My Favorite Movies

"The battle of Helm's Deep is over; the battle for Middle Earth is about to begin..."

Through my eyes, Peter Jackson's much-anticipated and much-glorified The Lord of the Rings: The Return of the King is the paradigmatic example of a perfect movie. The cinematic journey that initiated on Boxing Day 2001 and quickly received worldwide acclaim ultimately came to a conclusion with this final instalment. Personally, my passion for the Lord of the Rings trilogy never ceased and to this day I continue to view them frequently.

Just like its two precursors, The Return of the King was met with a congregation of positive reviews and of course recognition from the Oscar committee. I was ecstatic during the Oscar season at the beginning of 2004 when I discovered that the film was recognised with 11 Oscar nominations. Needless to say, I was even more ecstatic when Peter Jackson and his crew walked away with all 11 in their possession. The Return of the King won literally hundreds of awards worldwide and above all it accomplished a Box Office landmark: breaking the $1 billion milestone and becoming just the second film in history to do so. With this film walking away after sweeping the Oscars and sitting at a convincing second on the worldwide box office (as of mid-2008), this is indeed a rare event when it comes to a film offering of the fantasy genre. The technical proficiency is purely the finest that money can buy. Jackson's team at WETA workshop single-handedly created and rendered all special effects shots using software they had designed themselves.

This is by far the longest instalment in the Lord of the Rings trilogy; however it never feels too long. While many will complain (endlessly complain) about the length, I see the film in a completely different light. The way I see it the length is necessary to maintain a sense of fidelity to the novel and to successfully wrap everything up. If anything, I hate it when filmmakers rush things and end up with a missed opportunity on their hands. Peter Jackson had a modest budget and some astronomically amazing special effects on his side, so the work in every other department had to be top notch. Jackson's supreme gift is that of total immersion; the breathtaking lands of Middle Earth remain vibrantly alive. The film's pace may be reasonably slow for some, but the beauty soars with opulent layers of architecture, geography and complex storytelling.

Just like both entries thus far in the trilogy, The Return of the King reinvents the word "epic" completely. Many of the battles throughout the film display rich texture, and awe-inspiring showcases of visual effects. The action is emphatically extravagant and brought to life on an exorbitantly impressive scale! But what separates this from most fantasy epics is the heart at its core. Whenever there's a battle, you'll always find a satisfying serving of emotionally-charged moments featuring intimate scenes with the central protagonists. This coupling of visceral special effects and moving moments that display deep camaraderie is absolutely spellbinding!

This third and final instalment in the Lord of the Rings trilogy starts off almost exactly where The Two Towers ended. One must remember that all three of Tolkien's novels were written to plainly be one enormous piece of literature, and it was his publisher that insisted the novel should be split up the three shorter, more convenient components. In essence, all three additions to the cinematic Lord of the Rings trilogy can be edited together and the transitions would be seamless. The films are identical to the situation with Tolkien's novels: one big chunk of storytelling that's separated into three parts. You can never watch The Return of the King without first watching the initial two parts as this was never meant to be a standalone movie.

The first section of the plot here is concerned with Frodo (Wood), Sam (Astin) and the creature Gollum (a digital character played by Andy Serkis). As they move closer to the dark lands of Mordor, towards the fire of Mount Doom where the One Ring must be destroyed, the ring is becoming a heavier burden for the troubled young Frodo. As the quest perseveres, Frodo is becoming severely tested. Faith has been placed in Gollum to lead the Hobbits to Mount Doom despite the constant mistrust that Sam holds for the former Hobbit. On the outside this seems like a simple physically straining journey, but it's also an emotionally tiring journey on the inside for the three companions. While this story unfolds, the focus also alters to the remainder of the original fellowship. Sauron's eye has shifted to the city of Minas Tirith, the capital of Gondor, as the next target for his rampaging army. The fall of Gondor will mean the end of Men and the completion of his objective to clean Middle Earth of the species. A portion of the original fellowship, along with a horde of newer characters, move to the city of Minas Tirith to help build up defence for the impending attack and possible destruction of the White City. We find Aragorn (Mortensen), Legolas (Bloom) and Gimli (Rhys-Davis) through their more diverse journey into the cursed mountains to summon the legendary Army of the Dead.

This brief synopsis barely breaks the surface of this grandiose, all-round extremely satisfying epic film.

The Lord of the Rings: The Return of the King is an unprecedented milestone of contemporary moviemaking. If The Two Towers raised the bar with its epic battles, then The Return of the King knocks the bar cleanly out of the ground! This is so much more than just a simple fantasy epic, in fact this is multi-faceted tale about the strength of character, friendship, loyalty and love. Each shot is sizzling with visual elegance...the special effects are nothing short of breathtaking! Every battle is truly monumental in its sheer scale, as well as exciting and intense. Previously, I briefly touched on the emotionally-straining moments that this film has to offer. The cast pull off these moments beautifully and I was extremely close to tears more than once during the movie. There are several truly moving moments that still give me goose bumps at the simple thought of them. These moments are fuelled by not only the motivating performances, but the score courtesy of composer Howard Shore. The composer was recognised with an Oscar and I plainly cannot quibble with this decision. The music retains the elegance of the visuals, and even makes the epic battles look even grander.

There are only a few new additions to the cast that are introduced here, the most notable being Australian actor John Noble as Denethor who rules Minas Tirith with an iron fist. The Oscar committee barely gave any recognition to the actors (only awarding Ian McKellen with a nomination for Fellowship). I guess with so many people in the cast it'd be impossible to choose one or two for a nomination. Andy Serkis is one member of the cast that deserves particular credit. He's hidden behind digital make-up, but each line he delivers is potent and really hits home. The acting from Elijah Wood is truly a triumph to behold. His performance required a great degree of emotion to portray the ring's power to corrupt. His performance was critical in order to display the ring's influence, which needless to say is absolute. Each character has their own personal demon to confront, and each undergoes their own inner journey. Every cast member does their job stunningly.

The Return of the King has of course been filmed in Peter Jackson's homeland of New Zealand. The Kiwi landscape is vast and beautiful. Whenever one views the film we're taking a step inside the gorgeous land of Middle Earth. Peter Jackson is a visionary, and like all the preceding films the attention and care to every conceivable detail is incredible.

The Fellowship of the Ring is a build up with an even share of action and exposition. The Two Towers is more exposition and build up followed by some action. With The Return of the King, the build up is definitely worth it...every second. The exposition has already been established in the other films, so this film is short on exposition and instead stocks a great supply of action scenes that are truly a cinematic marvel. The battles are lengthy but never suffer from over-length...each second is as intense as the one preceding it. Then the conclusion to the film is wholly satisfying. Some people complain about "too many endings". Okay, so there were many instances when the film could have ended but instead moved onto something else. Fair enough, but I mean this trilogy has already gone for like 9 hours...they can't wrap everything up in a hurry and leave plot holes or stories that haven't been concluded. Instead of rushing everything, each second is lovingly created in all aspects: filming, editing, colour scheme, special effects, acting, scripting, etc. The best part is that this end remains faithful to Tolkien's original novel. Thus the fans needn't worry...for the novel has been properly transferred to the medium of film.

There are far too many pointless and vain arguments between the haters and the lovers of the trilogy. The bottom line is that we're all entitled to our own opinion, and we can't all agree. Thus labelling Peter Jackson's masterpiece as "overrated" only proves that you are too narrow-minded to accept the fact that you are just a component of the minority that disagrees with the majority.

Overall, The Lord of the Rings: The Return of the King is the crowning achievement of the fantasy genre. In terms of a conventional fantasy with wizards, magic and mythical creatures, this is as good as a fantasy film can get! Since 2003 this film has been my favourite of all time. In the number of years since the first time I saw it, I have never seen a film that can top the quality and escapism of this masterpiece. All three Lord of the Rings films score top marks from me, which is a rarity when it comes to a trilogy or series. All three films are truly an unfathomably excellent work of art. J.R.R. Tolkien's legacy that was preserved on pages is now preserved on film for the audiences of the contemporary age. The Return of the King is one of the most finely tuned and cinematically perfect films ever made. Winner of 11 Oscars including Best Picture 2003, Best Director, Best Visual Effects, Best Makeup, Best Score among others. Also available in an extended edition that adds 50 minutes to the experience.

In the common tongue it reads "One Ring to Rule Them All. One Ring to Find Them. One Ring to Bring Them All and In The Darkness Bind Them."

The Lord of the Rings: The Fellowship of the Ring marks the first ambitious film adaptation of J.R.R. Tolkien's highly praised and acclaimed series of fantasy novels. Naturally, transferring one of the world's greatest fantasy novels to the screen would subsist as a daunting undertaking. For the die-hard fans of Tolkien's legendary novels, uncertainty was always an issue when small-time New Zealand born director Peter Jackson took the reigns. Although Jackson is an accomplished director who had previously helmed such films as Heavenly Creatures and Bad Taste, no-one knew for sure if the Kiwi was up to the task. The results are absolutely outstanding: a ripping yarn of a fantasy film rich in extraordinary production values, astounding special effects and never a dull moment.

The hordes of Tolkien fans must have breathed a collective sigh of relief when Peter Jackson's The Lord of the Rings: The Fellowship of the Ring thundered across cinemas worldwide and became an instant hit. The film grossed millions of dollars globally and was being met with cavalcades of acclaim including mountains of positive reviews. What's more - the film also scored 13 Oscar nominations and subsequently walked away with 4 wins. Although previous stabs at adapting Tolkien's novels to the big screen yielded embarrassing results, Jackson's prior experience and familiarity with the fantasy genre translated into a respectful, lavish, gorgeously-mounted production that breathed fresh cinematic life into Middle Earth.

This first instalment in the Lord of the Rings trilogy introduces the characters and establishes the story. An ancient ring of power was forged several centuries ago by the Dark Lord Sauron (Baker). Sauron's master ring, known as the One Ring, was filled with Sauron's sinister power and contains the capability to rule all peoples of Middle Earth. After an impressive opening montage that recaps the integral events of Middle Earth that have occurred thousands of years ago, the story then picks up at Hobbiton: a village that is largely inhabited by the Hobbit race.

After being lost for centuries, Sauron's One Ring is picked up by a Hobbit named Bilbo Baggins (Holm). Fast forward a few decades and it's Bilbo's eleventy-first birthday. As the celebrations rage on, Bilbo should be happy but feels empty as his life is seemingly winding down and there are still a lot of things he wants to do before shuffling off. Bilbo departs Hobbiton, leaving the One Ring to be inherited by his nephew Frodo Baggins (Wood). Frodo soon learns that this ring is Sauron's master ring, and it must be immediately destroyed. Now Frodo must embark on a journey to the fires of Mount Doom. Only in the flames of that mountain can the ring be destroyed. If he fails and a resurrected Sauron reclaims the ring, he will bind the other 9 subservient rings to his will and cast a pall over the lands of Middle Earth.

The film's subtitle, The Fellowship of the Ring, is drawn from the milestone in Frodo's journey to Mount Doom that occurs: Frodo collects a band of companions who swear to aid in the quest and protect Frodo at all costs.

The film's easy-going first hour quickly transforms into a heart-stopping, exciting, powerful and violent saga that is truly difficult to find boring. Although audience reactions were mixed and many complained about the film's length, I frankly cannot imagine myself being bored.

To say that I loved this film is a gross understatement. Not only is Tolkien's novel one of the greatest books ever published, but Jackson's film adaptation now confidently places itself amongst the greatest movies of all time. This first instalment in Jackson's trilogy is a labour of love - he and his team were determined and worked endlessly to accomplish the best possible product. Jackson's first LOTR film is visually astounding, as well being outstanding in terms of audio and atmosphere.

While so many battles were created using computer technology, this is the blueprint of "epic". Over the years we've seen "big" films like Titanic and Braveheart, but this film simply dwarfs most movies in terms of sheer production size. Every facet of the movie has been done to perfection - every chair, every sword, every location. Why has it taken so many decades to finally get this ambitious project off the ground? Simply because the sheer scope and size of the production would cost far too much. Even in the age of advanced digital technology and big-budget epics, it took countless years to finish. It's refreshing to see so much determination to reach perfection. The descriptions of everything in Tolkien's novel are brilliantly matched by the ideal creative team.

Pale imitations like Harry Potter are a regularity. In the years succeeding this film's release the world was exposed to failed fantasy epics like Eragon, just to name one. The brilliance of Jackson's The Lord of the Rings trilogy will always remain unmatched. To quote a music reviewer, this film is the "blueprint for a trillion inferior facsimiles." With the aid of contemporary filmmaking technology and the diverse New Zealand landscape, the visual result is simply impossible to match.

Special recognition must go to Howard Shore for composing the music that won an Oscar! I own the soundtrack CD and can't get enough of the music. It's exciting, intense, grand, passionate and even heart-breaking at times. This is the cherry on top.

The film is astronomically elevated by the marvellous cast. Elijah Wood makes an exceptional Frodo Baggins. This is an emotionally challenging role for the youthful actor, and nevertheless he nails it perfectly. Sean Astin plays the exigent role of Samwise Gamgee. The role called for an endless assortment of diverse emotions that Astin strikes faultlessly. Ian McKellen is utterly flawless as Gandalf the Grey. McKellen was acknowledged with an Oscar nomination for playing Gandalf with equal parts of underhanded humour and shrewdness. McKellen IS Gandalf and there is no doubt about that. Viggo Mortenson convincingly pulls off the dashing Aragorn: a ranger who becomes determined to help Frodo. Credit must also go to Sean Bean. I am a great admirer of Bean, and must mention his outstanding performance. His versatility is tested with this challenging role: like many other additions to the cast, a collection of emotions are pivotal. Bean passionately pulls off the role of Boromir.

I'm not even halfway through mentioning the cast! Orlando Bloom got his big break playing the loyal elf Legolas. This is the single role that Bloom was meant to play. The character is flat and emotionless...and this describes the nature of every single Orlando Bloom performance. John Rhys-Davis is sublime as the dwarf Gimli. This is one of the veteran actors included in the cast. I couldn't imagine anyone better suited. Finally there are great portrayals from Billy Boyd and Dominic Monaghan as two Hobbit companions, in addition to sublime elf portrayals from such actors as Hugo Weaving and Liv Tyler. The cast is truly a wonder to behold!

Overall, The Lord of the Rings: The Fellowship of the Ring will forever be one of my absolute favourite movies! I still recall the first time I saw this movie: it was Boxing Day 2001 and my favourite uncle dragged me along to the cinema with my brother and cousin. We had booked tickets in advance and it's a good thing we did as there was a sign outside that strictly read "LOTR sold out!" Ever since that first screening I viewed, I subsequently saw it many more times at the cinema (about 5 more times, actually) as well as watching it at marathons and in the comfort of my own bedroom where I can watch the DVD.

Peter Jackson and his creative team have achieved a cinematic marvel! Even with characters and segments of the book being removed, this will remain the definitive cinematic vision of Tolkien's novel for many decades to come. One of the most anticipated cinematic events in history has finally transpired and in my opinion it is completely worth the wait! Some will love it, some will hate it: I will always be part of the former. Critics and audiences alike will always praise this film, and who's to quibble? It's a fine movie! Winner of 4 Oscars. Later released in an extended version.

It's Hebrew, it's from the Talmud. It says, "Whoever saves one life, saves the world entire."

Steven Spielberg's Schindler's List is a challenging film to review. The incentive behind this is not because it's a bad movie...but that it's such a powerful experience to exhibit and it's virtually unfeasible to illustrate its power by employing words. In a sense, Spielberg's Schindler's List is something much more than a movie: this is a phenomenon!

When it was announced that director Spielberg was taking the reigns, this declaration encountered nothing but abject incredulity. Beforehand the director had only helmed mainstream blockbusters and films exhibiting bright exuberance like Jaws, Always, The Sugarland Express, Raiders of the Lost Ark and several others. Questions and uncertainties began to surface concerning the director's aptitude and capability to tackle a project of such enormity. There comes an occasion in the career of a director when they step away from the genre in which they take an interest, instead attempting something new. Certain directors have failed, some have prevailed. When Schindler's List was set for release, audiences sharpened their knives due to their qualms regarding the director. But make the film Spielberg did, and the world came to watch.

Spielberg achieved his goal beyond all initial comprehension...this was a step upwards for the director and a significant milestone in contemporary cinema. For the film's three hours duration audiences sat under an overwhelming collective spell - horrified, beleaguered, fascinated, inspired. As movie-goers stumbled, erratically blinking, from the theatres of the world, moist-eyed and moved, it became clear that a new era of filmmaking had commenced. Spielberg traded in his stereotyped career in the year 1993 with an astonishing double-whammy - he envisioned an unparalleled Holocaust template with Schindler's List, as well as resurrecting the dinosaurs with his astounding vision in Jurassic Park. By 1994 Spielberg was presiding over the most lucrative motion pictures of all time, and finally he received his cherished Oscar.

The subject matter is correctly a delicate topic. After all, it was only a number of decades ago that Adolf Hitler instigated a policy that necessitated the annihilation of Jews. Personally, I have studied the Holocaust in detail and am knowledgeable in the intricate, heart-wrenching niceties regarding the events leading up to mass murder. On a daily basis throughout the Holocaust, thousands of Jews were executed in sadistic ways - people were cooked alive, some shot, even some were exposed to poison gas. The disturbing factor is that the Nazis never felt an iota of sympathy due to the attitudes they were so severely lead to believe.

The focus of Schindler's List is not to portray the horrors that unfolded in extermination camps at all. Spielberg keeps the focus purely on the more minor events, and above all the viewpoint from a select few characters. The heavy nature in its depiction of executions challenges out notion of tolerance. We are challenged not only by the staggering acts of cruelty we see, but by the equally confounding acts of kindness. As we observe these ghastly proceedings unfold, we are strained to identify those virtues within ourselves that are equally light and dark. Schindler's List is not a film that we can impassively scrutinize. We are propelled into the dismay and the panic...the indignity, the brutality. As the title would suggest, this film is mainly the story of one man: Oskar Schindler (Neeson). Schindler is a Czech of German ethnicity who travels to Poland with the intention of becoming a war profiteer. He employs assistance from Jewish investors in order to buy his own pots-and-pans factory. At the outset, Schindler uses forced Jewish labour because it was inexpensive compared to hiring Polish workers. However, Schindler witnesses as World War II and the Holocaust develops with devastating results. These events are too overwhelming to fathom, and Schindler begins experiencing a slow, subtle moral awakening. His poignant story of bravery and generosity launches when Schindler cons the Nazis as he places more than a thousand Jews under his protection. By the conclusion of World War II, Schindler had exhausted his whole war-generated wealth to guarantee that his Jews would never again be touched by the Nazis.

On a more subtle, thematic level the screenwriter portrays a battle for Schindler's soul between camp commandant Amon Goeth (Fiennes) and Jewish accountant Itzhak Stern (Kingsley). Schindler's story is a staggering one. In a cacophony of death clouding his existence, one man managed to save roughly 1,100 Jewish lives using charisma, bluster, and trickery. The Holocaust has been previously described as a mechanical insanity because of the enormity of people who followed the philosophies: they are like cogs in a machine. It took a single person...a single machine cog with alternative ideas and an ethically problematic lifestyle (Schindler treasured alcohol and womanising) to mislead the Nazis (who regarded him as their frivolous comrade).

At the centre of the film we have a simply sublime group of actors. Liam Neeson nails the character of Oskar Schindler in a satisfyingly brilliant performance. Neeson perfectly displays Schindler's quiet method of expressing his morals. His outward show suggests he is a close buddy of the Nazis, but on the inside he's resentful and anguished towards the brutal, arbitrary termination of Jewish lives. Neeson was nominated for an Oscar. Ralph Fiennes was also nominated for an Oscar. His performance is utterly terrifying: he's intimidating and unnerving whenever he steps into the frame. His sheer established cruelty and viciousness will be enough to leave you in complete shock. This actor is focused as he portrays a character that appears to be soft-spoken when in fact his intentions are cruel and inhuman.

The meticulous screenplay was penned by Steven Zallian, and was based on the source material by Australian writer Thomas Keneally. Interestingly, Keneally was an accomplished author when he strolled into a luggage shop and immediately struck up a conversation with the shop owner. Said shop owner was one Leopald Page, formerly Poldek Pfefferberg: a Schindlerjuden. During their friendly conversation, Pfefferberg conveyed to Keneally the story of Oskar Schindler: the German industrialist who had saved him and 1,100 others from certain death in occupied Poland during the 1940s. Schindler was a Nazi who had not stood back. Keneally was so inspired and moved that he transformed this story into the Booker Prize winning novel Schindler's Ark. The rights were soon purchased by Universal boss Sid Sheinberg, and the transformation from book to movie was soon initiated. When Spielberg was involved in the project he originally offered the film to director Roman Polanski, but his own experiences in Polish ghettos were too tender for him to accept the director's chair. Thus Spielberg, who was at the time ensconced in post-production work for Jurassic Park, decided to tackle the directing duties himself. The director flew to Poland and began his masterwork for which he accepted no salary, saying that it would be akin to taking "blood money."

Spielberg worked intimately with cinematographer Janusz Kaminski, and the project was lensed using stylish grainy black and white photography techniques. The film was undertaken without any storyboarding: Spielberg planned each shot instinctively as the cameras were about to roll, where all of his God-given skills as an accomplished director were distilled into something intuitional and turbulently expressive. The cinematography techniques created a realistic atmosphere of almost documentary footage: he utilised jarring hand-held filmmaking to portray the intense confusion for the Jews during times of complete chaos. Spielberg evokes these creative techniques to create the illusion of complete immersion: for the 190 minutes that make up this film's duration, you will feel transported to an entirely different world...you will feel engrossed in the occurrences. The music by none other than John Williams (Spielberg's trademark composer), is a poignant composition that adds to the atmosphere. But it's not the music that ultimately helps the audience get involved: it's the visuals. One scene was played to very little music; however it always makes me cry. The scene in question is when we watch as corpses are transported past Oskar Schindler to be dumped into the ground without an iota of sentimentality towards any of the victims. No matter how manly you consider yourself, your eyes will be moist.

Spielberg does not want his audience to endure a fun romp that you'll want to immediately watch again...he instead tells his story straight and with the utmost sincerity. World War II films cannot come more personal than the masterpiece that is Schindler's List. The reviews were exultant and the Oscar committee rewarded the film with twelve nominations. Although Spielberg did receive some criticism in relation to several aspects of the film, such judgements are hard to swallow after watching this film. While some slam the director for not including the prejudice towards the handicapped and the homosexuals that were also prosecuted, or that the focus was shifted away from the concentration camps...quite simply it does not matter at all. This is the story that Poldek Pfefferberg wanted told: a story that intimately examines one man and his struggle to come to terms with his morals during an internationally horrific event. This was never meant to be the definitive Holocaust film and hence doesn't need to concentrate on all aspects...this is a personal movie based on a personal experience.

After trying with such dedication since the commencement of his career, Steven Spielberg has finally achieved a mature production with Schindler's List. An extraordinary work by any standard: this intense historical and biographical drama, about an amazing Nazi industrialist, evinces an artistic intransigence and unsentimental intellect disparate from anything the world's most successful filmmaker had previously demonstrated. Infused with a brilliant screenplay, outstandingly sinuous cinematic techniques, three astonishing lead performances and an approach toward the traumatic subject matter that is both passionately felt and impressively restrained, this is the film to win over the Spielberg skeptics.

Even now, all these years after its cinematic release, Schindler's List remains an expressive, heartbreaking and remarkable slice of filmmaking that transcends all obstacles of theatrical disbelief. The film successfully draws us personally into the dark hearts of a dark age, and then liberates us with the few beams of light produced by the actions of the righteous few. The harrowing detail and poignancy of this production will enthral audiences for generations of movie-goers to follow. After you finish watching this movie you will have the words of Schindlerjuden profoundly present in your heart - "That it may never happen again." Winner of 7 Oscars including Best Picture 1993, Best Director (for Steven Spielberg), Best Cinematography (for Janusz Kaminski), Best Music (for John Williams), Best Film Editing (for Michael Kahn), Best Writing based on other material (for Steven Zallian) and Best Art Direction/Set Direction (for Allan Starski and Ewa Braun).

"We've become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change. Yes sir. How's that for a bit of homespun philosophy?"

Rear Window is an undemanding lesson in accomplishing perfection from simplicity. This classic film was the creation of Alfred Hitchcock during one of his last grand creative spells. In the years to follow, the all-time master of suspense produced such classics as Vertigo and Psycho.

Rear Window is Hitchcock's supreme cinematic creation, his crowning triumph and the feather in his cap. With this particular production, the director influenced thrillers and their formulas still decades following its release. Rear Window is a film that invents the clichés. Preceding Hitchcock's masterpiece, said clichés didn't exist. The certain formula didn't exist either. Ergo, a modern audience labelling the film as "clichéd" or "predictable" is both unjust and unfair. Taking the film's age into account, this is a faultless production that unfortunately gave birth to millions of subsequent reproductions. The film is a multi-faceted production enriched and permeated with screenplay integrity, realism, credibility and originality. On top of this, Hitchcock's competently entrancing direction is capable of keeping an audience enthralled from start to finish.

Alfred Hitchcock's masterpiece, Rear Window, is a riveting thriller pervaded with tension and a spellbinding atmosphere. It's truly a gem and a half! Everyone has at least heard of this production. If one hasn't seen it, they're probably sick of the hype, praise and acclaim. Be that as it may, there is a reason why Rear Window is held in high regard over 50 years since its initial release. The crux of its perfection is within its straightforwardness. It's probable to argue that the film is supported by an exceedingly boring concept, as the film's events concern one person in one room. Mind you, that one person is actor James Stewart...and that one room is an intricate creation augmented with authenticity and absorbing panorama. Moreover, this is Alfred Hitchcock we're discussing. That director has forever been regarded as the master of suspense. Although countless have endeavoured, no other directors can competently tackle the genre like Mr. Hitchcock. His filmmaking allure lies in his ability to keep an audience captivated and interested. This is achieved by employing attention-grabbing camera movements and a succession of proceedings grounded in gripping realism.

This simple story is set in the apartment of successful, professional globe-trotting photographer L.B. "Jeff" Jefferies (James Stewart). After an unfortunate incident during an assignment, Jeff becomes confined to a wheelchair in his boring apartment. Jeff is faced with sheer boredom and, with nothing else to do, he begins spying on his neighbours. With the occasional visit of his nurse (Ritter) and beautiful girlfriend Carol (Kelly), there's plenty of time for Jeff to become consumed in the private dramas of his neighbours. One night his voyeuristic activities pay off when Jeff believes that he witnesses a murder. Salesman Lars Thorwald (Burr), living in the neighbouring apartment building, begins acting suspiciously after the unexplained disappearance of his nagging wife. Gradually, Jeff builds his investigation and he becomes increasingly convinced that the salesman is guilty of murder. While he steadily gathers evidence, Jeff draws others to his intrigue.

Witty, enthralling, poignant, comical and prudent - Rear Window challenges an audience with its connivance in the stories witnessed. Hitchcock also works up the film to one of cinema's greatest hero-and-killer confrontations. This confrontation is particularly memorable for Thorwald's acquiescent perplexity that a stranger would be interested in his certain life, let alone keen to expose his secrets. Flawless...essential.

Hitchcock's camera remains in one apartment, with very few exceptions. Despite sounding quite boring as we remain in one location for the film's entirety, Rear Window is an absorbing film crammed with limitless suspense. Hitchcock is of course the master of suspense, so you'll find many moments here when it's difficult to draw a breath. The director keeps his audience enthralled and engrossed until the unforgettable climax. The classic touches from a classic director are truly hard to beat. He can raise a clever grin occasionally while keeping an audience riveted and on the edge of their seat.

The single location is also an extremely fascinating one. Cleverly, the focus isn't directly on the murder plot. The characters are occasionally entangled in the dramas unfolding in other apartments. We are introduced to a cavalcade of people, and the short character development is effective despite being brief. The script is always taut and there is never a wasted frame. Hitchcock always uses his visuals to tell his story with further intrigue and suspense without relying solely on music. Silence, in fact, provides some of the film's most terrifying moments. Even better, the focus is on the protagonist and his story. The ending may seem rushed as the explanation is revealed very quickly, but this is one of the best decisions on Hitchcock's part in my opinion. It reminds the audience that we're following Jeff, and only a few moments of pure exposition were necessary. It also shows the build up of tension in Thorwald that eventually bursts open forcefully...he becomes ready to confess. This is a rare film that flaunts excellence and perfection in just about every aspect.

James Stewart's performance was absolutely essential. As we're spending the duration of the film in a single location with a chief protagonist, it was a necessity for Stewart to exude charm and charisma to keep the audience enthralled. Stewart has always been one of the screen's greatest performers. Partner him with Alfred Hitchcock and you simply cannot go wrong. For every shot...every frame...Stewart never strikes a false note. He's also fascinating and he possesses a particularly engaging voice. The eminence of his performance is demonstrated in the nuances, and none are superior to the expression of reprieve as he relieves the itches caused by the plaster cast. Stewart is simply so darned excellent in any role he tackles! Alongside Stewart, the beautiful Grace Kelly appears as the love interest that becomes entangled and obsessed with uncovering evidence to prove a man guilty of murder. At the time of release, Grace Kelly was one of the screen's greatest beauties and she abundantly reminds us of this. Thelma Ritter brings a delightful comedic sense to her role as Jeff's nurse. Across the entire film, there is an evident ring of excellence around the entire cast (no, not the cast on Jeff's leg).

Not only is Hitchcock a master of the thriller genre, he's also one of the greatest directors of all time. In his career he directed several memorable masterpieces such as North by Northwest, Psycho, Rebecca, Vertigo and several others. No-one then or now could match Hitchcock's large quantity of quality masterpieces. They say it's impossible for a director to helm more than 2 or 3 masterpieces in his career. Hitchcock transcends this expectation. Rear Window is his best film in my opinion. Everything about the film is pure perfection. If there was a rating higher than 5/5 or 10/10, then Rear Window would undoubtedly wear that rating with aplomb.

Several film buffs and cinema enthusiasts would concur that there's no such thing as a perfect movie. In my opinion, that statement is highly incorrect. This is a masterpiece of the highest order: a faultless marriage of tension, romance, drama and mystery with undertones of intrigue. Cunningly manipulative in optimum Hitchcock elegance, as well as managing to offer us with a complete gamut of human emotions and intrinsic idiosyncrasies all from the vantage point of just the one room: there is good reason why Rear Window is regarded as a classic masterpiece. With an impeccably selected cast, a virtuoso script courtesy of John Michael Hayes and a man who was probably the most creative director to ever draw breath...it simply lacks nothing. The best aspect is in its ability to build effectively until you abruptly realise that you're completely engrossed in this cinematic universe and you don't want the film to end. You cannot afford to miss this one.

"There was a barber and his wife...and she was beautiful..."

Tim Burton is unquestionably one of my favourite directors, if not my absolute favourite director. It's a fact that no matter what the film or the subject matter, I will view a film helmed by Tim Burton (at the time of writing this review, I have seen all of Burton's work and own all his films). The partnership of Tim Burton and Johnny Depp will forever be a movie occasion to treasure, be it Ed Wood or Edward Scissorhands among an enormous number of others. It was the end of 2006 when Dreamworks fast-tracked Burton's latest collaboration with Johnny Depp...and I initially discovered Sweeney Todd: The Demon Barber of Fleet Street. The plan was to transform the lucrative Broadway musical into the world of live action cinema. The best part is that Burton promised a full-on musical to maintain a sense of fidelity to Steven Sondheim's brilliant Broadway production. Before the announcement of Burton's cinematic version of the musical, I hadn't possessed any prior knowledge of the source material. I had no idea what the film was about until my interest suddenly flared and research followed.

If you're familiar with the Broadway musical, you'll be aware of the dark humour and gothic style that is such a prominent feature. Sweeney Todd is a story intended for Tim Burton. The director possesses a distinctive superiority when it comes to the macabre and gothic tones. With the completion of creepy period films such as the wondrous Sleepy Hollow, director Burton demonstrated a special ability to deliver dark humour and elegant visuals. Burton is a director who can bring flawed and unusual characters to life. He is the master of darkness and has adapted a penchant for tossing a little blood around his sets in an exaggerated, albeit entertaining manner. Since the beginning of his career, stunning gothic visuals and extravagant production design has been his forte. Sweeney Todd is a film regarding a central character who is a sorrowful, vengeful and formerly caring individual. This character finds redemption for crimes against him and his family by slashing the throats of the innocents of London while hoping to one day slash the throat of the man who stole his wife and daughter from him. What better plot and central character could possibly be better suited for Tim Burton to bring to life?

2007 was a year that beared the release of several great films, but the year also saw its fair share of bad films (in my opinion, there were more bad films than good films throughout the year). Tim Burton's cinematic vision of Sweeney Todd: The Demon Barber of Fleet Street is a masterpiece of epic proportions, and ultimately ended up being the best film of 2007 without question or debate. After mentioning so much about Burton's brilliant work, I must admit I was a little worried because Burton's last movie, Charlie and the Chocolate Factory, was disappointing to say the least. With this film, however, Burton patches up the scars. Like I previously mentioned, I didn't know much about the source material before walking into the cinema and had no idea that this film was going to be so good. Within the first few seconds of the titles commencing, I was completely enthralled in Burton's universe.

The film is so poetic, stylish, beautiful and so incredibly emotional at times as well. Every shot has been conceived beautifully, and every line delivered remarkably. This is a musical of course, so naturally the songs being interesting is a vitality. All the songs are utterly stunning and are crafted beautifully. Combine the witty lyrics of Steven Sondheim with the musical stylings of a successful Hollywood composer...suddenly things are looking interesting. The songs are both memorable and remarkable. I purchased the soundtrack CD immediately and now it's my default channel.

Sweeney Todd: The Demon Barber of Fleet Street is the story of a man named Benjamin Barker (Depp) who once had everything; a wife, a child and a successful career as a barber. For Barker, life could not be better. But a false conviction of a crime he did not commit destroys his happiness and his life, causing him to suffer through a massive, heart-breaking emotional trauma. Upon Barker's London homecoming by boat 15 years later to right the wrongs against him, he comes home to nothing. His family has been ripped apart. He forms an unlikely partnership with Mrs. Lovett (Carter), a creepy old woman who owns a pie shop. Benjamin Barker, who now goes by the name of Sweeney Todd, wants revenge on crooked Judge Turpin (Rickman) who convicted him out of sheer jealously. Sweeney re-opens a barber shop on Fleet Street, with the intention of getting sweet revenge on Turpin if he comes in for a shave. Sweeney uses his sharp silver blades to slash the throats of the innocent London public that come in for a shave, before destroying the evidence of his crimes by allowing the troubled Mrs. Lovett to cook the human corpses into her pies.

From start to finish, I was completely hooked. I literally couldn't tear my eyes away from the screen. Its combination of a superb cast, excellent music, exquisite production design and gorgeous cinematography creates a flawless movie. I remember goose-bumps literally covering my body as soon as the music commenced at the start of the opening credits...the outstanding organ music that successfully creates the desired atmosphere and tone for what is about to come.

Burton's unique colour scheme depicts the grimy streets of London with extremely drained colour that predominantly makes use of grey a black among other dark colours. The sky is always dark, with never a ray of bright sunshine poking through. This is the depressing, gothic mood that the director aimed to achieve. During the flashbacks that depict the events of the past, the colour scheme has been changed to show an array of bright colours as the sun lights the cheery streets. This symbolises Barker's emotions, so to speak. When Barker is happy with his life the colours are bright and joyous. Then when he returns to London and the life he once lived has been destroyed...his depression is reflected in the gloomy visuals.

Johnny Depp, playing the demon barber, is absolutely remarkable. Before this film Depp had never displayed his singing abilities on film. Before he was an actor he played guitar in a band with never an attempt to handle any vocals. If it weren't for his close friend Tim Burton asking him to consider a singing role, he would have gone through his whole career without singing a note. Thankfully, Depp's former career in the music industry allowed him to sing a brilliant tune. Before the film's release, Depp singing was a big question mark. As the film was not marketed as a musical from the previews, we were therefore never given the opportunity to witness the actor handling a song. When I first viewed the film in the cinema (on opening day) I sat in complete awe at the beauty of Johnny Depp's breathtaking singing. The actor was recognised with a Golden Globe win and an Oscar nomination for Best Actor (I still believe he wholly deserved to win). Helena Bonham Carter was the only member of the cast I was reluctant about, but my fears were soon alleviated by her stunning acting skills. She is able to carry on a brilliant duet with co-star Depp. Her singing is amazing. Alan Rickman is brilliant here, as are the rest of the supporting cast. This includes Timothy Spall, Sacha Baron Cohen (whose singing is quite incredible), Jamie Campbell Bower, Laura Michelle Kelly, Jayne Wisener and Ed Sanders. Every member of the cast can sing to perfection.

Sweeney Todd: The Demon Barber of Fleet Street is a brilliant mix of dark humour, horror, romance, drama and tragedy. The ending is very sad, but very poetic at the same time. As the credits start to roll (with every screening I watch) I am a complete mess. Usually tears are escaping my eyes...I'm left speechless and stunned. The film is very violent, and when the exaggerated bloodshed begins it is very relentless and there is no stopping it. With Burton's direction the violence is very stylish and extraordinarily beautiful. Of course Burton's direction is the icing on the cake here. The man is a visionary and a wizard of filmmaking. His films are simply close to unbeatable. I am not a fan of the musical genre (interestingly enough, neither is Burton); however a musical of this superiority is a rare event. With each new screening I am always captivated.

Tim Burton's Sweeney Todd: The Demon Barber of Fleet Street is a modern masterpiece. It's an acquired taste and will not be liked by all of course, so you're welcome to disagree. Every aspect of the filmmaking is absolutely stunning. Without argument or question, this is the best movie of 2007. Since first watching this film, I cannot prevent myself from indulging in repeated screenings. To date, this is Burton's finest hour. Winner of 2 Golden Globes including Best Picture (Comedy or Musical) and Best Actor (for Johnny Depp).

"All our hopes now lie with two little hobbits, somewhere in the wilderness."

I still remember leaving the cinema subsequent to the first session I saw of The Lord of the Rings: The Fellowship of the Ring. Little did I know that the screening I attended would cause a never-ending obsession with the epic trilogy. Instantly I was completely hooked, and the cliff-hanger at the end of the first film made my anticipation even higher for the second. Alas, 12 months later Peter Jackson and his talented creative team reeled out the second instalment for which I waited with baited breath. Just like the first film, I remember booking tickets in advance and heading to a screening on Boxing Day of 2002: exactly one year since I initially saw the first film. Just like its predecessor, I absolutely loved The Lord of the Rings: The Two Towers.

The reception from critics and audiences was a mixed bag. Be that as it may, I will always adore all three additions in the Lord of the Rings trilogy. Like its predecessor the film flaunts visceral filmmaking: astounding special effects, mind-blowing cinematography, amazing locations and incredible production values! Where the first LOTR film was essentially a road story of epic proportions, The Two Towers is a rich, heroic epic containing powerful and moving themes of friendship and courage in times of peril. With so many powerful underlying messages, the film also moves at a brisk pace with testosterone and intensity during the action scenes.

Like the first film, The Two Towers was acknowledged worldwide with critical acclaim and recognition from the Oscar committee. This film scored a mere 6 Oscar nominations (including Best Picture), ultimately walking away with two wins. In addition to this, award ceremonies globally recognised the film with several awards. There can be no disagreeances on this front: The Lord of the Rings: The Two Towers is an exceptional movie that even dwarfs the original film with its increasingly expanded definition of the word "epic".

This second instalment in Peter Jackson's epic trilogy continues the story where it concluded at the end of The Fellowship of the Ring: basically, the fellowship is broken with groups of characters being separated from each other. The film does not open with any flashbacks or lines of narration: there is no help to assist first-time viewers to find their footing. Instead we're thrown straight into the action. If someone was to edit the first two films together (erasing the opening titles, of course) the transition would be fundamentally seamless.

Anyway, the original nine members of the fellowship have been broken apart. Frodo Baggins (Wood) is now travelling to Mordor with companion Samwise Gamgee (Astin). The camaraderie of the two is what keeps the flame of their spirit and determination burning. However they strike a hindrance when they discover that they are hopelessly lost. A ray of hope begins to shine as the tragic creature Gollum (a digital character played by Andy Serkis) is visibly following them. Gollum was once a Hobbit named Sméagol...who became a deformed creature because of the effect of the ring he now refers to as his "precious". Gollum is the ultimate expression of the One Ring's corrupting and draining influence, and serves as a reminder of the urgency of Frodo's mission while guiding him towards the boundaries of Mordor. Upon capturing Gollum, Frodo and Sam convince the troubled creature to act as a guide to help them navigate the difficult lands through which they are crossing. In an alternative storyline (that is vitally linked and occurring simultaneously) we find Aragorn (Mortensen), Legolas (Bloom) and Gimli (Rhys-Davis) who are tracking the Uruk-Hai warriors that kidnapped Merry (Monaghan) and Pippin (Boyd). Their pursuit of the Uruk-Hai brings them to the land of Rohan that is under threat. King Théoden (Hill) has too long been under the treacherous influence of his advisor Grima Wormtongue (Dourif). With the land of Rohan under threat of imminent attack, the inhabitants are advised to leave immediately and flee to the stronghold of Helm's Deep. Meanwhile, Saruman (Lee) is raising an army of several thousand Uruk-Hai warriors to advance on Helm's Deep. In the neighbouring forest of Fangorn, Merry and Pippin are under the very safe guard of the Ents. These Ents are creatures that are essentially walking trees. On the eve of the fight for Middle Earth, the Ents are reluctant to get involved. Most of their story is concerned with their decision-making process and subsequent battle.

The Lord of the Rings: The Two Towers is a truly spectacular second part of an excellent trilogy. This film is darker, more focused, more deeply emotional and overall more exciting than its predecessor! Identical to the first film, The Two Towers is filmed against the magnificent scenery of New Zealand that is marvellously showcased as Middle Earth. This film is simply a visual enchantment. Even after repeated screenings you will still be trying to grasp the attention to detail in every single shot.

The special effects work is nothing short of mind-blowing! There's a spectacular assortment of technical wizardry on exhibition here, highlighted by the amazing CGI creation of Gollum. The character was created in a computer, using actor Serkis as a model for which to animate his mannerisms. Every piece of Gollum has been inserted by computer, and yet it's almost impossible to point out any flaws in the CGI. Shadow detail, skin texture...everything has been brilliantly detailed by the ideal creative team! Even though Gollum is a computer creation we can experience his emotions with a great deal of potency. His story is tragic and enough to make you cry. His mannerisms and voice by Andy Serkis is just the icing on the cake. There are certainly multiple facets to explore with this character, especially with dual personalities buzzing around in the mind of Gollum. This is all shown extremely well. I can't compliment the filmmakers enough!

Of course, The Two Towers features an outstanding cast. In my review of the first film I mention most of the cast in-depth. I will prominently mention the new members of the cast this time. Bernard Hill is an exceptional character portrayal of King Théoden. At first the king is weak and dying...then he becomes rejuvenated and younger. Hill plays both of these character personalities to perfection. I simply cannot imagine anyone but Hill pulling off this role. Miranda Otto is stunning and idyllic as Éowyn: a confident and feisty woman (also very beautiful) who spends most of the movie proving her worth in combat. Many of these bonding scenes with co-star Viggo Mortensen are very compelling, and their chemistry sizzles. Karl Urban's best role is on display here as he portrays the soldier Éomer. His lines are never contrived and he looks the part. David Wenham is yet another commendable addition to the cast as Gondorian ranger Faramir. During combat his lines are delivered with great intensity. Wenham never strikes a false note. There's also a powerhouse performance by Christopher Lee as the powerful white wizard, and a sadistic-looking Brad Dourif as the deformed Wormtongue. John Rhys-Davis also voiced Treebeard the Ent who is fittingly introduced in this second instalment.

Overall, The Lord of the Rings: The Two Towers is every bit as stunning as its forerunner. With a gorgeous, motivating score from Howard Shore (that establishes a number of trademark themes for characters, locations, etc), exquisitely dazzling visuals, a solid script and plenty of testosterone this is indeed a film for the history books. The Fellowship of the Ring was a hard act to follow, but Jackson and his superlative creative team pull off a film that suitably matches its predecessor in terms of visuals, heart and intensity. This film created further reason for my never-ending obsession with the trilogy. I have so far attended 2 marathons, and I viewed The Two Towers singularly in the cinema on multiple occasions. It's a grand achievement of contemporary filmmaking...a cinematic rush of blood to the head that exhilarates, astounds and enchants; leaving you hungry for more.

The Two Towers continues Tolkein's trilogy in grandiose style, casting a spell that is impossible to resist. The Battle of Helm's Deep is possibly the greatest battle scene in cinematic history. Winner of 2 Oscars. Later released in an extended edition.

"For nearly three thousand years man has been searching for the lost ark. It's not something to be taken lightly. No one knows its secrets. It's like nothing you've ever gone after before."

The Indiana Jones films became the most influential adventure films in cinematic history. The films made their mark on the genre and still influence the way adventure films are made to this day. What's the allure of the series? Put rather simply, all the Indiana Jones films impeccably merge action, exhilarating adventure, dazzling locations, marvellous humour and a mixture of great characters. Raiders of the Lost Ark is the first instalment in the highly acclaimed Indiana Jones series, and still the superior film. The elegance and class of this movie is so far unrivalled and unsurpassed even after several decades.


Set in 1936 on the eve of World War II, Dr. Indiana Jones (Ford) is a renowned archaeologist and a famed adventurer. Jones grows tired of lecturing students at a university; instead he adores trekking through the jungle touting a whip and a gun while searching for ancient artefacts. After an incredibly memorable opening sequence set in Africa, Indy is hired by the United States government to investigate the possible existence of the 'Ark of the Covenant'; an ancient relic that appears to be the cause of strange doings by the Nazis. Indy is pitted against rival archaeologist René Belloq (Freeman) who is also searching for this illustrious ark that has been nothing but myth and legend for centuries.


This fascinating story is merely the beginning as the film rapidly moves to numerous different locations around the globe from Nepal to Cairo.


Harrison Ford is unreservedly perfect for the principal role of Indiana Jones. Ford possesses that certain look about him that suits the role of both an adventurer and a professor. His dialogue is delivered extraordinarily, and his on screen magnetism is one of the film's highest points. Ford has all the wit and appeal: the character of Indiana Jones is the essential embodiment of an adventure hero that encompasses all the qualities and the charisma that makes him one of the best action heroes of all time (as voted on several occasions). Ford is partnered with the equally charismatic Karen Allen. Playing Indy's love interest, this isn't the usual clichéd damsel in distress who can't fend for herself. On top of this there's a remarkable performance by John Rhys-Davis, and unforgettable performances from both Paul Freeman and Ronald Lacey.


Steven Spielberg's direction is magnificent. This focused directing and the lavish cinematography are qualities rarely seen in contemporary adventure movies. I particularly loved the old school effects and the elaborate sets. With such gorgeous images on the screen for every second of the film's duration, it effectively moves from one memorable scene to the next.


The opening artefact hunt is still my favourite film opening of all time. Not to mention all the other memorable scenes - the bar fight, the plane scene, the snake pit, the truck chase, the ship battle, the final showdown...it's impossible to spot a dull second amongst the action and adventure. The outlandish stunts are a requirement for an adventure film of this calibre. The filmmakers deliver a never-ending supply.


The film is only made better by the accompanying exciting music by John Williams. The classic Indiana Jones theme is still my favourite movie theme of all time! The exhilarating action is only made better by the triumphant, invigorating music.


The special effects delightfully hold up even after all these years. With filmmaking technology forever advancing I am pleased and happy to see such terrific old school effects that still look mighty impressive.


When I was a youngster I remember watching Raiders of the Lost Ark on various occasions. The first three Indiana Jones films were an essential part of my childhood. Now that I've aged and matured I still love these original three films tremendously. This is unquestionably one of the best movies of all time! Followed by several sequels beginning with Indiana Jones and the Temple of Doom (this is actually a prequel).

"Here's looking at you, kid."

It has been over 6 decades since Casablanca was first released. That totals over 60 years of movie lovers and film enthusiasts alike admiring this masterpiece with the utmost praise.

Casablanca is a magical tale of loyalty, love and radiant romance that deserves every bit of praise it still receives, and then some. Casablanca is one of the only old movies that I could watch daily for the rest of my life and never get sick of. The film is a true original Hollywood classic that will always be thought by some to be the greatest movie of all time. It will always be in my Top 10.

Casablanca has not dated one iota; it's appealing, charming, magical and a downright masterpiece. Set during World War II, the main action of this exotic tale is located in the non-occupied French Morocco city of Casablanca, logically enough. The central character is a cynical café owner named Rick Blaine (Bogart), a discontented soul who "sticks his neck out for nobody". Rick finds himself coming into possession of two letters of transit; these can guarantee safe passage out of the country to whosoever carries the letters. Rick is informed that the leader of the underground in Europe, Victor Laszlo (Henreid), has arrived in Casablanca with hopes of escaping to America. But he needs these letters of transit that Rick is presently in possession of. The twist is that Victor arrives with his wife Ilsa (Bergman). Ilsa and Rick were lovers in Paris many years ago and departed under tragic circumstances. And now a classic love triangle emerges; two letters and three people that want the letters. Rick must now decide between being selfless or selfish.

Casablanca is an unforgettable film that is still mighty appealing in this contemporary age of cinema. It is classic and timeless in every sense of the word. Many people still regard the screenplay to be the best script in existence. Do I agree? Absolutely! The script is definitely the best script ever written for the screen. It contains some gorgeous lines that we often hear parodied and quoted. ("Round up the usual suspects", "We'll always have Paris", the list goes on) If you ever do a course on writing screenplays, Casablanca will be brought up as an example. The lines cannot be faulted at all. There is never anything cheesy and never anything too corny. The film is never boring and is also the perfect length.

Both the screenplay and the directing assist in making this perfect film into a reality. It almost goes without saying that the performances are fantastic. Humphrey Bogart was in his prime when this film was released. After The Maltese Falcon he was finally given his big break. And since this film in particular, Bogart has gone on to become one of the world's most memorable actors. Bogart's performance is masterful. Every line is delivered with such precision; keeping the audience interested and enthralled in everything that is going to happen next. The final line uttered in this movie is the greatest last line in cinematic history without question or debate. And Bogart's delivery is essentially flawless.

Ingrid Bergman was an extremely talented actress when this film was made. Her performance is sublime. The romance is never cheesy, and each line delivered by either her or Bogart glistens with perfection. The song As Time Goes By is the greatest movie song of all time. It will give one goose-bumps because of its poignancy and power.

I've seen this film broken down during filmmakering classes. Everything in this movie is to perfection. People will always suggest Casablanca as an example of a perfect movie. There is little wonder or debate surrounding that statement. I've said it many times before and I'll say it again, Casablanca could be the greatest movie ever made. If you want an example of a perfect movie then watch this one. If you want a good movie to watch with your partner, watch this one. Rush out and buy the movie with hesitation. I cannot put it clearer than that.

"I'll be back..."

The Terminator is one of the best films in the history of cinema, and is a landmark production in terms of both sci-fi and action. Although the film was made over 20 years ago it has lost very little of its original impact.

Sarah Connor (Hamilton) is a young woman whose tranquil existence is interrupted when a cyborg that looks like a human is sent back in time to kill her. In the future, Sarah is destined to give birth to John Connor - a young man who will win the war between man and machine when the world has ended.

But human Kyle Reese (Biehn) is also sent back in time as Sarah's protector. And thus begins an exciting, suspenseful chase against time as Sarah is hunted by the 'terminator' cyborg who will stop at nothing to accomplish his mission.

The film was made on a low budget, but this never shows. The future war sequences shown throughout the film are absolutely spectacular and showcase superb special effects. But what makes this film so brilliant is the innovative plotline. The plot is so unique, and complimented so well by the great script and remarkable execution.

Arnold Schwarzenegger is a formidable villain. His screen presence is unlike any screen villain of all time. And because terminators show no emotion, this is Arnie in his element - it being acceptable to deliver lines in a cardboard fashion and instead focus on firing guns.

The Terminator is a showcase of now classic, memorable scenes. There's tonnes of action, and the whole movie is incredibly violent. Topped off extremely well with James Cameron's directing and Brad Fiedel's unforgettable score.

Overall, The Terminator is a sci-fi action flick and succeeds extremely well. No-one can afford to miss this one.

"It was beauty killed the beast."

The original, classic production of King Kong remains to this day one of the best adventure movies ever made. Its originality, combined with some of the most amazing special effects considering its age makes this an unmissable experience!

This classic film is about a somewhat crazed filmmaker named Carl Denham (Armstrong) who is endlessly searching for a young actress for his new movie. He meets young, poor girl Ann Darrow (Wray, in one of the most memorable performances to this day) who accompanies him and his film crew to the mysterious island haunted by the colossal giant gorilla known as 'Kong'. Denham is determined to make the ultimate monster movie, putting every member of his cast and crew in danger to accomplish this goal.

The special effects are essentially flawless. The use of step-by-step animation is sublime, and makes Kong seem so alive. The combination of live action mixed with the animation looks absolutely fantastic! It's no wonder that this classic extravaganza went on to become one of the best films of all time.

Many people criticize the movie because of its age, and because they're so adapted to the rubbish special effects that lazy filmmakers have adopted during the modern era. Kong is an elaborate model that has a visceral screen presence.

The performances from the entire cast are just fantastic. Fay Wray, now known as the "scream queen", creates an unforgettable character. Bruce Cabot is an inspirational adventure hero. Many may look upon Cabot's character of Jack Driscoll as a classic embodiment of Indiana Jones. Robert Armstrong is yet another unforgettable character, presenting us with a brilliant performance.

Many have tagged this original King Kong as the most inspirational film of all time. It inspired Peter Jackson to begin making movies, it inspired many other filmmakers...and it even inspired me when I was a young boy. It's sad that the current generation of movie-goers overlook this classic film so much.

King Kong stands the test of time. Its dialogue is memorable, and includes some of the best script lines made for movies. All in all, this is a must see and separates the true cinema lovers and those who prefer trashy modern movies filled with ludicrous CGI.

A truly amazing, groundbreaking monster movie! Followed in the same year by The Son of Kong, remade in 1976 & 2005, and had plenty of stupid spin-off films to follow (e.g. King Kong vs. Godzilla etc.), which have no relation to this one.

Sylvester Stallone's Rocky is an incredible triumphant accomplishment in film and one of the best films ever made! This classic tale of the underdog given a once-in-a-lifetime chance became an instant hit worldwide, and had a successful trip to the Oscars.

Stallone plays an unknown boxer named Rocky Balboa - or nicknamed 'The Italian Stallion' - who is given the opportunity to box the heavyweight World Champion, Apollo Creed (Weathers), who just wants to sell tickets and make money. Rocky reluctantly seizes the opportunity and trains furiously to give this match all he can, and make the most for his shot for the big time. Rocky also gains a girlfriend (Shire) and has to deal with his personal problems while training for his upcoming match.

Creed arrogantly thinks that this match - a 'somebody' against a 'nobody' - will be an easy win for him, but Rocky has other plans.

Rocky is not a film just about boxing and winning, but about friendships and seizing every life opportunity. But more importantly, that winning isn't everything. I have never found myself cheering for our hero and throwing punches at the screen before I saw this movie. This film was an inspirational achievement and I adored every minute of it.

Rocky is loveable, funny and full of heart. A unique, sensational movie and this is truly one of the greatest films ever made.

Now look, so many people have fallen asleep due to the amount of sequels this film earned, and forgot how brilliant the first film was. I was not interested in the film because the synopsis didn't interest me, but after the first half an hour the film quickly transformed from uninteresting sport film to one of the best films ever made.

If you have not seen this film, do so without hesitation. Winner of three Oscars including Best Picture 1977 and Best Director. Followed by five sequels.