strikes Back, Terminator 2...So with the coming of 2008 yet another sequel will be honoured enough to take it's place among these glorified masterpieces.
Undoubtedly, English Director Christopher Nolan begins to resemble the mythical King Midas, in the sense that every film project he breathes life into results in a deep, puzzling masterpiece of depth and serenity. Memento, Insomnia, The Prestige have all mesmerized and set alight mindful debate among critics and fans alike, and for me been hailed as 5 star masterpieces which breach the synapses.
2005 sees the release of Batman Begins, under the helm is none other than English Director Nolan and Warner Bros. The batman franchise, after Joel Schumacher's Batman Forever and Batman & Robin had been taking it's last dying breaths after turning into a colourful farce of nipples and cartoony villainy.
Only a miracle could of repaired the damage done, and if any man can provide miracles Christopher Nolan surely can. Batman Begins not only gave new life to a dying franchise, it redefined comic book/Graphic Novel adaptations in terms of realism, acting, and adrenaline pumping cinematography. This was a whole new re-imagining for Bruce Wayne becoming the Batman, and quite frankly even more believable than Tim Burton's efforts in 1989.

So 2008 sees the The Dark Knight, from Warner Brothers and once again the directorial genius of Nolan.
David S. Goyer and Christopher Nolan collaborated on the story of this film. The script itself was written by Nolan and his brother Jonathan. funnily enough after watching The Dark Knight, Goyer stated "I can't believe my name is on a movie this good".
This time the hype, the anticipation, and the attention has increased a hundred fold since it's predecessor. New cast additions include Maggie Gyllenhaal, Aaron Eckhart and the late Heath Ledger, while old veterans return such as Gary Oldman, Morgan Freeman, Micheal Caine and the Dark Knight himself Christian Bale. Obviously the tragic death of Heath Ledger after the completion of the movie warranted alot more attention for viewers due to the complexity of seeing his last performance. However, The Dark Knight is testament to Ledger's legacy, his swan song, his immortal role among many chameleonic characters in his resume. His roles in Brokeback Mountain, Candy, showed his adult raw talent for tackling sensitive controversial material, while A Knight's Tale, The Patriot and 10 things I hate about you showed he could entertain and be charming. So with The Dark Knight we witness his best film to date, his guaranteed Academy Award grabbing carnation of the maniacal nemesis of batman, The Joker. Let it just be said Heath truly is immersed 100% into the confines of the character, he makes us believe and sometimes agree with his views on society and people.
Joker never seized to make me laugh in appreciation despite what could be considered sick antics, I considered genius. Who else could do a pen trick with someone's head? Dress as a nurse with a silencer in hand and his clownish face glistening? Hide in a body-bag to infiltrate a mob boss's joint? Who else could immortalize Batman's most famous nemesis Joker? Without a doubt Heath Ledger bar none.

''Sometimes, truth isn't good enough, sometimes people deserve more. Sometimes people deserve to have their faith rewarded.''

To prepare for his iconic role as The Joker, Heath Ledger hid away in a motel room for about six weeks. During this extended stay of seclusion, Ledger delved deep into the psychology of the character. He devoted himself to developing The Joker's every detail, namely the voice and that sadistic-sounding laugh. Ledger's interpretation of The Joker's appearance was primarily based upon, of the chaotic, disheveled look of punk rocker Sid Vicious combined with the psychotic mannerisms of Malcolm McDowell's character, Alex De Large, from A Clockwork Orange. Ultimately for his efforts, The Dark Knight was the first comic book movie to ever win an Oscar for an achievement in acting, specifically to Heath Ledger (posthumously) for Best Supporting Actor.
Heath Ledger posthumously won a total of 32 Best Supporting Actor awards for his work on this film, including the Oscar, Golden Globe, BAFTA, SAG and Critic's Choice award.

Christopher Nolan beautifully captures Gotham City (filmed on location at Chicago). Whereas Batman Begins was styled after the iconic piece from Ridley Scott's rainy, dirty Blade Runner, the sequel The Dark Knight mirrors the feel and look of Micheal Mann's Heat giving us a true homage to masters of cinema and film, and we see Nolan has been inspired by the best, rein-visioning his own unique directing and styling to give us a fresh and powerful Gotham City.
Indeed, a similar scene in Michael Mann's crime saga, Heat, inspired this film's introductory bank robbery sequence. As a matter of fact, William Fichtner, who had a notable appearance in this scene, was also in Heat.

''I am an agent of chaos. And you know the thing about chaos? It's fair...''

The Dark Knight runs at nearly 3 hours, yet never ceases to lose any momentum. It doesn't waste a scene or moment of it's run-time; every event is utilized and necessary to a meaningful complex plot. Nolan tells a story worth telling and like his other film projects, nothing is ever as it seems, he is in a way the new master of suspense, a shadow of Hitchcock proportions.
Action-sequences are mind blowingly frantic, old-school, eye-grabbing stunts and in their chaotic intensity we see that they serve purpose to the plot, yet even more interestingly, are not played for pure entertainment-value alone.
Audiences are meant to watch, petrified, simply hoping that the outcome will go the hero's way and another show stealing performance from it's villain. Attention is never lost because we are immersed in a breathtaking, almost completely-unpredictable story, that makes us think and more importantly gains our emotional liability. We come to care for the characters, because they are believable, developed, and personified.
Interestingly, this film and its predecessor have one-word themes which are driving forces in the stories and explanations for villains: Batman Begins centers around Fear(Scarecrow/ Ra's Al Ghul), while the focus of The Dark Knight is Chaos(The Joker/Two Face).

''Sometimes, truth isn't good enough, sometimes people deserve more. Sometimes people deserve to have their faith rewarded.''

Maggie Gyllenhaal results in being a more mature Rachel Dawes than Katie Holmes. Morgan Freeman again provides his authoritative presence to the role of Wayne-Enterprise CEO Lucius Fox, and under anyone else's portrayal, the part would be less than memorable. Legendary Gary Oldman underplays his world-wearied lawman with such honest finesse and plausibility, you never feel for a second any of it is artificial. The irreplaceable Michael Caine makes a gentle, reassuring, foster parent presence for Bruce Wayne yet again as faithful Alfred, and the story would surely diminish without his strong presence and interlacing moments of humourous quips and anecdotal advice for the masked hero.
Aaron Eckhart whom plays Harvey Dent, really excels in being ''The White Knight'' politician of Gotham City whom is likable, and charismatic. The attraction between Gyllenhaal and Eckhart is believable, whereas the love triangle which forms between the complexities of Harvey, Rachel and Bruce are greatly helped by amazing chemistry between them.
Dent's dual personality comes into effect very well, as we the audience scratch beyond that exterior, we see a dark side to Dent. A dark side the Joker inevitably wants to exploit for his own agendas.

Brilliant scores by James Newton Howard and Hans Zimmer. In fact the scores could be two new characters in the film in the sense of depth and emotion they stitch together with the powerful resonance in the scenes. The chase where Batman first uses his Bat-pod bike is nerve tinglingly delivered thanks to the effective use of musical genius and poignant sound. The movies climax and final scenes elevate The Dark Knight's soul into the heavens, creating a moving, emotional, turbulent, deep message of honour, sacrifice and themes of the greater good. Batman isn't the hero we deserve, he's whatever we need him to be...He's strong, he can take it...and as we hear deep words like this, the tones in the score give the words even more power. A power they deserve.

Overall The Dark Knight rightly received 8 Academy Award nominations, more than any other film based on a comic book, comic strip, or graphic novel. First film based on a comic book, comic strip, or graphic novel to win an Academy Award for acting (Best Supporting Actor).
The Dark Knight was everything I expected it to be and even more so in places, it's certainly the dark masterpiece I predicted, but I do get the feeling that it's been overly hyped for the wrong reasons. See it not just for Heath's performance which is defining and immortalized, but also see it because Dark Knight is the greatest comic book/graphic novel to movie ever. DC comics & Warner Bros. must be singing and praising Nolan a hundred fold.
Dark Knight really does have the last laugh. An astonishing achievement that really does succeed in redefining sequels and graphic novel comic book adaptations.

''Because he's the hero Gotham deserves, but not the one it needs right now. So we'll hunt him, because he can take it. Because he's not our hero. He's a silent guardian, a watchful protector. A dark knight.''

''There's something more to this place. Our cells don't work. Neither does the T.V. or radio. We're isolated.''

"REC" turns on a young TV reporter and her cameraman who cover the night shift at the local fire station...

Manuela Velasco: Ángela Vidal

''Good evening, this is Angela Vidal speaking. Tonight, as usual, we will share this time...''

[Rec] is basically the most, original, raw, horror films to come out for an absolute age. A Spanish horror film, replicated in the style of Cloverfield or Open Water, utilizing that home filmed feel. After seeing [Rec] I can say it's nerve shreddingly effective. It felt like this is the horror film I've been begging for, ever since playing god send Games like Resident Evil and Silent Hill have I had a glimpse of what a film vision could be like, finally [Rec] gives me something terrifyingly real.

It comes off like 28 Weeks Later or 28 Days Later yet it's that unique minimalist way it's conceived, as with way they film it.
So [Rec]'s plot is basically about two reporters whom are doing a documentary about the firemen at a station during their night shift. We are treated to their respective routines and a glimpse of the function of the department. It really does feel like you're watching an actual documentary in motion.
As matters progress we see the firemen take on their first job while the reporters accompany them to a rescue of an old lady trapped within her apartment. What begins as a routine process turns into something extremely sinister and gruesome, not only that scarily terrifying.

''There are incredible security measures in place. We know nothing. They haven't told us a thing. We saw special forces, health inspectors wearing suits and masks, and it's not very comforting.''

Actress Manuela Velasco plays Ángela Vidal, the main protagonist, the pretty eye candy girl reporter, who's the viewers main companion alongside the secondary Pablo who remains unseen mostly during [Rec].
The rest of the cast are impressively gritty and real, Ferran Terraza, Jorge Serrano, Pablo Rosso, David Vert, Vicente Gil and a wonderful Claudia Font as a sweet young girl who becomes a vision of terror.
[Rec] was interestingly enough also made and shot in real locations. No sets were built to make this movie. During the filming of the scene where the young fireman falls from the stairs, not a single actor knew that was going to happen, so the reactions we see on the films were the real reactions of the actors themselves.
The film is co-directed by Jaume Balaguero and Paco Plaza and they have clearly dipped into the bucket of clichés with [rec], but in doing so they have created something that is both fresh and reinvigorating. It should be noted that clichés aren't always a bad thing and when put to good use can give the audience exactly what they came to see. It's true that the plot is minimal and there are loose ends, but then the vast majority of horror films often suffer from these traits, and sometimes purposefully, but with [rec] it doesn't make the film any less enjoyable. It is also evident from the plot and the methods employed that the film is very low budget, but this does not do it any harm, instead it complements the narrative and increases the films appeal.

I believe the true quality of the film lies in its ability to cleverly use the history of the genre and the bare minimal of resources to its maximum potential, there's little room to doubt the reasons for the cameraman to continue filming and this is due to the fact it's his occupation. He is there to film a documentary and in true cameraman style his instincts take over. The acting on show here is also a lot better than some in Cloverfield and the people all look genuine, some are even unattractive, which is realism, not a Hollywood cop out.
To put it simply [Rec] features some of the most fear inducing and scariest scenes to date. It achieves a level of fear that's rarely experienced in cinema and if watching the film carefully it can be seen how. [rec] has been made by people that are incredibly familiar with the horror genre and fans will recognize the homages and the inspirations used, from classics such as Evil Dead, to The Shining, to 28 Days later and many more. With such a wealth of horror-viewing-experience combined with inspired film-making they are able to draw upon some of the best moments in horror history.

Towards the final reels the film plays like an amalgamation of ideas and inspirations. One of which is the influence of contemporary video gaming as some scenes allude to how certain computer games work ( such as first person shooters) and this is supported by the POV technique as we, the viewer, live the character of the cameraman much in the same way a gamer lives the character he/she is in control of. This notion is furthered by the different levels in the apartment building, the films use of rooms, the final scenes and several allegories to various computer games including the mentioned Resident Evil, Alone in the Dark and Silent Hill.

For a feature film it is incredibly short, at a mere 75 minutes, in fact it is closer to the length of a TV documentary which is possibly its goal. I cannot recommend this film enough and have even attempted to script my review in a way as to not give too much away of it's genius masterful strokes, as it is a [Rec]comendation that needs to seen. Watch it with the lights off, alone, if you dare...

''It's nearly 2 A.M. and we're still sealed in this building that we came to with the firemen earlier this evening, to assist an elderly woman who later attacked a policeman and a fireman. They're both in critical condition. The police won't let us leave and are giving us no explanations.''

Pending Review...

[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.

Good family film.

''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?''

''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!''

''The greatest trick the devil ever pulled was convincing the world he did not exist. And like that... he is gone.''

A boat has been destroyed, criminals are dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup.

Gabriel Byrne:Dean Keaton

The Usual Suspects is simply a fascinating piece of film-making and story telling from director Bryan Singer. Because of the trick ending conclusion, it is debatable as to what is truth and what is fiction. If you watch it objectively, it is just a damn entertaining, complex, a well structured film noir piece with a breath taking climax. If you take the subjective route, then what you've got is perhaps the most puzzling film ever made, one that even with multiple repeated viewings will make you doubt your own conclusions.

The Usual Suspects begins with the supposed protagonist, Dean Keaton (superbly played by Gabriel Byrne), being assassinated by a mysterious unknown figure, named Keyser. I think it's safe to say that this opening scene is objectively told, it really happened. Then Keyser burns the ship that Keaton and a bunch of other men (who we find out about later) are on. In the immediate aftermath of the incident, the cops and FBI question the sole survivor of this massacre, Verbal Kint (played by Best Supporting Actor Oscar winner Kevin Spacey). Verbal is the only one who can tell what happened. He is our link to the flashbacks and story of The Usual Suspects.

''One cannot be betrayed if one has no people.''

Leading the investigation is US Customs Agent Dave Kujon (effectively played by Chazz Palmentieri). Kujon grills Kint relentlessly in order to piece together all the events that led up to the massacre. Kint begins with the events weeks before when Kujon and his fellow agents had arrested Keaton and the other 'usual' suspects Kint, Michael McManus (Stephen Baldwin), Fred Fenster (Benicio del Toro), and Todd Hockney (Kevin Pollak). These 5 men were suspected of a hijacking and were brought in for questioning.

As Kint continues and the film progresses, we find that the 5 criminals were manipulated into the situation by Keyser Soze, a Turkish uber-gangster/drug dealer who they all think is really a myth until his #1 lackey Kobyashi (played with cold efficiency by Pete Posthlewaite) pays them a visit and tells them that indeed Soze is behind all this. Soze wants them to to do job for him by killing his Hungarian competitors, who are making a huge drug deal with some Argentinians on a ship docked in LA. This leads us to the climax and back to the events that started the film.

The Usual Suspects, whatever ones feelings about the surprise at the end, is one brilliant example of modern day film noir. Nobody is innocent, yet every major character is multi-dimensional and draws you into the conflict. There is quite a bit of action and violence, but it is tight, well-placed, and crisply realistic. The beauty of the film is that you can watch it in at least two different ventures, objectively to be entertained and secondly to subjectively attempt to complete the puzzle and solve the goings on! The acting is uniformly superb, the Oscar-winning screenplay crackles, and never becomes tedious or boring. The Usual Suspects is simply Bryan Singers best film to date and among the best films of the decade!

''What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bend over for anybody. Anybody.''

''I could die right now, Clem. I'm just... happy. I've never felt that before. I'm just exactly where I want to be.''


A couple undergo a procedure to erase each other from their memories when their relationship turns sour, but it is only through the process of loss that they discover what they had to begin with.

Jim Carrey: Joel Barish

Kate Winslet: Clementine Kruczynski

Surreal and original, Jim Carrey in his most reflective provocative thoughtful film to date since Truman Show. Lots to think about and interpret.

We have all had hurt in our life. We have all had pain from love gone bad. But the lesson that lies here is to forget is to not learn the lesson that time is the greatest healer and what you thought you lost you never lost at all.

Jim Carrey, Kate Winslet give performances that burst dedication to their craft. They are impressive how they breathe life into their respective characters. Elijah Wood plays another weirdo/dick though.

There's one piece of music in this that i really love and i think you will know the piece i mean when you watch it. Its perfect. The surreal dream like moments really i loved, how a mind that starts to break down can persistently cling on to it's memories.

Love cannot be erased, no matter how hard you try, no matter what rage you feel after a blistering argument. I think i know that more than anyone as i have the most special, most loving person in my life and she will forever be in my heart...

''Then you just took it. It was so intimate. It was like we were already lovers.''

Looks very dark, weird, depraved and thought provoking. Ralph Fiennes looks the part, playing the troubled main character. Last David Cronenberg film i saw was A History Of Violence, and that was really exceptional.

PLOT>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>Plot: Spider is set in the East End London in the 1960s and '80's. A deeply disturbed boy, Spider, 'sees' his father brutally murder his mother and replace her with a prostitute, Yvonne. Convinced they plan to murder him next, Spider hatches an insane plan, which he carries through to tragic effect. Years later, Spider is released into a halfway house, where he receives little care or attention from the landlady Mrs. Wilkinson. Unsupervised, Spider stops taking his medication and starts revisiting his childhood haunts. His attempts to sustain his delusional account of his past begin to unravel and Spider spirals into fresh madness.

Get lucky.


Set in Sin City, story revolves around two people who discover they've gotten married following a night of debauchery...

Cameron Diaz: Joy McNally

Ashton Kutcher: Jack Fuller

In the beginning Vegas has a bit of originality and fits perfectly in the so ridiculous it's hilarious comedy type but then, step by step, it turns into a normal romantic comedy. It has numerous comic scenes and some of them are really funny. Weird shit like him weeing in a sink comes to mind has damn right laugh inducing or Ashton taking off the toilet seat and Bathroom door.

We can see it especially at the ending, because it has the expected, conventional, and boring Hollywood ending we are all used to watch in this sort of comedies.

I liked the performances of the main actors though. I think Ashton Kutcher is funny, like he was in other comedies and Cameron Diaz still has that charm and seductive ability to dazzle.

Of course it's not a grand comedy, it's even a bit silly and flawed at parts, but overall funny and entertaining.

Vegas is like Super Ex Girlfriend and a brilliant date movie.

It All Begins Again...


Imogen Poots: Tammy

Mackintosh Muggleton: Andy

Catherine McCormack: Alice

Robert Carlyle: Don

Six months after the rage virus was inflicted on the population of Great Britain, the US Army helps to secure a small area of London for the survivors to repopulate and start again. But not everything goes to plan...

Without Director Danny Boyle i was worried this sequel may not provide the same standard as the first. Boy was i wrong...

From the word go we the audience are treated to an insight into the survivors of this epidemic virus who are hiding out in a derelict house. Thus begins the action, frights and horror resulting in hordes of infected rage victims mercilessly attacking them.

The whole film on a whole will make you cringe but it does so in a way that is so clever it will bore into your insides with sheer unblemished horror.

That music when Robert Carlyle's Don is escaping the Rage Zombies at the beginning is powerful and helps convey the desperation and mood. It's used in other circumstances and scenes in the film, in key areas which also help considerably.

28 Weeks Later however is not the same as 28 Days Later which had a more isolated feel to it. With Weeks it cranks everything up as with most sequels. Character's are killed off without hesitation which adds to the realism and grittiness of the movie.

I did however find it abit insulting that the US Army were the main people helping to rebuild London. Typical Hollywood-ised American Propaganda, often than not in the past in real life we, the English have helped them and saved their asses from embarrassing situations.

Obviously a sequel to follow from how it concludes, guessing 28 Months Later or 28 Years Later...

Certainly the best Zombie films to date where the stereotypical slow sluggish Zombie is replaced by a fast frantic monstrous version as with Days.

A British Classic and a cult movie for years to come...

Good movie

Definative classic for repeated viewing and to be added henceforth to your collection.

Makes a fine addition to my collection.

The Hoover family treks from Albuquerque to the Little Miss Sunshine pageant in Redondo Beach, California, to fulfill the deepest wish of 7-year-old Olive, an ordinary little girl with big dreams.