| Movie | Rating | Review | Date | Your Rating | Match | |
|---|---|---|---|---|---|---|
| Dracula cerca sangue di vergine... e morì di sete!!!, (Andy Warhol's Dracula) - R | September 10, 2009 | N/A | ||||
| Public Enemies - R |
One minute and forty seconds flat. That?s the time it took US outlaw John Dillinger to rob a bank. It?s also the length of time it would take a viewer to realise how truly poor this film is in its portrayal of one of the biggest gangsters who ever lived. Directed by Michael Mann ? Thief (1981), Manhunter (1986), The Last of The Mohicans (1996) Heat (1995) ? one would expect a certain savvy in terms of production skills but the end product is one of the most underwhelming to be seen onscreen in recent years.
The story documents the true tale of the United States war on crime in the Depression soaked era of the 1930?s. Dillinger and his gang held the country in terror as they successfully plundered the biggest banks in a barrage of shootouts. Dillinger evaded capture not only through his talent and speed at the task at hand but also due to the general publics lack of sympathy with the banks who had catapulted the country into the Great Depression. J. Edgar Hoover declared the need for a nationwide bureau to destroy the most notorious crooks of the time; John Dillinger, Baby Face Nelson and Pretty Boy Floyd. This task was given to Special Agent Melvin Purvis. Dillinger managed to outwit Purvis on numerous occasions until finally he met his demise outside the infamous Biograph Theatre. The film opens, with Dillinger (Depp) disguised as a prisoner and being lead by his partner John ?Red? Hamilton to a penitentiary. The two enter the building only to engage in a violent breakout of the rest of the prisoners who form Dillinger?s gang. This opening sequence is functional in portraying Dillinger?s abilities as a criminal but it fails to provide any form of background for the character. This is a notable flaw seen throughout the film, hence Dillinger and many of the other characters appear somewhat two-dimensional. At the same time as Dillinger?s breakout, Melvin Purvis (Bale) and his team of FBI agents manage to run down Pretty Boy Floyd. This results in Purvis being upgraded to lead in the hunt for Dillinger. The film marks another disappointing turnout from Bale (after Terminator Salvation). It would appear that the success of The Dark Knight may have stunted Bale?s growth and development into what has been overly hyped as a phenomenal onscreen presence. Instead he seems to be relying more and more upon his deep vocals to perform much of his work for him. As Purvis he is just about competent, enabling the audience to despise him and become more endeared to Dillinger. It could be argued that this is more directly due to Depp and his portrayal of Dillinger?s charismatic presence. Aside from Depp, Marion Cotillard provides an entertaining turn as Billie Frechette, the check-in girl to whom Dillinger becomes devoted. One amusing sequence that occurs when the two meet at a dance centres around the couple being watched closely. Dillinger is aware that everyone present knows who he is whilst Billie feels she is being inspected for her Native-American heritage. Thus, they become the perfect outsider couple with just a touch of cliche surrounding them. The storyline bumps along, lacking a certain finesse that can be found in other Michael Mann films. For example, when Purvis finds what he believes to be Dillinger?s hotel room,bursting in on an ordinary looking couple, there is a fragmented delay between the instance when Purvis makes his apologies, leaves and then discovers one half of the couple is a wanted member of Dillinger?s gang. The failure to eliminate Dillinger in this sequence results in Purvis demanding to be equipped with professionals who can hunt criminals dead or alive. Another memorable scene occurs towards the end of the film. Dillinger?s trademark is one of invincibility, a status that is seen when he strolls through the ?Dillinger Squad?, the unit of Purvis? police force that is hunting him. Here he freely views all the information that has been gathered on him and his gang whilst the officers within the room fail to recognise him. Depp carries the scene with enough charisma to portray a frighteningly accurate representation of Dillinger?s arrogance. Similarly when Dillinger?s girlfriend Billie is captured before his eyes and he can do nothing to save her, the viewer is introduced to the vulnerable side of the outlaw. Cotillard?s performance as Billie mirrors that of Depp. The interrogation and abuse she suffers at the hands of Purvis? men is harrowing to watch and although the gangsters fate is inevitable, there are moments where it seems as though he may slip through the radar yet again. This of course is not the case and sadly Michael Mann chose to depict Dillinger?s death in a similarly bland manner to the rest of the film. Perhaps the biggest flaw in Public Enemies is the sheer romanticisation in the director?s portrayal of one of the bloodiest men in history and his gangmembers. Michael Mann has not brought his viewers the tour de force that the trailers promise, instead Public Enemies is a watered-down love story that fails to resonate. One would think it was not necessary to highlight that Dillinger was not a thoroughly loveable rogue yet, this is how he appears and the atrocities he carries out are not emphasised enough. On leaving the cinema, there was an undeniable confusion and an aura of disappointment. The film is at times, attempting to be a more violent, modern-day Bonnie & Clyde and it fails on both counts. Overall, had Depp and Cotillard not provided such entertaining profiles, Michael Mann may have had a disaster on his hands. The end titles of the film inform us of the aftermath for Purvis and Billie and this method of storytelling itself is quite frustrating. Not only is the viewer not given any background on the main characters (aside from Billie) but the end of the characters lives is told through a mere sentence on the screen. There are enough books written on Dillinger for select research on specific characters if they spectating public would prefer this. Perhaps Mann would be more suited to this method of storytelling if he no longer finds it necessary to depict his characters through motion pictures. |
July 12, 2009 | N/A | |||
| Terminator Salvation - PG-13 |
Every once in a while, a film emerges from the depths of a studio that is so original, groundbreakingly brilliant and skillfully made that it breaks all previously held conceptions about movie-making. Terminator Salvation is not any of these things. It is not groundbreakingly brilliant or likely to make a mind-blowing impact on the viewer. What it does do is provide a plausible and entertaining sequel to Terminator 2 (I refuse to believe that Terminator 3 exists - what were they thinking?)
The basic plot of Salvation surrounds the character of murderer, Marcus Wright. A meeting with Dr. Serena Kogan (Helena Bonham Carter) before his execution results in Wright donating his body for medical research. Unknowingly, he has donated his corpse to Cyberdene Systems who are responsible for the creation of the Skynet system. Skynet, perceiving humans as a threat to its own existence, sets out to eradicate humanity in an overly cliched event named Judgement Day. Wright awakens in the year 2018 to discover that he is a cyborg with human organs, thus John Connor (Bale) must decide whether Wright is his enemy or part of the solution to stopping Skynets plans. Salvation struggles at times to offer a fully coherent storyline and attempts to cover this by exhibiting somewhat deafening sound effects. Aside from this, the plot grows quite rapidly and at times is remarkably clever. The fourth instalment notably does very little to deepen the character of John Connor, rather it makes way for the talents of Sam Worthington as Marcus Wright. While the film lacks a certain finesse in parts, Worthington's acting manages to retain a certain glory, especially when he realises he has been tricked by Dr Kogan (Bonham Carter). I found Christian Bale unsavoury, an unusual contribution from a normally ingenious actor. After his predicted success in The Dark Knight, Bale has created an expectation and calibre for his successive movies. In Salvation, he does not so much dissappoint as he does lack an expected on-screen presence. Overall, Terminator Salvation is a plausible and well-conceived sequel to the first two Terminator films. There is a feeling at the end of the film that the franchise is being milked to the very nth degree as John Connor's final transmission to the Human Resistance states that the war is not over. Who knows, perhaps the next instalment will further the impact made by Salvation. In my opinion, the ending of the current release could have been tweaked to bring the franchise to a conclusion rather than leave the door to a possibly disastrous follow-up widely ajar! |
June 21, 2009 | N/A | |||
| Låt den Rätte Komma In (Let the Right One in) - R |
Given the recent hype of Stephenie Meyer's 'Twilight' series, 'Let the Right One In' provides a more realistic vision of vampirism as it still exists today. The two main characters are both endearing yet unsettling in their own ways. Oskar (Kåre Hedebrant) a bullied twelve year old boy and Eli (Lina Leandersson) a twelve year old (albeit, she's been twelve for a long time) who must drink blood to live, are joined together in what seems to be a journey to save each other from their alternate worlds.
The film is startlingly blunt in it's depiction of murder, particularly when Eli's father (Per Ragnar) ventures out in the night to murder young boys in order to draw blood and bring it back to Eli. The act of hanging the victim from a tree upside down and slitting the throat to tap blood alludes to ancient vampiric lore whilst the scene is set in physical contrast against a background of pure white snow. Although the actual slitting of the throat is mostly guarded from view, the sound is an art in itself as it allows for the viewers imagination to conjure an image for themselves. Unlike 'Nosferatu' or 'Dracula', this portrayal of a vampire who does not wish to go out and kill of her own accord, unless she has to, is a challenge for the viewer. The fact that she appears as a child but is evidently much older also allows for empathy with her plight. Leandersson plays the part naturally, and effortlessly oozes an aura of suffering balanced with the knowledge that she possesses great power. Oskar is also intriguing, as he strikes a solitary figure throughout the film until he begins to fall in love with Eli. His constant torment arising from the bullying he receives almost daily is quenched by his encounters with Eli, this most peculiar of girls. The film has a number of outstanding scenes which are notable, especially for the cinematography. When Eli's father is about to be discovered and arrested for murder, in desparation he disfigures himself with acid that was about to be used in the process of killing a victim. Eli later visits him in hospital and there we see the results of his attempts to kill himself. The scene is shot beautifully and perfectly encompasses the father's last few moments of desparation and pain as Eli draws his blood and allows him to drop the seven floors from his hospital window to the snow-covered ground. The auduence witnesses his death from his daughter's perspective. For Eli this is yet another reminder of how alone she is in a world where fear of the sun, food and the need to be invited into a room are all isolating factors in her existence. One of the final scenes is, in my opinion, the most impressive. In order to torture Oskar for retaliating against a bully, the young boy is held underwater for three minutes by the older brother of one of the bullies. As he is submerged the viewer is taken underwater with Oskar and there we hear the sound of shattering glass accompanied by the vicious decapitation of one of the bullies and the murder of the perpitrator holding Oskar beneath the water. Eli rescues Oskar as she had promised him she would and the film is brought to a close with Oskar trainbound and Eli hidden in his suitcase. Overall, the film is well-made, a characteristic that may seem simple but appears to have been overlooked by some contemporary film-makers of the Hollywood bourgeosie. 'Let the Right One In' is a refreshing take on the vampire film. It is comforting to find a story that can portray the traditional vampiric lore through a contemporary setting, whilst remaining eerie and seemingly untouched by the Hollywood treatment of vampirism. Thus, it is advisable to see the film before Hollywood attempts a remake! |
April 26, 2009 | N/A | |||
| Frost/Nixon - R |
Every review I've seen of this film seems overly eager to mention the fact that you will enjoy it if you arrive at the cinema prepared for the fact that it is a retelling of the post-Watergate interviews. This is no lie however, Frost/Nixon is something more than a dramatic remake of the battle between one Sir David Frost and disgraced former US President, Richard Nixon. The film leaves an indellible mark, a feeling of indescribable angst that Sheen's determined Frost cannot and will not draw the most widely desired apology from a man so corrupt and ignorant to his own nation and the trauma he instigated. It is not necessary to have an informed background on Watergate or Nixon's legacy (as I have discovered that many people seem clueless to him aside from affixing the suffix 'gate' to him) but it is necessary to view this film with an open mind. Anyone with an informed opinion on Nixon may feel a certain revelation after watching this. If anything, it enhances the sense that Frost is not the only one facing the biggest challenge of his career. The film divides the four segmented interviews with profiles of Frost and Nixon individually. This allows for the viewer to digest the reactions of the President to Frost's initial weak attempts at interrogation and offers room for speculation into Frost's approach to Watergate. Sheen's portrayal of Frost is both engaging and disheartening. The latter is not for any faults by Sheen but rather a relaxed disposition with the real David Frost that makes viewing a little irritating, especially during the first interview segment.
Frank Langella, star of tv's Dracula certainly rises to the challenge proposed by Nixon's dictatorial-like stance. Langella defies any myth that Nixon's character cannot be portrayed truthfully most clearly during the Watergate interview. It is here that we see the former President's weakness through a facade of strength that is broken through by Frost's straightforward approach. The films most notable moment for me occurs when Frost drops his notes after he is challenged by Nixon to interview him sans script. Here Sheen does not steal the limelight but cleverly allows the focus to stay upon his fellow protagonist and highlights the weariness and hints at a possible self-loathing within the former President. The utterly disgraceful motto, made famous by Richard Millhouse Nixon is repeated by Langella in as cold and inhuman a fashion as his real-life predecessor: "I'm saying if the President does it, it's not illegal" - referring to his part in the Watergate cover-up and the US attacks on Vietnam and Cambodia jointly. Overall, Frost/Nixon provides a chance for the audience to review Nixon's hold in the United States - a point of particular poignancy when no US network will agree to broadcast Frost's tapes or give him financial backing in the process. It is a film notable for it's representation and lack of bias. Perhaps more importantly, it allows Langella the chance to shine like few of his previous roles have ever done. |
February 1, 2009 | N/A | |||
| Schindler's List - R | I cannot stand this film, despite its obvious excellence technically and Neeson's fruitful performance. Whether it's the fact that this actually happened or the fact that I was given this to watch when I was 12 and my grandmother died, I'm not really sure. Either way this film certainly traumatised me more than most. For some, The Exorcist provided the scariest notion of all time, for me Schindler's List is quite frankly the most horrific thing I've ever been subjected to. Freaks me out more than Friday The 13th and the frickin' blade coming through the bed! | January 30, 2009 | N/A | |||
| Casino Royale - PG-13 | January 25, 2009 | N/A | ||||
| Slumdog Millionaire - R | January 19, 2009 | N/A | ||||
| Addams Family Values - PG-13 | As far as sequels go, this one was excellent. Lacking the enthusiasm of its predecessor perhaps, but with the same stellar cast and added greats such as Joan Cusack as the evil, money-obsessed nanny. In this follow-up, audiences are graciously privileged to see the blossoming Christina Ricci take her place as one of the better American actresses of latter years playing Wednesday, the gloomy daughter of Morticia and Gomez. Anjelica Huston provides the eerie beauty and creepy allure of Morticia, wife and mother of the Addams clan. In one of his last movies before his untimely death, Raul Julia gives one of his personal best performances as the cigar-smoking patriarch of the clan. Together, Julia and Huston are magical, timeless and perfect in their portrayal of the passionate, gruesome twosome. Huston is comparably as entertaining in 'The Witches', yet in more recent films, I feel she has become slightly stereotyped in her roles. One of her better performances occurred in 'The Royal Tenenbaums' along with Gene Hackman, where she showed some of the same lustrous enthusiasm for the role, as she did in 'Addams Family Values'. Christopher Lloyd of 'Back to the Future' fame stars as Gomez's brother Fester - 'It means to rot.'! Fester is the unfortunate romantic fool and prey to the children's new nanny, due to his infamous amounts of cash. Lloyd as always is loyal to the fans and never fails to make one laugh, as the rascalish younger brother. Entreating the children to adventures with cyanide and arsenic in the first movie, he remains a loving uncle, always willing to light a light-bulb in his mouth for Pugsley's entertainment! Jimmy Workman, I have noticed is hardly ever credited for his very believable performance as the son of the Addams', Pugsley. As a young boy, constantly the play-thing in his sister's world of "Let's play 'God'", letting Wednesday electrocute him, assisting his sister in dropping their new sibling off the roof and generally carrying knives and other sorts of dangerous implements, all for the fun! 'Addams Family Values' is good, clean(ish) fun for all the family, but unlike its predecessor, it might be more enjoyable to the kids. | January 11, 2009 | N/A | |||
| Who's Afraid of Virginia Woolf? - Unrated |
This is arguably the best Taylor-Burton collaboration from the history of their extensive joint movie careers. "Who's Afraid of Virginia Woolf?" is a profound and rip-roaringly precise examination of the human psyche. Although Taylor won the Oscar (deservedly), Burton is once again under-appreciated by the industry and some critics alike. In scenes such as George's soliloquy in the garden, Burton manages to portray an intelligent, deeply intellectual man who is oppressed and misunderstood completely, or perhaps understood too well by his overbearing wife. Burton actually uses his facial expressions and physical gestures rather than his trademark booming voice for effect in this film. This works splendidly, particularly when he is framed in between Sandy Dennis and George Segal. The idea was to focus attention on Burton's eyes without using a close up and it does work perfectly. A rather sad and nostalgic effect is achieved through the two younger characters facing him who have their entire lives before them, whilst George has struggled through his own mere existence. The resentment felt by George is so clear in Burton's eyes as they sparkle with tears and become dull with a feeling of complete uselessness for the character.
As in other films, Burton does use his voice, only a little less frequently. His ability to change tone, volume and characteristic, vocally, are second to none. This is particularly evident in the scene where George destroys Martha's facade about their son. By using the malevolence of tone, fluctuating volume and harsh realism that Burton familiarised himself with through much of his early cinema, George ultimately deconstructs Martha's lies in the most devastating way he can. Burton conveys the absolute core of George, a broken man who has little use for his life, as though it really were himself. Taylor's performance is also outstanding. Whenever she gives a good performance, (which is more often than she is credited for) people are usually shocked. Perhaps this is because of her colourful personal life and the public need to chisel through it before her performance can actually be criticised. There is not a scene in "Who's Afraid of Virginia Woolf?" where she is not memorable. From her exclamation of "What a dump!" - alluding to the Bette Davis' film "Beyond the Forest" - to her excruciatingly brilliant deliverance of the final speech about her son, Taylor is truly on top form. In the former scene she carries out the infamous chicken eating sequence and speaks to George in a fashion that resembles some form of perceived 'normality', yet for it's time it is the most unnatural behaviour of a stereotypical 1960's American couple.While Edward Albee is to be thanked for this, Burton & Taylor only compliment his work. The dialogue in the chicken-eating sequence is portrayed as though this tension and hatred of each other is the norm for the couple. Martha: "We've got guests." George: "Got what?" Martha: "Guests. Guests!" George: "Guests?" Martha: "Yeah, guests. People! We've got guests coming over." Martha's soliloquy about their son is one of the best delivered speeches in the film. The trembling voice, the tattered appearance - so unusual in a Taylor film - and the exhausted expression combined, make it a superb deliverance. Burton's satirical interruptions with passages from the Last Rites in Latin are also brilliant and add to the drama. Sandy Dennis and George Segal are excellently cast also, especially Dennis. Segal notably won that year for Best Actor, beating Burton oddly enough. Dennis sparkles with youth and naivete particularly in the last scene. Her innocence is perfect as she attempts to stop George from destroying Martha when he tells her about the death of their son. Dennis also won in 1966 for Best Supporting Actress for the film, deserving nothing less. "Who's Afraid of Virginia Woolf?" is possibly one of the most trying films to watch at times as it is terribly depressing and heavy, yet vividly relatable and tangible. Many have said that Burton finally found the serious role that he searched for all his life in his final film "1984", but this film is my personal favourite of his. It is another factor which makes the film depressing, that Richard Jenkins was once again robbed of the recognition he so richly deserved from one of the few great roles of his career. |
January 11, 2009 | N/A | |||
| Cleopatra - Unrated |
I always pitied Joseph L. Mankiewicz for his attempts to make this film one of the greatest ever made and never actually getting full control of the project in the first place. Twentieth Century Fox was one of the reasons for the poor quality of the film that is available now. The problematic production costs, Taylor's fragile health and the Burton scandal are also to blame for the negative light that the film has bathed in for so long.
Originally, Mankiewicz had planned to make two films - "Caesar & Cleopatra" - and - "Antony & Cleopatra" - each, three hours in duration. At the last minute Twentieth Century Fox announced that Mankiewicz had to make one complete film involving all characters. The reason for this was that audiences would not be drawn in the same numbers if "Antony & Cleopatra" was released the following year and Taylor & Burton had not still been together. As a result of this Mankiewicz had to cut out more than two hours of footage that had already been filmed, leaving the film at 4 hours and 7minutes, which is it's current duration. This again was cut back to allow the film to be screened twice a day, so the film was originally around 3 hours long. The two hours of footage have never been found and it remains a sad omen to the film that Rex Harrison, Richard Burton and Roddy Mac Dowell have all died without seeing the complete finished film. When one casts aside all the drama that overshadows the film, it unfortunately doesn't add up to industry standards, or my own personally. There are some credible scenes, which may only be believable as they encounter Antony and Cleopatra during their romance, at the same time as Burton and Taylor were creating their own. Harrison and Burton do rise above the rest in most scenes; particularly Caesar's defeated speech to Antony and the Senate. Burton's, Marc Antony is as Mankiewicz wanted him. A weak, little boy inside who strives to do all that Caesar could not…and fails subsequently. Burton surpasses Mac Dowell in this film I always felt, especially when Antony confronts Cleopatra in her bedchamber about her constant flaunting of the memory of Caesar. In conveying the weakness and hopelessness he feels in himself at that moment, Burton is flawless. Taylor fluctuates in her performance. At times it is believable that she is the ruler of all of Egypt. The queen who wishes to bring out the warrior in Antony. The child who needs protection and guidance from her mentor and father figure, Caesar. The mother who wants her son to be proclaimed as the true King of Egypt. The strong ruler who will defy Octavian at any cost. At other times, she appears depressed and seemingly hassled by having to play the part when there is so much going on elsewhere. In fact the true story of Cleopatra is completely overshadowed by the false 'facts', and the feeling that the film is going nowhere. Overall, Taylor does seem to be drifting in and out of a sea of consciousness and barbiturates whilst trying desperately to give a good performance. It is impossible to ignore all the drama off the set as it sears through during the film. In one of the final scenes after Antony has been taken away and Octavian demands that the queen should surrender herself to him, Taylor's state of mind is ambiguous. It could be that she is so immersed in thoughts of Antony's death, or it could be that she no longer cares about the part. Taylor has refused to discuss the film for years and probably never will, therefore leaving it in the hands of a confused audience. As far as entertainment goes, "Cleopatra" does not rank too highly. I think that the film is a sad documentation of the sidelines to what was supposed to be one of the greatest epics ever made. In a way it is timeless because there has never been a film with so much publicised baggage attached to it. It is by no means perfect, Taylor herself threw up upon seeing the premiere in 1963, and it is widely believed to be the film that killed Joseph L. Mankiewicz. It is far better than some other films that have been made since and deserves a place in cinema history for Mankiewicz's brave attempts at filming a movie with no stable script and managing to sign some of the world's most famous stars to make it on this basis. It is quite impressive visually, and would have been even more so had the continuity not been so poor - a repercussion of cutting out the two hours of film. Although it rarely appears in compendiums of great films, "Cleopatra" is a wonderful film. It's uniqueness and sad undertones make it interesting viewing, even if it is to get a glimpse of the Taylor-Burton affair in full swing. |
January 11, 2009 | N/A | |||
| The Taming of the Shrew - Unrated |
Perhaps one of the better adaptations ever to make the screen, Zefferelli used exquisitely designed sets on location in Italy to create 'The Taming of the Shrew'. It is this input to design and the vibrant colours throughout that attest to getting the production out of the many potholes it falls into.
Adapted from Shakespeare's play, the story focuses on the brutish and obnoxious Petruchio (Burton) who arrives in Padua to find a wealthy wife. Signor Baptista, an elderly gentleman from Padua wearily attempts to find a husband for his eldest daughter Katherina (Taylor), a self-willed shrew. Petruchio, determined to make Katherina his wife embarks on humorous escapades to woo her and loosen her independent ways. The film is mainly light-hearted due to Zefferelli's fusion of mild slapstick with the original Shakespeare narrative. This leads to some obvious problems with the film overall. For example there is the dreadful song, which Burton is required to sing, 'Where is the life that late I lead'. Considering Burton was renowned for his voice, it is surprising that he fails to shine during this song. It is also surprising that Zefferelli decided to keep the song in the film as it adds nothing but a cringe factor. Aside from this Burton's dialogue has been dubbed over in ADR in some parts and to the trained eye, this is very noticeable. The film does give Richard Burton a chance that he was rarely given in his under-appreciated career. A chance to act with excellent dialogue, story and supporting actors. Particularly in the oh-so-hilariously named scene 'Kate on a Hot Tin Roof' (a nod to Taylor's 1956 portrayal of Maggie in Cat On A Hot Tin Roof). The scene sees Petruchio chase his bride to be across the roof of her fathers house and fall through into an abandoned barn. Although it is highly contrived and at times plainly clear to see that Taylor is fearlessly tip-toeing across the 'roof' with a safety net mere inches below her, the scene is saved by Burton's outstanding talent and Taylor's ability to use that shrill, irritating voice to good effect. 'The Taming of the Shrew' also allows for Elizabeth Taylor to give one of the best performances of her career - when she wants to. (Many myself included, consider her role as Martha in 'Who's Afraid of Virginia Woolf? to be her best.)The last sequence of The Taming of The Shrew sees Taylor give a speech about the stupidity of women to fight a battle of independence against their husbands when they should 'kneel for peace'. This is perhaps the films moment of clarity, where the audience finally sees Taylor's underlying ability to show the amateurs how it's done. Despite the films discrepancies there are many excellent scenes. The dialogue is naturally innovative as on expect from Monsieur Shakey. One particular whimsical factor, which would go unnoticed had Taylor not pointed it out in the 'Making of' featurette is her acquired 'American accent'. Taylor expressed fears of working with the 'marvellous Shakespearean actors'...including her husband because of the apparent loss of her English-born accent. This was nowhere evident to me, Taylor sounds as English as she did before becoming an icon from the MGM Studios but it is pleasing to learn that at the peak of her career, Taylor manages to show some humility. 'The Taming of the Shrew' remained a film that Burton and Taylor were always proud of, so much so that they put $1,000,000 of their own money into the production. Unfortunately such a joint investment in film was not to be repeated and Burton up until his death, would continue to lose out on the Oscars he so wholly deserved. |
January 11, 2009 | N/A | |||
| Quantum of Solace - PG-13 | Even if it is the shortest Bond film ever made, Daniel Craig still rocks my socks! Judi Dench kicks ass as always and the lack of romantic interference by the omnipresent Bond girls is just how I like it. The opening chase scene is well constructed to draw the audience into the action, as is the excellently choreographed rope sequence at the beginning of the film. Daniel Craig proves he is no imitator of previous Band incarnations. The pout, physique and his ability to wear a suit better than any screen icon since Gregory Peck all contribute to Craig's memorable performance. Olga Kurylenko and Gemma Arterton provide ample support as uncharacteristically sedate Bond girls. This makes for a refreshing change from the bevvy of beauties that formerly flocked around Pierce Brosnan's rather dry Bond, thus a more cohesive plot and more emotional drama. When Kurylenko's Bolivian/Russian agent tells Bond his loneliness is a direct result of his mindset, the film truly stands out for the lack of romantic inclinations of this Bond girl. Although the film could have been another half hour longer (to allow for Craig's naked upper body to be exploited a lot more!) it does entertain and stands its stead as a great Bond film. All round great action and squeezy abs abound! Ahoy! | January 11, 2009 | N/A | |||
| Veronica Guerin - R | While Blanchett is virtually faultless in portraying Guerin's ruthless approach to reporting the activities of The General and his cronies, the film fails to resonate with me. A stellar cast and evident research on Blanchett's part do not save 'Veronica Guerin' from leaving little to no impression on me. Schumacher's typical staunchy direction is the most likely culprit. The storyline, albeit factual is disjointed and the scenes where John Gilligan's henchmen launch attacks on Guerin at her home are unimaginative. If you've lived in Ireland and are familiar with Guerin's background then this film will provide the facts but distinctly lacks the gung-ho effect that Blanchett and Fricker so clearly try to convey. If anything the film does show the injustice that has survived in gangland Ireland, particularly surrounding John Gilligan's impending release. Considering this is not Schumacher's only flawed film (he's made far too many) my judgement of this effort is harsh. If the man finds it difficult to communicate Guerin's story with such an impressive cast perhaps he should retire. | January 11, 2009 | N/A | |||
| Blazing Saddles - R | January 11, 2009 | N/A | ||||
| Back to the Future - PG | January 11, 2009 | N/A | ||||
| Persepolis - PG-13 | January 10, 2009 | N/A | ||||
| Dancer in the Dark - R | January 10, 2009 | N/A | ||||
| Belle maman - Unrated | January 10, 2009 | N/A | ||||
| Les Voleurs (Thieves) (The Child of the Night ) - R | January 10, 2009 | N/A | ||||
| The Hunger - R | January 10, 2009 | N/A | ||||
| Belle de Jour - R | January 10, 2009 | N/A | ||||
| The Woman with Red Boots - Unrated | January 10, 2009 | N/A | ||||
| Les Parapluies de Cherbourg (The Umbrellas of Cherbourg) - Unrated | January 10, 2009 | N/A | ||||
| The Rocky Horror Picture Show - R | January 10, 2009 | N/A |
244 ratings
14 reviews
