Reviews

I don't know if this warrants a cult classic but it certainly has acquired cult status. Terribly bad, there is nothing well done in this film. The script is a Jaws 3 rehash with cardboard characters that can evoke amusement by the actors that play them. Special effects are horrific, with many of the shots taken from nature programmes. In spite of this, the film is remarkably entertaining and provides much amusement. The acting and dialogue is terrible, but cheesy enough to evoke laughter. It also stars John Barrowman who has become a successful and highly regarded actor in Britain, thanks to his parts in Doctor Who and it's spin off Torchwood, the latter features Barrowman in a lead role. A film that truly has to be seen to be believed, I have showed this to many people who approached it with hesitation. They may not have liked it but it didn't effect the enjoyment. So bad, it has to be good.

When Paul W.S Anderson's atrocity that was AvP ended, it left us with the not so subtle hint of a possible sequel. Written by Shane Salerno, (unaccredited writer in the first one) the story tells how the little Predalien from AvP has all grown up, kills the crew of the Predator ship, causing it to crash in small town. The last surviving Predator launches a distress signal that alerts experienced hunter Wolf (names after Harvey Keitel in Pulp Fiction…seriously) who comes to earth to cover up the mess. He does this with the help of a blue liquid that evaporates what it touches, but you don't need a lot of it. Throw in some dull stereotypes (good guy with dark past, hot girl, bully) with about as much depth as a piece of paper and your on your way to the worst film ever. However that's irrelevant right? It's about the fight between two of the most fearsome creatures ever put to film. Unfortunately this is done so atrociously, it almost (but not quite) appreciate Anderson's effort. The lighting is shambolic, clouding everything in darkness you actually think that there may be something wrong with the film. Also, it's very clear that directors The Brothers Strause favour the Predator. Wolf is the ultimate warrior, tooled up to the max, taking on an army of Aliens. Which is fine in itself but this isn't a Predator film, though you may think that 's Predator propaganda with how badly handled the Aliens are. They're a far cry from the fearsome creatures presented to us by Scott or Cameron. Instead we get the true meaning of the term cannon fodder. Add in plot holes such as changes in acid blood concentration depending on how important the character is and their inability to leave the town. A homage is a good thing however when half you film is made out of it, it looks pretty silly. Constantly using shots from other films is not homage, it's lazy. Then we're left with a pretty lacklustre ending, that offers nothing but a reminder that, again, the fans of both franchises have been shafted once again by Fox. If you must insist on making these films, will you please hire someone with talent?

When Llewelyen Moss (Josh Brolin steals) steal's money from the bloody aftermath of a suspected drug deal went wrong, clean up man Anton Chigurgh (Javier Bardem) in sent in. Wonderfully simplistic and brilliantly acted, the Cohens recent effort is a fine lesson in how a film can tell you little about the plot and still keep you hooked. There are no backstories to the characters, yet the depth added to them by solid performances. The films is stunningly shot, set against southern deserts giving you a sense of helplessness as the heat beats down on our protagonist. The plot isn't bogged down by complexities, however it opens up discussion as very little is explained. The Cohens have succeeded in a film that entraps you with suspense. You my not be on the edge of your seat throughout the film, but you will be rooted to it.

It's always been said don't let the truth get in the way of a good story. More often than not, fiction is more entertaining. That's the great thing about Greek mythology, it has historical basis though we shouldn't forget the mythology part. With the 300 it should not forget the based on a comic part. Following in the vein of Sin City, the 300 was written for the page by Frank Miller and brought to the screen by Zack Snyder (The Dawn of the Dead remake). It tells the story the Battle of Thermopylae in 480 B.C when 300 Spartans engage in battle with the advancing Persian army. Led by King Leonidas, (Gerard Butler) the Spartans are vastly outnumbered as the Persians number in the millions. While most armies would be crushed, the Spartans have the finest warriors in the world who have been bred to fight which results in much bloodshed. Shot entirely in blue and green screen the 300 is extremely stylish and looks every part a live action comic book. Snyder has no reservations in shedding as much blood as possible with the claret spraying the screen at every opportunity. Butler appears to be having a ball playing the Spartan King as he continually boasts how superior his men are to enemy King Xeres (Rodrigo Santoro) whilst butchering his men. He commands the screen with a ferocious look that makes you believe that his men can actually beat any number of men, his Scottish accent adding to his assertiveness. The Spartans also look the part, each actor going through a punishing exercise regime in order to achieve the look of the men said to be descended from Hercules. The sub plot of Leonidas' love for his wife Queen Gorgo (Lena Headey) shows that he's not a one dimensional character, however the 300 works best when the blood flows, and it flows a lot. Violent, bloody, stylish and fun, the 300 may not be the Greek epic audiences are used to, however it may be the one that future films are measured against.

Is he alive; is he dead, do we care? OK, it's not the tag-line for the film, though it may heave been more accurate. Premonition begins as it means to go on, one big predictable cliché of a supernatural thriller. Jim (Julian McMahon) and Linda (Sandra Bullock) Hanson have just bought their dream house and appear very much in love. Fast forward a few years, they have two daughters and their marriage appears to be in trouble, however before this can be resolved Jim dies horribly in a car crash. Or did he? Linda wakes up the next morning to find her husband alive, and then he's dead, then alive…get the picture? There is absolutely no suspense in the first half with director Mennan Yapo adding none. He's not entirely to blame though, a film can be predictable but atmospheric with the right score, however this one is just as clichéd almost as if it's actually telling you what's about to happen next. The only thing that's surprising in this film how the hell they though they could get away with such a poor ending? It's not all bad though; Bullock plays the part well enough however her character appears to be dealing with the strange time phenomena pretty easily. McMahon isn't given much screen time for us to really care if he lives or die and the rest of cast behave like they've been brainwashed by a cult. All except of Peter Stormare as psychiatrist Dr Norman Roth. His performance is solid, though limited. The interesting thing is that the whole film appears to improve when he's on screen, from fellow performances to the directing. By the end, which you don't need to see into the future to see, you feel cheated. Like the whole film was a waste of time. Not that's a particularly bad film, it's just so by the numbers in most departments that it's not worth caring about.

When the CIA discover that someone has been leaking information to the Cubans, it is up to Edward Bell Wilson (Matt Damon) to track the person down and administer some justice covert style. His journey is told as we are invited into Damon's life, how he came to join the CIA, how he met his wife, his first sacrifice etc. An intricate story, class acting and some great directing means that Robert De Niro's latest stint behind the camera has all the right ingredients to make a remarkable movie. Not in this case though. Not a case of too many cooks, more of a case of the wrong amount of ingredients. The story may be intricate but it is far from compelling. Damon may be wonderful but one feels that he may have benefited more from some regular support. Joe Pesci and Alec Baldwin are great in their cameos, however it wouldn't have killed anyone to give them some more screen time. Jolie doesn't do anything wrong, though it's hard to feel sorry for her when you don't really care for her one dimensional bored housewife. Damon's son provides some great support in the third act, as does Michael Gambon in the first, however it's not enough to save a film that is unfortunately very boring. The problem is that this film had so much potential. However it is a prime example that regardless of the star quality a film possesses it will always fail under a poor script.

When Mark Steven Johnston was announced as the Ghost Rider director, it wasn't exactly ushered in with a parade. For fan boys, Daredevil is a terrible film, the black spot in an otherwise flawless resurrected Marvel CV. Oh and he wrote Elektra. The main problem with Daredevil though was the character. He wasn't as established as the X-men or Spiderman. So why do follow is up with a character that can be only described as obscure? Well because he wants to. MSJ is a huge Ghost Rider fan, and it shows. When Johnny Blaze finds out his father has terminal lung cancer, a deal with Mephistopheles (Peter Fonda) appears to be the only way to save him. However, being a devil, Mephisto saves Barton Blaze only to kill him in a motorcycle accident. Tormented, and awaiting the inevitable return of Mephisto to call in a favour, Johnny Blaze (Nicholas Cage) lives a life of virtual solitude. Not easy for the a famous stunt rider I'm guessing. When Mephisto's offspring Blackheart (an underrated Wes Bentley) challenges the throne, Mephisto turns Blaze into his Ghost Rider, his own personal bounty hunter, to take care of his wayward son. GR may lack the realism and psychological musings of Spidey and X-Men, but it's a hellavu lot of fun. Cage plays the part as if he's been practising all his life, with MSJ going so over the top with the script it borders in ludicrous. But why's that a bad thing? GR doesn't try to pretend to be anything it's not, it's a fantasy horror that revels in borderline B movie. The dialogue may seem a little cheesy in places however when some of those lines are lifted straight from the comic, how can anyone crucify MSJ for being anything than faithful? The film has an acquired taste, much like the comic. There's a reason why the comic wasn't as big as Spiderman and there's a reason the film wont be either. Not because it's no good, but because it's not the same. They may exist in the same universe however they are worlds apart. It's been a long hard road out of hell for MSJ and GR. Already making a tidy profit, the question is where to go next?

Another year, another World War II film just in time for the Oscars. What makes this one any different when we know the outcome? And why watch this when the same director had one out not that long ago? The difference with knowing the end of this film however, is that it's not a happy ending. You know the Japanese are going to lose and the Americans are going to raise that flag for that iconic shot. But for that go see Flags of our Fathers. Clint Eastwood does great in showing that the enemy are also human. Like the Americans they have wives waiting at home, dreams to pursue. There is also a hapless humour to main protagonist Saigo (Kazunari Ninomiya) with General Tadamichi Kuribayashi (Ken Watanabe) as the honourable general with controversial tactics. And Eastwood isn't afraid to show the Americans as potential villains here, as they shoot prisoners in contrast to the opposition's hospitality. Though not an action epic, the war scenes are beautifully shot, as Eastwood shows how picturesque the island regardless of the destruction wrought upon it. There's nothing much wrong with the movie, it drags in places though pays off in the end. An enjoyable war film that's told from a different perspective.

Stéphane (Gael García Bernal) isn't having much luck. His father's dead, he's living in France with no real grasp of the language and he's in a job he hates. Even his beds too small for him. The only shining light in his life is his next door neighbour Stéphanie (Charlotte Gainsbourg), or more directly her friend Zoé (Emma de Caunes). Unfortunately for the hapless Stéphane, it is Stéphanie that has the interest in him. As the friendship between the two (nearly) namesakes develops it's clear who our protagonist really loves. If only he could keep his dreams under control. Blurring the lines of reality, director Michel Gondry switches between Stéphane's dream world with the "real" world in an attempt to bring the two destined lovers together.

Bernal is simply brilliant as the childlike Stéphane, who plays perfectly against Gainsbourg. Their relationship has an innocence and sweetness that just isn't pulled off in many love stories. It's credit to Gondry and his remarkable talent that he can make such a surreal film, when at it's heart is basically a simple love story. The dream scenes may be stop motion animation over CGI, though this just adds to the childlike quality of the film, and for it's surreal approach the realism in it.

The wisest move made with this film wasn't recruiting Bryan Singer. It wasn't keeping the original John Williams score and it wasn't even casting an unknown (Brandon Routh) who people couldn't attack before the film came out. It was setting it after Superman II, completely disregarding III and IV. Wise.

Superman Returns tells the story of how Americas favourite hero returns, funnily enough, after a 5 year absence. His reasons for leaving are astronomers believe they have found remains of Krypton, which they must have been mistaken as Superman Returns none the wiser. Upon arrival it appears Lois Lane (Kate Bosworth) has moved on and has now shacked up with her bosses nephew Richard White (James Marsden). That would be the worse thing to happen to him if it wasn't for the fact that Lex Luthor is planning on killing billions of people for profit, using Kryptonian technology he has stole from Supermans fortress of solitude.

Its not that Superman Returns is a necessarily an average film. The special effects are fantastic and the cast superb, (most notable Marsden who plays the role of love rival without coming across as an a-hole brilliantly) it just isn't anything special. If you didn't know Singer was at the helm you'd be forgiven for thinking Richard Donner directed it (and no offence, the guy is brilliant) as Superman Returns lacks the edge that Singer injected into X-Men, taking a huge gamble by making it his own. Unfortunately with this summer blockbuster he's played it safe. Lets hope he shows more of his own input in the sequel.