My Favorite Movies

The least appreciated of Kevin Smith's films, this take on the risqué teen comedy was derided for its mystifying fan-boy humour and general lack of class (not even receiving a cinematic release in the UK). But by no means a mess, "Mallrats" easily maintains Smith's strengths of dialogue and ribald humour, if highlighting his directorial weakness of badly paced scenes. To complete the evaluation, then: hardly a collapse, more an amusing trip-up.

Director Ridley Scott's 1982 film "Blade Runner" is arguably the most famous and influential science fiction film ever made. It has exerted a pervasive influence over all subsequent science fiction cinema, and indeed our cultural perceptions of the future.
"Blade Runner" fully and richly deserves its reputation. It is simply one of the most extraordinary films ever made.

Slick and over serious, Underworld is a sci-fi actioner with a sells-itself pitch: Vampires Vs Werewolves.
Given these caveats it's a wonder that Underworld remains so engrossing, yet it is curiously compelling. Perhaps it's the idea, the atmosphere, or the enthusiastic action, but it maintains a mysterious watchability which suggests it could become a cult classic. Scary.

A comic epic, "Hidden Fortress" focuses not on the high drama of the aristocrats' escape, but on the slapstick antics of the faint-hearted peasants as they whinge and moan their way through the countryside. Greedy and conniving, but far too spineless to stand up to Mifune's battle-hardened soldier, the peasants are spurred on only by their love of the gold.
Confirming his status as one of the world's finest film makers, this new 35mm print of Kurosawa's "Hidden Fortress" is not to be missed - it's both cracking entertainment and a wonderful piece of cinema.

Claustrophobic, pressure-cooking and frequently hairs-on-the-back-of-your-neck frightening, this is a fascinating nail-biter; a rare, supremely effective slice of scare entertainment unfettered by star names or flashy effects work, which will stay with you long after you've tried to laugh it off.
If you want to experience a largely undiscovered gem get this film out on DVD

It's generally accepted by moviegoers that sequels to hits are always going to be poor, over-commercialised imitations of the original. Well, for every supposed truism there has to be an exception and "Evil Dead II" is one sequel that is even better than the original. Not so much a follow-up as a ruthless self-parody, "Evil Dead II" ranks as one of the most visually inventive, relentless, and truly original films ever made.
A hugely influential film, "Evil Dead II" had producers and directors across the film-making world glued to their seats. Director Sam Raimi's kaleidoscope of stop-motion animation, unbelievable point-of-view shots, trembling hand-held camera, rotating sets, bizarre lighting, and chase scenes has now been endlessly imitated, and pastiches crop up in everything from TV ads to music videos.

Undoubtedly Gilliam's masterpiece. Visual brilliance combines with snappy satirical humour to create one of the best films of the 80s
Wonderful. The script is hilarious, and increasingly pertinent, while the terrifying Orwellian future and the vivid dreams of the lovable Everyman Sam Lowry allow Gilliam to display the full scope of his visual genius.

Director Terry Gilliam (Brazil, 12 Monkeys) adapts 'the book that couldn't be filmed' by maverick journo Hunter S Thompson, and many viewers, one suspects, will leave wishing Gilliam hadn't even tried.
Regardless of the film's overall cohesion or quality, Depp and Del Toro supply image-busting performances (the former bearing shiny pate, the latter piling on forty pounds), with Christina Ricci, Ellen Barkin, Gary Busey and Cameron Diaz drifting in and out in cameo roles.

Definitely not for the faint hearted or easily offended Battle Royal is a non stop, no holds barred violent action thriller set in Japan in which a group of unruly schoolchildren and two lethal transfer students must fight a battle to the death on a secluded island to become the last one standing.
If you are into horror films and don?t mind watching the odd dubbed or subtitled movie then Battle Royale will appeal to you, however you should be warned that some of the scenes are quite disturbing - even for a horror film, and the film?s 18 certificate is completely justified.
There are some touching moments between some of the classmates who try to stick together to survive, and you will find yourself completely drawn into this engaging and bizarre storyline after the first five minutes of the film.

Films that set out to expose racial hatred for "what it is" sometimes appear to be fanning the very flames that they are trying to quash. Remember Mississippi Burning, a portrait of systematic racial violence in America's Deep South? The pointy hooded klan reportedly advised their members to go and see the film because they felt it served their cause. The same might be said about elements of American History X.
American History X goes to the root of racist hatred. It reveals how potent a brew racist rhetoric can be on vulnerable, young minds. It is, ultimately, unambiguous in its depiction of the wastefulness and ugliness of racist rage and violence, but also offers a way of breaking the vicious circle of hatred. Racists may find ways of twisting the film to their cause, but then they always will.

"No one can be told what the Matrix is. You have to see it for yourself." says Morpheus (Laurence Fishburne), the earnest, elegant John the Baptist figure in the Wachowski brothers' allegorical science fiction masterpiece. Well, I'll give it a shot.
He's talking to Neo (Keanu Reeves), a blank-faced computer whizz who's about to go through the looking glass - out of the late 20th century world as he knows it, into the real, post-apocalyptic "desert of the real".
Nestling next to "The Terminator" ?Blade Runner? and "Metropolis", this is one the finest sci-fi flicks ever made.
What is "The Matrix"? It's genius. And yes, I admit, you do have to see it for yourself.

London is a graveyard. Once-packed streets are deserted. Shops empty. An eerie silence reigns. And, no, there's not a tube strike. There's a zombie invasion.
Well, technically the monsters of Danny Boyle's bloody horror don't qualify as zombies. As pedants are sure to point out, they are not the living dead but 'the infected' - poor unfortunates who have caught a deadly virus which turns them into slathering beasts intent on killing anything in sight. Do they remind you of anything? Oh yes - zombies, that's it.
If you're a zombie aficionado it may all prove too familiar, but casual punters should prepare for jumps. You'll be scared to (living) death.

"Return of the Jedi" (originally called "Revenge of the Jedi" before creator George Lucas decided that revenge was not Jedi-like) completes the initial Star Wars film trilogy.
Strong, albeit simply drawn characters are well realised by the actors, who all acquit themselves perfectly. The Emperor, when he finally makes his appearance, is memorably grotesque and menacing. Special praise must go to Darth Vader, voiced superbly by James Earl Jones; this character has the charisma of true villainy.
The "Star Wars" phenomenon has been seen as timeless modern myth-making; it has also been seen as the triumph of infantilism and a knockout blow to serious film-making. Whatever the verdict, "Return of the Jedi" is a fitting climax to the most successful space adventure of all time.

Manchester, 1976. The life of Granada TV presenter Tony Wilson (Coogan) changes forever when he sees a little-known band called the Sex Pistols perform live on stage. Overnight he sets up New Wave label Factory Records and signs up his first group, Joy Division.
Fast forward to 1988. Yellow smiley faces have replaced the flares and there's a non-stop cry of "aciiiieed!" in the air. Manchester has become "Mad-chester" and the face of pop music has been changed forever.
Brilliantly realised and hilariously funny, "24 Hour Party People" is great fun. Don't miss it.

A side-splitting, head-smashing, gloriously gory horror comedy, Shaun Of The Dead is hilarious. From the brains behind the superb sitcom Spaced, it's a knockabout caper that will amuse casual viewers and delight genre fans, paying knowing tribute to George A Romero's zombie classic Trilogy Of The Dead. Co-writer Simon Pegg stars as Shaun, an ambition-starved shop assistant freshly dumped by his girlfriend (Kate Ashfield). "It's not the end of the world," says his best mate, Ed (Nick Frost). Only it is. The dead start coming back to life and Shaun and friends must fight for survival.
The gut-busting opening hour gives way to a less sure-footed siege at the local pub, where the laughs lessen and there isn't the tension to really scare. But there are a couple of decent jumps, and the witty, inventive epilogue resurrects the grisly good humour. Pegg is a very likeable lead and Frost is brilliant as his loutish pal, stealing scenes right to the credits. Dead good

Kevin Smith's acerbic, authentic and peculiarly romantic debut is one of the funniest American movies of the 90s. Shot at night in the convenience store where Smith was working at the time - on a budget of $27,000 (a figure which rose to $230,000 after Miramax tarted it up in post-production) - "Clerks" is an era-defining portrayal of Generation X.
Some of the acting has a touch of timber to it, and the true-to-life filthiness of store clerk banter may shock, but there's a warmth beneath all the profanity. It's as much about love between men as romanitic entanglements between lovers. When Dante's best friend - the openly abusive, frequently hilarious Randal (Anderson) - warns Caitlin "Break his heart again this time, and I'll kill ya. Nothing personal", he's not even half joking.

Darkly comic multi-stranded film from debut writer Mark O'Rowe and former Donmar director John Crowley. The lives of a gallery of characters in Dublin unknowingly intersect, with shocking results
Detailing a twisted series of romances and the dark places they can go to, O'Rowe and Crowley successfully capture the idiosyncratic and chaotic nature of human relationships. While their findings are hardly profound, it's never less than exhilarating.

Woo, woo it's the sound of the police: straight after bashing the undead in Shaun, Simon Pegg tools up for Hot Fuzz, a criminally funny cop movie parody that plays like Bad Boys II meets Midsomer Murders (and I mean that as a compliment).
True, it's not nearly as dead-on as instant classic Shaun, its cop movie targets a little too soft, too easy. And yes, it needs trimming, a turgid second half too self-indulgent for its own good. But it's a movie you'll still want to see again, if only to get all the mini-jokes: throwaway little gems like Frost's "Judge Judy and executioner" gag. It's refreshingly British comedy (it even has a shootout in Somerfield supermarket!) and after watching this, Point Break will never seem the same again. Look out Hollywood: the Fuzz are coming.

For more than one generation of cinema-goers, the original "Star Wars" trilogy occupies an iconic place as one of those cinematic events of childhood from which one never fully recovers.
Because "Empire" is the central part of the trilogy it is freed from having to seek an easy resolution, and the whole film benefits as a result. Han Solo's true heroism is not best explored in blaster battles, but in his reactions to carbonite freezing. Luke comes most clearly into focus when his terrible destiny is made clear to him and in the process Darth Vader is transformed from a caricature villain into a terrifyingly dark, but human creature.
By far the best part of the trilogy, "Empire" is a classic that completely transcends its genre, with a reputation that can only grow and grow.

Following up the most exciting, interesting sci-fi flick since "The Terminator", the Wachowski brothers' still-stimulating sequel shares some of the struggles of "T2: Judgment Day" - increased anticipation, narrative muddiness, and the overblown excess that a bloated budget can provide.
Are your expectations sufficiently lowered? If so, you'll enjoy "The Matrix Reloaded" a lot. It's smart, sexy, and action-rammed - it just can't equal its illustrious predecessor, or be adequately assessed until we've seen "The Matrix Revolutions"
Stepping on from the celebrated 'bullet time' photography of part one, the effects team go into overdrive in spectacular but overlong scenes. And whether battling multiple Smiths or "doing his Superman thing", Neo often - ironically - appears computer-generated.
There's still much to gape at, but here's hoping the concluding chapter will be leaner, meaner, and less grandiose. Bring on the revolution.

Hitchcock's claustrophobic, voyeuristic masterpiece of suspense and sinister mystery. James Stewart gives a performance that is nothing short of superb.
Rear Window is quite simply essential and unmissable!!

So, it goes like this. Vampires and werewolves are at war. Vampire foot soldier Selene (Kate Beckinsale) falls for a human (Scott Speedman), disgracing herself with her bloodsucking chums. Speedman promptly transforms into a hybrid Vampowolf and beats the tar out of everyone. So, Selene is on the run, pursued by an elder vampire, who is also a hybrid because somebody accidentally dripped wolf blood into his coffin. Everybody clear? Great, because get this: the movie hasn't even started yet.
The stars can't act for jam, frankly, but they're nice to look at. Speedman displays his gleaming chest at every opportunity and, not to be outdone, Beckinsale gets her latex knickers off, though sadly without the "squiiick-pop!" noise that one might reasonably expect.

Peter Sellers takes three roles in Stanley Kubrick's bitter black comedy about nuclear annihilation. Stanley Kubrick's anti-miltarism, first revealed in the bitter First World War drama Paths Of Glory (1957), is given full satiric rein in this supremely ironic comedy on the possibility of nuclear annihilation.
Incidentally, the movie's message - that we're riding headlong towards the end of the world - was contradicted by Kubrick's next film, 2001: A Space Odyssey where it emerges that we're already living in the future, and that it's full of stars. Oh, yes, and massive space babies.

Lee died making this supernatural rock-star revenge movie, and, after the lawsuits, recriminations and distribution problems, it has mopped up at the US box office. Lee had almost completed filming, so the thrust of the story (from James O'Barr's graphic novel) is intact. The footage has been bumped up with flashbacks, stand-in shots, and hi-tech tweaking whereby Lee was extracted from spare scenes and installed in new ones. It's unobtrusively done, but makes the action a touch repetitive. More radically, the sicko storyline has been softened, becoming an elegiac, not to say maudlin, portrait of lost love. This has, sadly, worked to the advantage of the film: what was once slick, vacuous and trashy is now shot through with a terrible post-production irony. This is a most morbid film, a twisted Gothic romance with shards of the original black wisecracking splintering through the portentousness. Visually, it's a treat; characterisation is sharp, particularly the nicely defined villains; and the action scenes, though soft-pedalled, still pack a satisfying crunch

This film is about a music store, named Empire Records, and tells of a day in the lifes of the employees of the store.
I love this film, it is funny, sad and combines several good storylines with great music (Including the Rex Manning music). You really get involved with the characters and I would recommend this film to all. And I guarantee you will wish you had worked in a store like this.

I do enjoy watching Nightmare On Elm Street but only when I think that there's no point in even trying to compare it to the first. However, perhaps wisely ignoring events in sequel 2, the film picks up from the first with the films main strenght, the return of Heather Langenkamp. She returns in order to help a bunch of kids in an asylum who have begun to dream about Freddy - like the second movie in the trilogy the film, to be honest relies heavily on special effects but these are admittedly very effective for example a Freddy T.V. a snake. Another thing which many didn't notice in the movie is the clever way in which the victims are killed. Since the kids are unstable Freddy kills them in a way that looks like they have committed suicide for example the kid who jumps off a building {draged like a puppet with his veins used as strings} and Kirsten {who doesn't actually die} has her wrists slashed in her dream but apears to have done it herself in reality - this is a very clever change of pace for the trilogy and it was quite satisfying to see some ingenuity in a sequel. The film isn't all good though - the characters are quite irritating so they're deaths don't evoke much emotion- At times the movie also seems a bit like a fantasy movie with all the kids learning to use their "special powers" - this aspect is really schmaltzy and very American. And even for an Elm Street movie some of the scenes when everyone is in the same dream 'cause Kristen "has a gift" are a little far fetched. Generwally this is a good movie with effective echoes from the first movie.

Star Wars" isn't the best film ever made, but it is universally loved. Hamill's Skywalker is a wuss, the plot wanders all over, and only Harrison Ford gives it any real fire, but it means more too many people than the national anthem or Shakespeare.
Somehow it's bigger than just the story of backwater hick Luke Skywalker discovering his true destiny and joining Princess Leia and Obi Wan Kenobi in an epic struggle between the good Rebel Alliance and dastardly, powerful Empire. "Star Wars" gives the viewer a whole universe with its own history, mythology, clunky 'realistic' spacecraft, and faith in the almost courtly value of honour in a galaxy gone mad.
Maybe some of its success was down to timing. Just as the creeping shadows of war, race-riots, and superpower stand-offs threatened to swamp the late 1970s, George Lucas lit the world with this operatic science fiction fairy story full of spectacle, special effects, and above all hope.
Despite being over-hyped, over-marketed, and fairly flawed, "Star Wars" remains one of the most memorable and glorious fantasies ever made.

A trip to a countryside cemetery for Barbara and her brother turns into an almighty voyage into hell as the dead rise up from the earth. For the audience watching in 1968, this movie represented a new dawn in horror film-making.
The ominous external threat of a building army of zombies, without mind or reason, contrasts cruelly with the internal bickering of the survivors trying to cling to humanity. It becomes increasingly clear that there will be no obvious reprieve for these characters, nor will a hero come to save them. Their fight spirals into a tense stand-off where the option of survival seems unappealing, yet instinct demands that they fight. This lack of a cosy conclusion and the unpredictable nature of this film shook up horror film-making and allowed fresh talent to explore a whole new chilling level of terror.

"Cat People? is a classic of its genre, made on a modest budget with minimal special effects, yet managing to evoke a spine-chilling atmosphere of sheer terror. Paul Schrader's expensive reworking of the material 40 years later is so different from the original that it can scarcely be counted as a remake. Although the superior production values, with Ferdinando Scarfiotti as production designer, the clever special effects under the direction of Albert Whitlock, and the Giorgio Moroder score give the film a gloss way beyond its predecessor, overall it remains less effective.
Silly? Of course, but it is the style that matters. Schrader is a considerable craftsman, and tells the story on two parallel levels of fantasy and reality. The result has a certain cinematic beauty, and Kinski, in particular, plays her role with an appropriate cat-like presence. Yet alongside the 1942 version (produced by Val Lewton, directed by Jaques Tourneur) it is clear which one is the winner.

Matt Damon and Ben Affleck play two angels cast down from Heaven who are eager to return. They finally see their chance, but unfortunately it will mean the end of existence.
All involved are fine, with Rock in particular tuning down his usual manic persona to portray a convincing and sympathetic sidekick. But come the special effects-strewn finale topped up with an appearance by Alanis Morissette as God, it's perfectly clear that his is not vintage Kevin Smith. That said, if this is his one "message" movie, let's hope he has got it off his chest.

In a decade of films increasingly dominated by formula Hollywood offerings, "Pulp Fiction" appeared refreshingly different. Since its 1994 release, it has inspired many imitators but even today, it's still strikingly bold and remains to be eclipsed, even by its creator Quentin Tarantino.
Events kick off in a café with Tim Roth and Amanda Plummer holding up the staff and customers. They're hardly as scary though as hitmen John Travolta and the bible-quoting Samuel L Jackson whom appear in the next scene. They form the thread of the movie that allows for a delicious selection of related stories to unravel, with Christopher Walken and a measured Bruce Willis putting in fine performances.
The entire cast exudes the confidence of the script and sell their often brutally witty dialogue well. The superb packaging of cool music and luscious cinematography completes the deal. And the ribbon that ties it all together is a delightfully clever conclusion.

From the makers of The Matrix... Starring Natalie Portman of Star Wars... Adapted from Alan Moores genius graphic novel... V For Vendetta is... a bit of a mess. Portman is Evey, a young woman drawn into the dangerous world of V - a masked freedom fighter/terrorist trying to bring down a fascist government in futuristic Britain. There are a lot of ideas here - and two impressive set-pieces - but while it may provoke thought, it rarely thrills or engages as a story.
There is also little sense of place or atmosphere or the grubby Britishness of the comic. The 'domino' montage is exhilarating and the ending does have an emotional charge - particularly if you feel disillusioned by our current political leaders - but once the pyrotechnics have faded way, youre left with emptiness.

By nature over-enthusiastic, it's possible that "Human Traffic"'s target audience adored this movie. This is commendable up to a point, but they, like the protagonists, will grow out of it.
Given that it confines itself to showing the chemical generation at play, rather than reflecting or commenting on it, the soundtrack, for which Pete Tong is credited as "supervisor", is as exhilarating as it ought to be.
Howard Marks' "spliff politics" scene is likely to give the film short-lived cult status among casual drug-users, and in years to come, the film will be an interesting but embarrassing period piece.

This Thai movie follows the footsteps of superheroes like Americas Spider-man, and closer to home, Malaysias Cicak-man, to bring hope to the failing humanity. While it remains baffling why superheroes like them have to wear tight-skinned suits to save the world, we cannot doubt their noble causes.
The movie does not take itself too seriously because its main objective is to entertain us viewers. So dont watch it expecting too much, and it is okay to leave your brains elsewhere.