Zzombiefoodd

by Alexander

''Leave this Justin. Go home.''

''I can't go home. Tessa was my home. ''

A widower is determined to get to the bottom of a potentially explosive secret involving his wife's murder, big business, and corporate corruption.

Ralph Fiennes: Justin Quayle

Rachel Weisz: Tessa Quayle

Powerful, emotional and political Constant Gardner is hard for me to watch due to it's material yet i couldn't look away. It had me crying and hurting inside and all from the journey of one man trying desperately to find an answer to his wife's demise. I mean it's a nightmare and a love story that sadly is severed but you still feel through flashbacks that there is a connection.

Brilliant acting from its two lead roles Rachel Weisz and Ralph Fiennes, two of the best of my heart and this country.
Ralph's performance and accent as Justin is top standards while Weisz as Tessa shines like she did in Fountain and shows a performance worthy of the Oscar she plucked from her emotionally charged portrayal told sadly but effectively in past tense.
The romantic portion of the film was immortalized by the two characters Justin and Tessa, (Ralph & Rachel). Their first meeting was dynamically presented as Tessa was a social activist heckling Justin as he was making a political speech. When the hall was cleared, however, it was Justin who was actually comforting Tessa after her outburst. The juxtaposition of the placid, passive Justin versus the fervent, hyper-kinetic Tessa was brilliantly established in that opening scene.

The strands of thriller and social realism are inextricably tied together in the film. As a whodunit, The Constant Gardener seeks to uncover what actually happened to Justin and Tessa on their African journey. At the same time, the main culprit that emerges is the heavy hand of greed as the pharmaceutical companies exploit helpless victims of tuberculosis for the purpose of testing and marketing an experimental drug. At one point in the film, it is disclosed to Justin that the pharmaceutical industry is no different than arms dealers.

This film truly rewards its audience as it works on so many levels. Like Crash you won't be able to stop pondering over every thing you've just seen. The politics here are engaging and bound to stir up even the most complacent viewer. What's even more amazing is that all of the timely political discourse and subsequent thriller aspects of the film,courtesy of the source material, John Le Carre's novel, are wrapped up in an immortal romance. We the audience join Fiennes on his journey across Africa, and we rediscover the love story between he and his wife that ties the film in a poetic realism usually reserved for movies with much less on their minds.

To top it off, it's all delivered in the maddeningly genius Meirelles style that took critics and audiences by storm in his debut masterpiece City of God. We have the shaky hand-held camera darting through vibrant and colorful third-world locales juxtaposed with jaw-droppingly gorgeous aerial photography of Africa in all its glory. Meirelles again shows us he is a true artist and visionary willing to show both the shocking beauty and abject horror of the people and places that populate his films. Again he delivers a message that people are doing horrible things to each other, everywhere.

With City of God he seemed to be saying the only hope is to document and record it. The Constant Gardener makes that argument again and takes it one brilliant step forward. We may not be able to stop a war or a huge global injustice, but we do have the power to help one person at a time. It takes a courageous film to make such a statement, and a brilliant film-maker to deliver it, and that's just what The Constant Gardener achieves.

Fine performances that reside in Constant Gardner not only come from it's two leads but come from Bill Nighy who manages not to be funny, Danny Houston who's in loads of good films recently, and Hubert Kounde who proves it's the quiet ones you got to watch.

Constant Gardner hurts to watch, performances yes it's five stars, but i think it's a movie that is all to real, and for me that hits to close to the mark, to life.
Losing a loved one is a very hard thing for me and to watch another man go through that, it hurts so much and sets me off, until I'm a quivering mess.

The hopelessness, the injustice and that sometimes your enemy, the ones you were fighting are right back at home. In this regard CG is very clever and it's message hits home with a bitter aftertaste and a sharp pain tearing point.

Don't think i could watch this too often due to its realistic and then rather sad finish but it's a masterpiece nonetheless.

Like that last gun shot and blackness, Constant Gardner has one shot, and by heck it takes it!

by Alexander

''Gentlemen may talk of the age of chivalry, but remember the ploughmen, poachers and pickpockets whom they lead. It is with these sad instruments that your great warriors and kings have been doing their murderous work in the world. ''

An Irish rogue wins the heart of a rich widow and assumes her dead husband's position in 18th Century aristocracy.

Ryan O'Neal: Barry Lyndon

Barry Lyndon is sometimes considered a slow and tedious film, it is indeed past three hours in length, but this due mainly to the fact of the artistic flow of a film that strays not only to tell a story about a man who is by no means neither hero nor villain, but also one in which is in no real rush, taking the time for every tiny intricacy to sink into the mind and heart of the viewer, we the audience are left to marvel at the storytelling.

Some of the scenic images in Barry Lyndon are in themselves works of splendid art, rendered with a passion for the landscapes and the man-made structures within them. Stanley Kubrick makes it clear his appreciation for the era through the use of paintings, costumes and all of the above in perfect harmonic glory.

The myth that came about that all scenes were done using no artificial lighting stems from the very realistic lights during indoor takes, and some of them truly did not feature artificial light. This is but one of the many details that so easily conveys a sense of a realistic portray of the era, the 18th century and the time after the seven-year war in the later half of the Lyndon.

The impressive atmosphere and the wonderfully picturesque scenarios along with the fact that the entire plot moves at a calm pace makes this film a very pleasant experience.
The music bordering on Kubrick genius in which it actually becomes memorable long after Barry Lyndon has finished. Especially the piece of music played throughout, which also features on the credits. Also liked the piece of music accompanying, where Barry first kisses Lady Lyndon.

Ryan O'Neal as Barry Lyndon does an excellent job of portraying the unlucky man, marvelous how this individual chooses some of the courses that run through his life. Firstly his infatuation for his female cousin's affection which results in him getting sent away to him signing up to the English army. Then a twist of fate of him becoming enlisted in the Prussian Army. All resulting in his eventual meeting of Lady Lyndon, where even more trouble and drama ensues.
Marisa Berenson as Lady Lyndon really flourishes her part with beauty and elegance and later on with emotionally charged desperation as the film progresses and her husband's wild ways become apparent.

Barry Lyndon may be long, but on DVD it shines perfectly. Afterall thats what the intermission is for half way. Kubrick knows if he's going to do a theatrical film of William Makepeace Thackeray's novel he's going to need a substantial amount of material. Material which is crammed full of flavor, of passionate drama and of period perfection.

Barry Lyndon is another grand accomplishment from the late Kubrick. A masterpiece and an interesting study.

by Alexander

''It is said that the Dragon Warrior can go for months without eating, surviving on the dew of a single ginko leaf and the energy of the universe.''

''Then I guess my body doesn't know I'm the Dragon Warrior yet. It's gonna take a lot more than dew, and, uh, universe juice.''

Po the Panda is the laziest animals in all of the Valley of Peace, but unwittingly becomes the chosen one when enemies threaten their way of life.

Jack Black: Po (voice)

Kung Fu Panda unsurprisingly was birthed by the wondrous Dreamwork people, for a start the animation and story are untouchable in quality executed to the highest standard.

We are told the story of a slightly overweight Panda whom has duties with his father in a Noodle restaurant. Panda dreams of becoming a great Kung Fu master while at the same time trying to please his father by saying his dream is comprised of taking over the Noodle heritage of his father. Yes you may have noticed ''his'' father per say, lacks resemblance or species to Panda funnily enough. When a choosing of the Dragon Master comes about. Panda rushes to see this tournament. What transpires next is him unwittingly getting chosen by Oogway, the Old Turtle Master.

Kung Fu Panda has such effortlessly smooth paced animation that fluidly speeds along at all times we the audience, scarcely get to notice the amount of work thats gone into every frame. Especially the action scenes which seem to thunder along in a dazzling array of splendor.

The voices are incredibly done and some I didn't even recognise. Notably Dustin Hoffman voicing Shifu, was superb, his voice instantly recognizable.
Jack Black as Panda excellent providing laughs, charm and charisma throughout as the main star of the film.
Other iconic voices are from a dazzling selection of actors and actresses such as Angelina Jolie voicing Tigress, Ian McShane as Tai Lung, Jackie Chan as Monkey, Seth Rogen as Mantis, Lucy Liu as Viper and even Michael Clarke Duncan as Commander Vachir pops up.
James Hong voicing Mr. Ping was instantly recognisable by ear, the actor from Golden Child & Big Trouble In Little China. Amusing how they made that of the bird character he plays to match a certain element of him from real life in the animation.

Loved how Kung Fu Panda begins with the drawing styled animation, then all the way through I was amazed how detailed Panda is on the whole capturing action, suspense and excitement mixed with comical fun and laughs galore.

Along with the masterpiece that is WALL-E, this offering from Dreamworks Kung Fu Panda shows that Pixar aren't the only ones with talent. A story with heart, of wonderment and of humour, Kung Fu Panda comes recommended to any lover of animated films.

by Alexander

''Typical you wait 20 years for a father and then three show up at once.''

The story of a bride-to-be trying to find her real father. All together now for ABBA!


Amanda Seyfried: Sophie

Mamma Mia is a vibrant bursting with energy musical about one girls wish to find her father, upon reading her mother's diary she finds that there are three possibilities.

Utilizing songs from Abba this Mamma Mia stops being a film and becomes more of an experience where the audience is involved and the songs so well known you feel like singing along, I know I certainly was and I'm not even a fan of Abba. Very universal winning over fans of the musical and newcomers alike.

Stellan Skarsgård as Bill, Pierce Brosnan as Sam Carmichael and Colin Firth as Harry Bright all play the potential fathers to Sophie and re-spark Donna's lively fun past.
What transpires are musical madness and romance, as well as comedy and Meryl Streep as Donna really steals the show.
She's a fine actress who shows she can sing and dance besides achieve incredible depth in her acting abilities.

Pierce Brosnan's singing was not bad but I have to admit I did find it amusing st first at how deep his voice is. Kept thinking of Jonathan Ross saying to Meryl Streep he can't sing. Very amusing, may be some truth there but he does a good effort regardless and as the movie progress you warm to him as with all the characters.
Amanda Seyfried playing Sophie was absolutely gorgeous showing that good things do come with pairs, I mean in pairs. Great voice and stunning to boot.
Julie Walters as Rosie and Christine Baranski as Tanya provide much of the comic relief throughout the film making us laugh at numerous stages throughout.

Mamma Mia is a lovely tribute to the musical which I didn't know much about, and its convinced me that it may be worth watching. Hell it's fun and catchy, I admit I was sniggering and scoffing to begin with when they started singing but the medium soon adapts as you continue watching, the audience begins to hum and click and pat in rhythm. Up until the credits, which are highly amusing, Mamma Mia retains its magical glow of heart warming musical prowess.

Love, showmanship and a story of friendship are the qualities that flow through Mamma Mia which was highly refreshing as well as dazzling.

by Alexander

''Directive?''

[Wall-E gathers up some trash, compacts it and spits it out.]

''Ta-da! ''

In the distant future, a small waste collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.

Ben Burtt: WALL-E / M-O (voice)

Elissa Knight: EVE (voice)

WALL-E is without a doubt one of the most accomplished, most well concieved animated films over flowing with story, emotion and will leave you wanting more and more.

It begins even with a short film of a magician and his Bunny Alex which provides plenty of laughs, then it gets onto the film itself. When we are first introduced to Wall-e, you instantly know in your heart you won't be able to resist his cuteness and lovableness. He collects interesting things from the debris and puts them in his home while watching old musicals classics and recording them on his box. What's also fascinating is that he is solar powered and can also recede into box form, so cute.

Earth has become an inhospitable dump, bristling with rubbish and junk. Wall-e's main function is to recycle materials to rebuild the crumbling remnants of humanities cities. Only problem is Wall-e seems to be on his own, last of his kind. Apart from his friend in the form of a cockroach who provides company.

When a space craft lands on this planet Wall-e gets to meet EVA a white robot sent to find something vital on Earth. What we get is some lovely sequences of her following her directive, WALL-E isn't just an animated film, its one of substance and story, and a love story at that.

When later in WALL-E he ends up on a huge spaceship and is swept alongside hundreds of other robots you just have to marvel at the sheer amount of time that has gone into creating this gorgeous animated film. Not only that but references to 2001 and a robot that even looks like Hal and similar behavior marks as one of the best homages an animated film has ever done. Not only that Casablanca also gets a nod with an iconic song.

It will make you laugh, make you cry in places especially near the end, and make you melt from sheer overload of a masterpiece that surely deserves to win an Oscar for Best Animated film.
WALL-E is perfect and a cheery alternative for this summer, that all the family can appreciate.

The credits I loved which I must mention, and Peter Gabriel's song at the end really added to what was already in my mind perfection. WALL-E concludes like it begins, making you feel good and leaving you breathless.

by Alexander

''At the end of the day, we can endure much more than we think we can. ''

A biography of artist Frida Kahlo, who channeled the pain of a crippling injury and her tempestuous marriage into her work.

Salma Hayek: Frida Kahlo

Frida is quite simply a study of art, of music, of passion and the story of Frida Kahlo depicted upon film in the most beautiful ways imaginable. Granted too if you love Biopics then Frida you will love for it's detail , imagination and trueness and captured essence of life.

It also helps that the Director is Julie Taymor, a woman of vision that does the job of capturing this Artists life in a way that no man could muster.
Artful sequences of imagination merging her art with movement really helps the film drown in a quality of utmost beauty and significance. If you thought that was close to perfection, I haven't mentioned the passionate, sensual, vibrant melodies that course through the heart of Frida. Blending this woman's story with music, art and hope. The ups and downs of her accident, of her romantic encounters and turbulent yet loving marriage.

Salma Hayek as Frida dislpays an energy that really gives an accurate portrayal of this artistic woman. Giving a performance that borders on magical fiery believability. Her chemistry with Alfred Molina as Diego Rivera, is phenomenal as we see their loving, mad, passionate relationship come to life on screen.
Ashley Judd gives a good perfomance, as does brief roles for Antonio Banderas & Edward Norton popping up in the mix. Geoffrey Rush also deserves a mention as Leon Trotsky who plays a controversial idealist who has a bond later in the film with Frida.

Loved sequences featuring the Original King Kong, Frida's art and really reminded me of Malena, Amelie and Love me if you Dare in it's imaginative sequences that use clever visual effects to blend the story together. The acoustics and music I must mention again as being simply divine and Latin drenched passion.

Whether it be Frida's scary accident near the beginning, her fascination with art and her loving friendships and relationships.
Most of all I loved how this film Frida combined her Art Works with the same points of her life occurring on screen at interwoven intervals.

Frida is like it's subject and main woman a story of love and passion, that oozes with art and becomes larger than life in the process. Absolutely incredible, thus will be watching again soon, just to take in all that magic of Frida once again.

by Alexander

''We all have to fall in love from time to time... To feed our daughters, and our mothers. And sisters.''


Set in 1930s Shanghai, where a blind American diplomat develops a curious relationship with a young Russian refugee who works odd -- and sometimes illicit -- jobs to support members of her dead husband's aristocratic family.

Ralph Fiennes: Todd Jackson

Natasha Richardson: Countess Sofia Belinskya

Countess may be very, very slow. but its wonderfully rich visuals and smashing English performances make it the perfect patient man's period film, As mentioned, you must have a lot of glorious patience to make it to that fulfilling conclusion.

Marveled at the cinematography, the great sets, the muted and beautiful fliar of colours.

This Ishiguro story is set in mid-to-late '30s in Shanghai. Ralph Fiennes plays a blind American, Todd Jackson, an ex-diplomat who wants to get away from politics and run the nightclub of his dreams. He has the whole place mapped out in his head. Natasha Richardson as Countess Sofia Belinskya is a high-class escort-service type woman working in a lower-class bar who unselfishly sacrifices her dignity to help support her unappreciative family.

Todd and Sofia meet one day in that bar, he is very impressed with her, and later hires her to run his new place, called The White Countess, hence the film's clever title. Along the way, Todd meets a Japanese man Mr. Matsuda, who we find out isn't the altogether nice guy we thought he was, as it's revealed trouble always follows him.

The themes of isolation and alienation are rampant in this film and occur on many levels. Sophia is shut off from her family and eventually abandoned because of her disgraceful job. Jackson is blind physically and mentally from the real world. They are strangers in a foreign country, a country whose sole foreign policy for the past several centuries has been isolationism, they built a wall to keep people out. These instances are not simply strewn about but are intricately woven into the plot to create a deeper, more meaningful story.

The White Countess explores devastation and new hope, heartbreak and new love, and shows us the hopelessness of walls and cages. We can always close our eyes but that doesn't mean everything around us will disappear.

In the end, this drama comes to life as the Japanese overrun the city and everyone flees for their life. Sofia's family tries to leave without her. The countess desperately goes after them because that family includes her precious young daughter. Fiennes realizes, at the last minute, he doesn't want to live life without Sofia and she he tries to find her among all the chaos. It's a very suspenseful, very positive ending.

White Countess is underrated, under-publicized and a beautifully executed piece. Reminded me of the beautiful Painted Veil.

by Alexander

''Sometimes I get so lonely I forget what day it is, and how to spell my name.''

A delusional young guy strikes up an unconventional relationship with a doll he finds on the Internet.

Ryan Gosling: Lars Lindstrom

Well where to start with Lars and the Real Girl is that what may start of as a comedy created for laughs to begin with, slowly evolves into a more serious and thought provoking study.
The study being in this case, of a man called Lars Lindstrom, subjecting himself to an isolated way of life by choice. Reasons for this choice are slowly explained as the movie takes it's time to play through the motions. Which are first making the majority of us laugh and secretly ridicule him like the townspeople do behind his back, then they all collaborate to help him and play along with his belief. That being said everyone begins to play a part with Lars and his newly acquired ''girlfriend''.

Whats clever about Lars is that it never feels rushed or over done. The characters all seem to be believable in their set performances of the material given. Craig Gillespie utilizes all this to give this town and it's people a breath of life. As the film progresses Lars slowly begins to decrease, with the town people's help, his activity and time with Bianca the Doll. His appointments with the doctor help us grasp gradually what Lars mindset is while Margo, a co-worker, provides a real alternative to the Bianca relationship Lars has and he slowly subconsciously begins to realize this.

Ryan Gosling's performance as Lars is really what this film is about. He not only changes his appearance but his mannerisms and disposition, his set ways and belief that consumes eventually the whole town to play along inside his delusional world, really has to be marveled.
Also his headaches and spiraling evolution towards removing Bianca from his life without admitting she isn't real is moving. For Bianca may be seen to audiences as being not a real person to us, to Lars he believes that without question that she is real to him, and that I believe, Ryan Gosling as Lars succeeds in making me believe.

Other performances I should mention are Patricia Clarkson as Dr Dagmar, who plays a psychiatrist accurately by showing that she has her share of problems also, everyone does. Emily Mortimer as Karin,Paul Schneider as Gus and Kelli Garner as Margo really all did very fine believable acting to flesh out their said characters with immense believability.
Even Bianca seems to emit a performance herself becoming a character among the cast and a part of the Town and it's people.

Lars and the Real Girl isn't one of those films which has fancy effects and non-stop action. It's not that kind of film, and even then, they are not required. What we get is something that transcends emotion and belief and breathes life into a genre that needs original and vibrant films such as Lars.

A masterpiece that is as close to perfect as heaven doth allow, Ryan Gosling's transformation and performance acts as the breath of life responsible for this miracle.

by Alexander

''Listen carefully. Everyone make mistakes. But if you committed a sin, you have to make an atonement for that sin. Atonement, do you know what that means? Big Atonement for big sins. Small Atonement for small sins.''

After thirteen and half years in prison for kidnapping and murdering the boy Park Won-mo, Geum-ja Lee is released and tries to fix her life...

Yeong-ae Lee: Geum-ja Lee

Making comparisons with Park's last two films preceding Lady Vengeance was much more tangible here as with each beautiful piece in a mirroring haze from Oldboy, there was also the exaggerated violence that resided in Mr Vengeance.
The music was again well chosen and played in melancholic, erupting waves without any use of mainstream sources. Some of the compositions were used multiple times and while they might come off a bit repetitive, most of them were either recurring for the sake of certain notions, emotions or themes that the characters were experiencing.

Aside from the tight main casting, many known and capable faces of Korean cinema made interludes throughout the film.
Not much else could be said, apart from them doing just as much as the script allowed. While the visual and musical aspects of Lady Vengeance are vibrant and delicious to the ears, the story here might cause some viewers to contend whether everything makes complete sense.

Playing up good and evil, heaven or hell extremes in Lady by symbolizing Geumja as a devil in angel's clothing or an Angel in dark black clothing, Lady Vengeance then intersperses narrative moments with essential flashbacks to her life in prison. On one hand, she's the saint to newcomers who protects them from the bad prison cell mama-san, while on the other, she's the demonic figure who's plotting murder and to get back at a child killing weirdo who put her there.
She gains respect from these inmates shes locked up with, who play important roles when Geum-ja is released, to exact her 13 years of planning revenge and vengeance.
One of the best scenes in demonstrating this was the making of her twin-trigger handgun, translating poetic justice straight from the hand and arm that gives her the gun, with the many gun tattoos trailing up the arm.
Also her eye make up and her black coat that covers her face in the 2nd half, was wonderfully dramatic and beautiful, showing how focused and determined justice must be served.

Lady Vengeance is quite simply about redemption and revelation, and as we follow the moving drama we may even come to understand something within our own souls.

It is truly a fitting conclusion to this trilogy exploration into hate remorse and revenge.

by Alexander

''In this life you'll meet a lot of jerks. If they hurt you, tell yourself that it's their own stupidity that makes them act that way. That will keep you from responding to their meanness. There's nothing worse in this world than bitterness and revenge. Hold your head up and stay true to yourself.''


Poignant coming-of-age story of a precocious and outspoken young Iranian girl that begins during the Islamic Revolution.

Chiara Mastroianni: Marjane 'Marji' Satrapi, as a teenager and a woman (voice)

Gabrielle Lopes: Marjane as a child (voice)

Persepolis is not only just an animated film or indeed a comic but one that captures one girl growing up. In the same vein as Grave of the Fireflies this film is not for children like it's cartoony looks would suggest.

What we get from Persepolis is Marjana Satrapi's vision of a life consisting of struggle, control and the freedom for women to do anything scarily non existent. Captivating that the 80s and 90s are depicted in Iran in such a way of death, of war and of propaganda and ideology that I felt that this world was so backward. Marjane's way of life felt like it was stuck in a bygone era like the early 1920s to 1940s. Her imagination and creativity are brought to life and cleverly Persepolis uses black and white to convey the immense desperation, the depressed state of society in Iran and the lack of free rights of suppressed, controlled women.

Animation has the advantage of permitting a pace that allows a lot to be included into a simply and honestly told story, particularly in early childhood and adolescence. Very thought inducing in seeing how atrocities and cruelties are perceived through little childrens eyes, particularly little kids growing up in an environment where these acts are a normal way of life.

As a teenager looking for punk music in the black market, Marjane walks through a throng of peddlers trying to sell her an assortment of trendy videos, including disguising Micheal Jackson as Jichael Mackson is genius.

Communism is crushed, propaganda cast away and bloody fighting and martyrs frequently being produced. Marjane's life growing up as Persepolis shows us is a hard one full of strife. Yet for all its seriousness there is humour there also.
Throughout the movie a sense of humour that is at times very sarcastic, yet very amusing.
Be it sequences where she talks to God in his cloud or as a girl pestering her Uncle about his ideals and Communist past and life. Be it her making the transition from girl to woman in a very amusing sequence that shows all the joys of getting older. Sarcasm of my own there in case you failed to notice.

Persepolis ends with a beautiful rendition of her grandmother and her smelling of luscious flowers put into her bra area. This for me really does show a sense of how great life can be whatever trouble there is, good is always lurking somewhere, waiting to break free.
Whether it be Marjane's ill fated relationships or defiance of a teacher, or even men telling the women to cover up more and Marjane standing up to them, there are so many sides to this story Persepolis has to offer.
Thus becoming in my eyes a definite masterpiece of emotion, feeling and capturing the plight and suffering not just of one woman but also of a whole nation.

Simply breathtaking, Persepolis is nothing short of greatness and told in a medium bordering on simplicity yet emerging as genius.

by Alexander

''My name is Paikea Apirana, and I come from a long line of chiefs.''


A contemporary story of love, rejection and triumph as a young Maori girl fights to fulfill a destiny her grandfather refuses to recognize.

Keisha Castle-Hughes: Paikea

Whale Rider gets its namesake from the legend, a legend involving the Maori people coming to New Zealand as a result of their patriarch riding there many generations ago, from Hawaiki upon the back of a whale.

After many studies of language, farming, artifacts and sailing techniques, experts seem to agree that 'Hawaiki' is in fact the Huahine Island in French Polynesia, the Society Islands, northwest of Tahiti and perhaps 3000 miles northeast of New Zealand. It has been fairly firmly established that all of the Polynesian peoples originated from Eastern Asians who developed skills to build and correctly navigate large ocean-going douple-hulled canoes, which could transport not only people but also livestock including dogs, pigs, and chickens plus seeds and plants.
Today it is believed that the Maori in New Zealand and the natives Hawaiians originated from the same Polynesian people.

This background is necessary to fully appreciate the movie, Whale Rider while ultimately a simple story of family pride and honour.

Tradition has it that the first-born son of the chief will be groomed to become the next chief.
But Koro's son is not interested, instead wants to go to Europe and pursue his passion for art. His wife gives birth to twins, a boy and a girl, but the mother and son die at childbirth, leaving only the daughter, Paikea or Pai for short. But tradition does not allow a girl to become chief.

Whale Rider requires alot of thought and detail to capture into words. The sheer beauty of the film conveyed not just through the breathtaking scenery including vast landscapes, tantalizing oceans stretching out into the horizon or underwater shades of blue and green, but one of family, of people and of love, tradition and a bond that remains unbreakable.
This makes Whale Rider beautiful not just to look at but on a whole new level that transcends anything we see.

Be it Koro, perfectly played by Rawiri Paratene, who stubbornly sticks to tradition and rests all his hopes on a boy to carry on his tribes legacy. Not realizing that what he has is already before him, regardless of gender and a break from tradition.
Cliff Curtis as Porourangi also is breaking from his traditional roots as mentioned before. His acting and bond with Paikea wonderfully shown in a scene with them in the night where they talk about Koro not wanting them and this for me really moved me and made me begin to cry. End of the day acceptance is important, and not being wanted is the most painful thing imaginable. We all want to be loved and to be appreciated and valued and Whale Rider does a perfect job of capturing this as best it can, effortlessly.

Keisha Castle-Hughes as Paikea really ends up being the star of the show, showing pure talent and believability. Just watching her in the play, reciting a memorized verse for Koro tears rolling down her cheeks, shows how immersed she is in the role of Paikea. In my mind she IS Paikea and thats how far the believablilty for me goes, and thats all the way.
Also I'd like to mention Vicky Haughton as Nanny Flowers who was totally lovely in her role as a loving yet firm woman who shows her love for her family, for Paikei and for Koro.

Whale Rider cleverly plays on your emotions until the very end, and so immersed was I with my darling love watching with me that I totally felt as if I was part of this world, part of their life. When a film like Rider achieves this successful capturing of your soul and captivates you so intentively you are left breathless.
I just know that Maori people and customs, these warriors of old, these legendary men and women, I am totally and completely in awe of and fascinated by.

Whale Rider's story of Paikea Apirana, is like the Ocean. Infinite and forever connected, each time you immerse yourself into it, you always see the beauty.
Like rain drops that fall down from the sky, every single tear from the heavens above reminds me of my love and of Paikei riding her people's symbolic Whale. That is how I feel about Whale Rider, truly beautiful like my woman.

by Alexander

''First love is alright as far as it goes, last love that's what I'm interested in.''


Two feisty, free-spirited women are connected by the brilliant, charismatic poet who loves them both.

Keira Knightley: Vera Phillips

Sienna Miller: Caitlin MacNamara

The Edge Of Love obviously is a drama set in the mist of World War 2 in London and the beautiful Welsch Countryside. You could say Edge of Love is in the same style of Atonement.
I found it hugely amusing that Keira Kinghtley now has a love interest in the guise of Irish actor Cillian Murphy's William Killick, whereas in Atonement it was Scottish James McAvoy.

Anyway back to Edge of Love and the scenario that comes into light. We have Dylan Thomas played by Matthew Rhys who I don't recollect seeing before, we have his wife Caitlin portrayed by Sienna Miller then we have Keira Knightley who is Vera Phillips a childhood flame from Dylan's past.

Let's face it the plot isn't exactly original we have all seen films which give us a love triangle scenario. But Edge of Love does it in a way that makes the journey compelling to watch. Into this trio's life quite soon emerges William Killick, who is played by Cillian Murphy as I mentioned, who falls for Vera and becomes involved with her having the obvious advantage over Dylan in the fact he is unmarried. What transpires is a drama that involves William going off to war only for Dylan and Vera to have a rekindling of their childhood love. Edge of Love is a WW2 drama piece that shows electrifying performances from all players.

Whether it be Sienna Miller's out going do what she likes Caitlin or Keira's faceted dimensional Vera it's wonderfully depicted.
Edge of Love also shows a friendship between these two and a bond that in essence shows the delicate intricacies of the female and their reaction toward each other.
The chemistry I felt was stronger even than that of Cillian Murphy & Keira especially the last scenes where the two leads totally grasp emotion and flair not just in their words but in their eyes too which to me is and was beautiful.
Dylan was a character who was interesting but I tended to dislike for the movie due to his surprisingly selfish choices and arrogant ways. Misusing his poet skills for a cowardly way out of War and ending up with no money or determination to do the right thing even in a grueling court case in which he should of not done what he did.
Cillian Murphy also has some powerful scenes near the latter part of how the War has effected him and how if pushed, how easy it is to just snap and be forced into violent and retaliative action.

Keira and Sienna also pull off and attempt to muster Welsh accents which was very amusing to hear them do. In my opinion Keira had a more profound performance and beauty due to her stylized, colourful life depicted of her in the Underground singing for the people as the bombs are being dropped above.

The costumes, uses of footage back in the day, locations, the casual, frequent smoking by all the characters and the effective props all help capture the feel and quality of the period.
Edge of Love gives us a story that really shows an array of people and how their lives are ultimately effected by one another, in this regard it succeeds in it's detailed emotional study of love, loss and newfound aspects of life.

by Alexander

''In 1536, fleeing from the Inquisition, the alchemist Uberto Fulcanelli disembarked in Veracruz, Mexico. Appointed official watchmaker to the Viceroy, Fulcanelli was determined to perfect an invention which would provide him with the key to eternal life. He was to name it... the Cronos device. 400 years later, one night in 1937, part of the vault in a building collapsed. Among the victims was a man of strange skin, the color of marble in moonlight. His chest mortally pierced, his last words... Suo tempore. This was the alchemist.''


In 1535, an alchemist builds an extraordinary mechanism encapsulated into a small golden device. The invention...

Federico Luppi: Jesus Gris

Ron Perlman: Angel de la Guardia

Guillermo Del Toro's Cronos is a surreal and stylish take on the vampire legends of old and remians one of the most strangely underrated films of the 90's.

Del Toro was little more than a rookie director at the time this came into being but in that regard he's more than given the pro's a drove of competition.

Every scene in Cronos is skillfully filmed, and the way that Del Toro makes contrasts between locations and the two central families is a grand achievement.

The way that Cronos alternates language from English to Spanish and back again is very clever.
Many subjects are explored, from obvious ones like addiction, to more concealed ones such as a thought on family, tracing the way to the roles of child and parent or even Nephew and Uncle.

For the story of Cronos Del Toro has taken the timeless vampire theme and blended it with mechanics and the human lust of being able to sustain life indefinitely.

The story follows Jesús Gris, an antique dealer that lives with his granddaughter Aurora and wife Mercedes. One day our hero chances upon a mechanical beetle that latches itself onto his palm, causing him to shed blood.

Jesús slowly gets addicted to the mystical object, but there's someone else that desires it and will stop at nothing to get hold of this wondrous device.

The mythology of the beetle is told in a great opening prologue that sets the viewer up for an intriguing original story.

Del Toro ensures that his audience is always left guessing and two steps behind.

Cronos works and clicks due to interesting characters that the audience is able to feel for, a story to be compelled by and a mystery tastily wanting to be uncovered.

by Alexander

''You're a mouse.''

''You people have no imagination! ''


The Pevensie siblings return to Narnia, where they are enlisted to once again help ward off an evil king and restore the rightful heir to the land's throne, Prince Caspian.


Ben Barnes: Prince Caspian

Prince Caspian is the 2nd installment of the Narnia series following The Lion, the Witch and the Wardrobe.
What follows is the Pevensie returning to Narnia after one year has passed for them, they possess all the memories of them growing up as Kings and Queens.
They return to Narnia to find it a new and changed land having endured a gap of 1300 years without them.

We are treated to a new people in the form of the non-magical, Elizabethan Spanish-like, depicted Telmarines.
Prince Caspian played by Ben Barnes, has an exotic Spanish flavoured accent that sounds more like Antonio Banderas. He's a handsome young new comer and a fine addition to a vibrant array of casting.
Sergio Castellitto as King Miraz Caspian's murderous Uncle is a good villain, ruthless and power hungry.

A battle between good and evil takes place in Caspian. Due to the duel aspect of the final battle, the writers decided to add a more straightforward siege to compensate for the machine warfare at the conclusion.
The scene reminiscent of a Minas Tirith battle from Return of the King, adds some nice weight and action, allowing the plot to progress a tad faster and be more interesting than without.

By utilizing it as a chance to show the fallibilities of both Caspian and Peter, it lends more credibility to the idea of resurrecting a former evil to help in the fight against the tyrant Miraz.

Caspian bears alot of similarities to Rings for examples the Telmarines look like Gondor people visually and we have Trees fighting and helping, not to mention a man made of water at a river scene that looked like Arwen's scene in Fellowship.
Although Caspian succeeds in feeling more darker and adult to it's predecessor The Lion, the Witch and the Wardrobe which was lighter, colourful and more kiddish and magic laden.

Directed once again by quaint director Andrew Adamson who utilizes the land of New Zealand with it's lovely landscapes and settings to breathe life into Prince Caspian the fabled story by Brit C.S Lewis.

Incredible creatures, immense battles, a mysterious Aslan and a White Witch trying to claw her way back into the realms of Narnia. Prince Caspian delivers a family film which can be loved by lovers of the books or family fantasy enthusiasts alike.

by Alexander

''Curve the bullet...Shoot the target!''


"Wanted" tells the tale of one apathetic nobody's transformation into an unparalleled enforcer of justice...

James McAvoy: Wesley Gibson

Morgan Freeman: Sloan

Angelina Jolie: Fox

Well what can I say about Wanted? I can start by saying it's one of the most adult, graphic novel adaptation's of brutal execution that is bordering, seaming even, with fast paced drool worthy action sequences and over the top violence.

Think Matrix or a kick ass shoot out film like Shoot em Up or Equilibrium but with a hell of alot more guns, even more tantalizing possibilities and skillfully defined plot twists.

Mark Millar's graphic novel is brought to life by visionary Director Timur Bekmambetov, who did Night Watch and Day Watch.
Might I say the music also on this, which is very important to me in a film, was sheer perfection that really made the scenes totally seeped in adrenaline.
I don't know why but Danny Elfman musical tastes always appeal to me, he does a more unorthodox approach with Wanted which pays off in spades.

The three main stars James McAvoy, Angelina Jolie who is strangely gaunt but beautiful still, and Morgan Freeman shine bright in this, giving professional believable performances as skilled assassins. The former McAvoy who plays Wesley is the perfect transition from a nervous medication taking accountant unaware of his destiny, to a honed, skillful bullet curving assassin. A particular scene where he stands up to a fat bitchy woman at work and his so called friend who's sleeping with his Girlfriend is a total pleasure to watch.
Also pleased to see Thomas Kretschmann as Cross who has more to him than meets the eye, and Terence Stamp as Pekwarsky shows some older class.

Be it the amazing car chase or epic battle on a fast moving train or that last showdown with an array of rats blowing up and substantial killing by Wesley as he tries to shoot his way to Sloan.
You think you know who the villains are or that it will consist of a simple plot, you don't have a clue, Wanted turns us upside down along side it.

Wanted appeals to the dark side of my humour and the ending and conclusion had me smiling and feeling inspired. Wanted may use decoys pardon the pun but it ends up being a full blown tour de force in it's own right.

Wanted stands up as an action packed Blockbusting Shoot out masterpiece.

by Alexander

''I've always wanted to meet a painter.''

''Why?''

''I think it might have something to do with their ability to see beauty in everything.''


After a painful breakup, Ben develops insomnia. To kill time, he starts working the late night shift at the local supermarket, where his artistic imagination runs wild.

Sean Biggerstaff: Ben Willis

Emilia Fox: Sharon Pintey

Cashback is an artistic film, like its main character Ben, that I have seen recently. It has qualities that blend together and result in unrivaled beauty and imagination.

The Director Sean Ellis usually delivers comedic romances, something which I'm relatively unphased by, but Cashback right from the off showed me something deeper, something bordering on a lesson in life, in love and the failed attempt only to be re-blossomed anew with a new chance. Sequences can be dreamy and surreal and as Ben suffers from insomnia from his heartbreak we see that in his new found job he can stop time to study one thing that he loves above all else. That thing in perspective being the female anatomy, not for it's lustful qualities to any typical man but for its proportionate shapely perfection form that is defined above all else.

Some useful flashback sequences of Ben as a boy help explain why he loves the female body so much, the scene when he sees the beautiful body of a Swedish Student naked on her way back to her room. Then as a curious mesmerized young boy would knocks on her door to return her left behind underwear, then he see's all, his view complete. The supple ripely formed breasts and perfect bottom effortlessly displayed that hell even makes me appreciate a goddess of a woman in all her splendor. To capture that on paper or in any sense, to possess that even, is nothing short of perfection.

Other things we get from Cashback is an array of characters doing some comical stuff in the work place, such as a salami BJ or a maddened race between Barry Brickman and Matt Stevens. Even the addition of a Kung fu Brian or the block headed manager was amusing. This really does make you feel like you're in Sainsburys.

Sean Biggerstaff who I recall in Philosophers Stone really shines as the lead being dreamy and suffering from insomnia.
Emilia Fox who works on the Checkouts, also impresses proving she does pick some very interesting choices in her films.
Michelle Ryan as the volatile Ex was very good also even though her part was a fine example of how obsessed we can be or how hard it is to let go after you have had a break up.

Ellis has crafted and created a film of such grandeur and creativeness that ends up being artistic, stylish and untouchable, the fact that he has made Cashback that is both perfect Art-House material and universal is a beacon to his talent and maturity funneled into vision.

Love is unpredictable like a snowflake and in this sense Cashback throws an unusual tale of love lost and love found again, that really does indeed show love does let you keep the change.

by Alexander

''It's not easy being an adult''
''It's not easy being you, is it?''


Set in contemporary London and follows the adventures of Poppy, a primary school teacher.

Sally Hawkins: Poppy

Happy-Go-Lucky wasn't anything at all what I expected. The beginning of the film I was worried if Mike Leigh's offering may not live up to my expectations, but by the end it exceeded them with the amount of relevant serious points yet simplicity within it's confines.

Poppy played by Sally Hawkins is seriously optimistic and at times completely annoying. Very eccentric behaviour and mannerisms. She ends up being likable and means well, generous and considerate to others.
Hawkins' character is not someone who is inclined to let life get her down, so it's just as well that she is surrounded by people with a somewhat more sardonic or downbeat take on reality.

Her flatmate Zoe played by Alexis Zegerman is a wonderfully dry and sardonic counter to Poppy's vitality, although the affection between them is palpable.
Poppy's younger sisters Suzy and Helen are also quite different.
Suzy turns out to be a law student who is more interested in clubbing, drinking and playing with her brother-in-law's PS2 than criminal justice, while Helen is heavily pregnant, obsessed with acquiring the glories of a respectable suburban life and unable to maintain the notion of how her older sister can be so happy living in a rented flat and not stepping onto the property ladder albeit a Mortgage and coining a pension.

The big surprise for me is that I had been led to believe that this is a more or less straightforward feel-good comedy. That isn't true.
Scott, Poppy's driving teacher played by Eddie Marsan is one of the most faceted and troubled characters.
Marsan's performance is one of the best things going in Happy-Go-Lucky. Scott has been afflicted with very bad teeth and although his inner anger and meanderings is applied for laughs in alot of the film, in the end it is allowed to result in an exploding unleashed scene where his angry delusions and troubles he has bottled up inside suddenly all come gushing out in an array of emotion, a tornado that has been set free.

What Happy-Go-Lucky offers us is an insight into someones life, in this instance Poppy's and capitalizes on it truthfully.
Be it a Dance class with passion and unexpected drama or an encounter with a homeless man which shows Poppy's braveness, or even the beginning of a relationship for her with a young Social Worker she meets at her work because of a troubled young boy in her Class. All of these things show a fraction of what Happy-Go-Lucky is, and that being said it ends up being not just a comedy, not just a feel good movie but an in-depth Study of a loving albeit eccentric woman and a journey of life with all it's many highs and lows.

Original, different and maintains something lacking from alot of films today. A story of young vibrant woman's life, Happy-Go-Lucky is worth watching.