Reviews

...I'm sure that this is what was intended with this film but it never quite makes the grade. The video film stock is unsettling at first but easy to get used to and if anything adds a little realism. The use of the club music also works well in the first half of the film and should have been used more. It could have formed an interesting background to the supposed heightened emotion felt by the characters in the remainder of the story.

The three leads are, for all intents and purposes, people you think you could get used to watching on screen, all apparently likable in their own way, but they do not exude any chemistry, especially when playing against each other. Most scenes last far too long and are drawn out with morbid, self-reflexive examinations that would probably almost work with better editing and a faster pace to the film.

It's low budget, sure, but that doesn't have to mean low quality.

This film probably marks the crucial point where Woody Allen takes one step back and lets others take over the Woody persona of a typical Allen film. It's happened before, in Celebrity and Anything Else, but now the lead characters can breathe as themselves without having to essentially 'be Woody'. Sure the resemblances are still there but more in the situations than in the characters. Will Ferrell displays proper comic timing and Jonny Lee Miller tries valiantly with what he's given. The script sparkles with more one-liners than most recent efforts and an appropriate return of the 'lust for life' motif seen in earlier films such as Hannah and Her Sisters or Everyone Says I Love You. If you don't appreciate that comic situations are both sad and full of life, and that tragedy has a fair share of unexpected delights as well as heartache, than you're definitely missing the point. Woody displays both of these in equal quantity spread liberally throughout the film in all situations. And so what if the end plays more like a series of sketches than a full-on film? It's the mark of a master than can make us enjoy what we see regardless of narrative form. 8 out of 10.

Most people are going to say 'whoa!' at the running time for this lengthy (3 and a bit hours) documentary but it is one of the most fascinating films you can see on the subject of Los Angeles (certainly not L.A.). Andersen's monotone voice does not grate or bore and is scripted well not to tell too much or too little about the city. The running time, as any film or LA aficionado will appreciate, is not nearly enough time to fit in all that could be said, or shown, about the city, people, buildings, spaces, representations but he does very well with condensing what he has gathered.

Many critics have argued that the poor quality (it is entirely on video) of a lot (even the most recent) footage lets the piece down slightly which is true if the viewer is to appreciate the wide landscapes but matters not where he is simply trying to illustrate an oft-repeated point. People will say 'what about 'The Couch Trip' or 'where's 'Beverley Hills Cop' but this is just nit-picking a fine achievement and a labour of love that Andersen has fortunately been able to share with the world. Even if you haven't been to Los Angeles you'll love this trip through the movies.

Much emphasis here on the tapping of shoes on paving stones as people hurry from one sadness to another, each one in turn deeper than the last. All in all a pleasant enough film slightly spoiled by the use of the old cinema reel-style interlude for the main character's adventures during 1873. This is 1873 after all - before the invention of cinema - and there is no reason given to believe we are living beyond this period i.e. in someone else's remembrances. Much strain and inaudible mumbling but eventually a satisfying glimpse into the pressures of a lady (with money) in the nineteenth century.

In the tradition of overtly sentimental and feel-good movies from Hollywood, Seabiscuit makes a good stab at becoming the ultimate horse movie (if ever there was such a thing). It appears right that sentiment is consigned to stolid lip-biting and mute scenes of grief but less pleasing that any feel-good factor is replaced by only small doses of excitement and wisps of knowledge from the spin-king Bridges. Having said this however, Seabiscuit is a very credible movie cheapened only by the narration that appears to gloss other great swathes of the history of the horse. There must be more to know about this seemingly amazing horse? What we get instead is the lives of the jockey, the trainer, and the owner. Each in their own way moving, but each also in fits and starts. Bridges and Maguire's lives are covered in depth but Chris Cooper's admirable part is left to hang in the wind and we never really know what motivates him. The result being that too many strands are forced together. Admittedly, most of these work very nicely but they contrive to give the film an extended running time. Happily however, the film does not peak too early and leaves enough for a pleasing dash down the final straight.

This ernest turn at portraying Cockney life quickly becomes a fascinating story with strong characterisation. The initial narration, a touch overdone, gives a tantalising glance at future events that never appear in the film. At first, Grant seems to be playing his part with a strange over-zealous streak but we rapidly understand that this is the nature of his Ernie Mott (like Nic Cage in Wild at Heart, this is a man with clothes that represent his sense of independence), a happy-go-lucky character with a brooding sense of social injustice. Everything bad comes with a dose of sugar, a kiss if you like, to sweeten the experience and make life seem better than it really is. This is one of those pictures that plays out like a languishing soap opera - insightful and compassionate with moments of excitement - just enough to keep 'Ma' happy. This would probably work today as a remake but I suspect the directors would play up the sex and violence to such a level that the real essence of 'want and need' would be lost. Worth watching.

Not one of the finest films about suspicion simply because of the enforced red herrings and the predictable direction of the plot. Ryan and Ruffalo are good in their roles, with the former portraying just the right level of anxiety to leave the audience knowing more about her state of mind than the character herself. The background of each character is suitably sketchy and this adds to the messed-up nature of their current lives. Everyone lies to themselves, and this film more than any other excels in showing how deep these falsehoods can cut.

For all the slow promise of the Ninth Gate, it can never really deliver. It's on the cusp of a good mystery, on the edge of a good drama, and very nearly an eerie follow up in the tradition of The Omen. Polanski does his best, as does Depp, but sadly this becomes little more than a disappointment by the final scenes.

Mystic River is slow and clunky to say the least - it moves with grandeur but at a snail's pace and really only delivers in the acting department. Sean Penn is excellent, as is Tim Robbins, whereas as everyone else seems to be putting in an appearance to earn the cheque at the end of the day.

It's saved from being a predictable film by the level of acting. Even when you know what's ahead you're pretty much engrossed by some emotional bludgeoning from some character or other. The underlying tension - the events, unshockingly portrayed at the beginning of the film, slowly burn inside of Tim Robin's head but we never really get to sample the uncertainty he holds within. Perhaps this is meant to reflect the messed-up nature of the character but it simply comes across as confused.

The end is strange too - as if it was added to please someone - and it really gives nothing to the previous events. A worthy film that says more about family ties and laying ghosts to rest than any other subject matter it may have thought it was explaining.

You're just willing them to get the words correct from the word go. Eight young lives are followed in a variety of ways, from their regional finals, home preparation and the memory-aiding techniques they use, to the big Spelling Bee event itself. Mesmerizing from start to finish Spellbound is one of the most likeable documentaries of recent years. Simply put together, though it's obvious a lot of work has gone into this, it delves just deep enough to gain an insight into the family issues and backgrounds surrounding these youngsters. Eight of a kind become 249 of a kind, and all of them at least happy to have had the experience of trying. If you don't think this is for you, think again and go ahead and rent the video or visit your local cinema. You won't be disappointed. A gem.

In Annie Hall, Alvy Singer observes that the only cultural advantage of living in California is that you can make a left on a red light. Here. in the thick of it, Woody's character is a committed Los Angelean with designer suits, fast-talking business deals but still with that underlying angst. There's a lot to recommend this relatively stagey effort from Paul Mazursky - the screenplay, the leads and the unique setting - although Kevin Smith has done it better since in Mallrats. What is perhaps missing here is any new revelation or insight into the characters who remain pretty much two-dimensional throughout. It is alas predictable fare but still worth a look for a touch of Woody as he might have been if California had enticed him over.

Probably one of the finest movies of the twentieth century ruminating on life, relationships and the pitfalls of romance. Nothing is forever but while you're here you might as well have a jolly good try at it. Allen brings in all the elements that makes relationships (or sharks) come stop moving - jealously, needs and wants, compromises, those thoughts of imaginary arguments when you really know what you want to say but never really said it - it's all here. And it's not a sad film either - we know from the start the relationship is over but that doesn't stop the viewer from enjoying every moment as if it were afresh. Beautifully made, this is a must for just about anyone who's ever had a tumultuous relationship and needs a breather/room for thought. Wonderful.

Trying to present a world that no longer exists is hard enough but making it convincing to the viewer requires a stroke of genius. This is recent history brought gloriously back to life, firstly as the main characters build a world for their ill mother and secondly as the director makes a fine job of creating the former East Germany and the aftermath of reunification for the audience. Non-flashy, the film makes nods towards other movies, not least the works of Fellini and Kubrick.

Subtitles should not put anyone off seeing this film which is both heart-breaking and oddly comforting at the same time. Definitely worth catching at the cinema if you can.

Buffalo Soldiers disappoints because it can't live up to the hype of an anti-war/anti-conflict film. It has no obvious message (except don't do things without backup) and simply becomes an engrossing caper film that happens to be set in the world of the army. In fact, much of it reminded me of watching re-runs of Bilko on TV; the hero who thinks he knows it all, the weak commander who can be indecisive and twisted around anyone's little finger, the adoring commander's wife, the constant tricks and trade-offs, and the loyal followers who can be talked onto anything.

This is Bilko with bullets, blood and some bravado. Echoes of Dr Strangelove appear at the very beginning but otherwise similar themes have better portrayed in films such as Three Kings. Still worth a look though.

If you looking for roughly sketched characters then this is your film. Like the film itself the central protagonists survive only on pace and violence. Unexpectedly unbloody, City of God's main saviour is its reliance on flashback and quirky narrative that owes much more to early Hollywood gangster flicks of the Bogart era than the Scorsese style many critics enthuse about. Worth a look - you'll certainly be kept on your toes.

Once in a while this movie offers glimpses of fun amidst the flashbacks and repetitive scenes. Kim Novak's Monroe-esque appearance brings a little relief but otherwise it's easy to get distracted. Watch out for the joke with the lamp in the window - quite a gem and wonderfully played by Lemmon and Novak. I believe the title of the film is the sound of a match extinguishing. It's referenced quite close to the beginning in the close-up on the gossip column.

This really wouldn't look out of place as a student film. Leaden script, poor acting and a plot that never really gets going are just a few of the things that can be said. Caine is OK, but you get the feeling that the rest of the cast just don't care. In fact with better production values and a little more believable action this film could have been at least half-way decent. In the mid- to late-sixties there may have been a call for this type of film but not now. Then, it would have been slightly dangerous and risque, perhaps even exciting (then again perhaps not). Now it collects dust as it sits on the shelves of the local video outlet (really - it does!). The film is just a shadow of what could have been.

There are good ways to make a movie and bad ways and this very much the former. This short caper exacts nothing more than what it gives to the audience. It presents a simple story, told very plainly with enough wisecracks to keep you going, then just gets better and better. Clooney's cameo is funny and very welcome but the leads including Sam Rockwell and Luiz Guzman can easily make it on their own. Likeable and funny, hilariously so towards the end, Welcome to Collinwood is a welcome addition to the heist genre.

Though it is very easy to like this film a lot, I found the second half drawn out and painfully slow in places. The sparkle of Hugh Grant's script delivery and Sandra Bullock's comic turns were lacking after a fairly blistering start which set the scene extremely well.

It has to be said that in whatever way the second half lacked pizzazz, it was indeed true to life and thankfully did not follow the unbelievable events of other such recent comedies.

Refreshing in its range but slightly overlong, this film is still probably best caught while still on in the cinema.

Sitting down to watch this, without the prior knowledge of the guest appearances, is probably the best way to go about this film. Obviously, they're all credited at the beginning but it's best just to look past the fake masks and enjoy George C. Scott, in his own right, sifting his way through the clues. No guest appearance is particularly awe-inspiring or remarkable. In fact Alec Guinness could well have done it all better in a straight remake of Kind Hearts and Coronets but then where's the fun in that? Laughable English accents and all, this is worth seeing for curiosity value next time it comes on the box.

There's something that suggests world domination in Boris Karloff's first description of his technique to hypnotize young people but this is soon dispelled by a surprising performance in a rather average film. Interestinglyly pieced together, the director tries hard to portray the idea of control which only sometimes works, but nevertheless does get better as the film nears a climax. Predictable in plot but still violent enough to present a challenge to those expect a little more from their Karloff movies. Great just to see Karloff in an argument in a newsagents at the very beginning - not a usual scene from your run-of-the-mill fantasy thrillers!

Not one of the best British films of the period. The lead actors were all to become British household names in the 1970s and 1980s but there is very little to show what they would become here. All in all, very little to cause offence but then not much to entertain either. This film has a feeling of being made very much earlier than in actuality and as a result feels staid and out of date.

It's a shame that such a lame plot should be hung on such picturesque locations, with some documentary style reportage shoved in for extra length. A shorter film may have held the tension a little more, and a more charismatic lead may not have mangled his lines so much. The female lead also, was not allowed to do enough resulting in a pretty but boring affair. It builds towards the end but the lead actor's own redemption is too little too late and should have been revealed earlier in the film. Not awful, just a pity. Unexciting but nice enough to grace TV schedules of the early hours.

So cool, sheep count him in their sleep. Just one of the cracking lines to be delivered in a movie that does not really live up to expectations. Giving lengthy and improbable scenes where tension is needed, twists where only a simple deception needs to be shown, and star quality, well, pretty much the whole way through.

Hackman, Lindo and Devito pretty much save this from being a disappointment. A pulsating soundtrack aids the plot and tries to give the whole affair a feeling of a true 1970s heist film. It doesn't quite work but there's still a lot to be gained from listening to the dialogue and assured direction from Mamet.

A skillful a drama as ever could be mustered, but crucially here, the humor is only derived from the one-dimensional stereotypical portrayal of the various UN nationalities and the savage media hordes. It is they who are needed to keep the story afloat. What eventually emerges however is a unique film that draws more on the absurdity of the situation and the futility of war than any deliberately conceived script innovations the writers could put together. A very worthy film with rather more ‘black' than ‘comedy'. More drama from this particular European conflict should be given a chance to be seen on film