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Bright light. Bright light. Uh oh.
Danger: Diabolik (Mario Bava, 1968)




Bava gleefully throws himself into an inverse superhero movie where the lead is a diabolical criminal (John Phillip Law) who goes out of his way to steal anything worth stealing. In between capers, he carries on an intense love affair with his lady assistant Eva (Marisa Mell). Eventually, a befuddled police inspector (Michel Piccoli) makes a deal with a sadistic crime boss (Adolfo Celi) to try to capture Diabolik and stop his criminal rampage. The sets, costumes, and autos all seem to belong to the Swingin' Sixties by way of the Italian comic book, and Ennio Morricone's score uses plenty of psychedic electric guitars to accentuate Bava's assured yet flamboyant direction. Although you cannot really take the film seriously, the love affair and some of the plotting makes it seem much less campy to me than how others may feel it is. The opening and a few other of the action set-pieces get the blood boiling, but I still found a few too many longueurs in the 100 minute flick to give it a wholehearted recommendation, but you'll know if you'll like it by reading this. The film cries out for it and producer Dino De Laurentiis did ask Bava to make a sequel, but the director declined.

Madame de... (Max Ophuls, 1953)




Set at the turn-of-the-early 20th century, Madame de... tells of the flirtatious wife (Danielle Darrieux) of a demanding general (Charles Boyer) who falls in love with a diplomat (Vittorio De Sica) while paying for her flirtations by pawning the earrings her husband gave her as a wedding present. These earrings keep turning up repeatedly, having been sold and bought back several times, and they become a symbol of the couple's marriage and how much control the husband actually has over his wife. The film is somewhat stylistically similar to Casque d'or and both have a romance, plenty of dancing and lead to tragedy, but the chief difference is the passion found in the other film. Although Ophuls' beautiful use of the camera gives pleasure and Madame de certainly shows a tender side of herself to the diplomat, this film is just colder than Casque d'or, and the ending seems a tad too much a price to pay for what the characters dare to do.

Sheba Baby (William Girdler, 1975)




This flick is a substandard Pam Grier actioner where she plays a private detective who returns home to Louisville when her father gets roughed up and his business gets trashed by some mobsters. It contains the requisite gunplay and cat fights of Grier's other flicks, but contains less sex and blood. Director Girdler, who died in a helicopter crash after making four more movies, was always basically a hack who ripped off whatever was popular at the time, so look at this as almost a Pam Grier ripoff movie starring Pam Grier. There really isn't that much to say about it, except that if you want to watch a Pam Grier film, watch any of the other ones before you watch this one.

Sugar (Anna Boden and Ryan Fleck, 2008)




Being a baseball fan, I enjoyed much of this tale about Sugar (Algenis Perez Soto), a young pitcher from the baseball hotbed of the Dominican Republic, San Pedro de Macoris. He's signed by the major league club Kansas City Royals and goes to play for their A team in Iowa where he stays with a religious family who are also baseball fanatics. Being made by the team which also made Half Nelson, you can be sure that this isn't your standard baseball tale and there are plenty of curveballs presented in Sugar's story. Much of the baseball seems realistic since they used many real ballplayers but some of the details are a bit lacking in truth. Now, I realize that I had a major problem with critical darling Half Nelson which I found amateurish, boring and unbelievable, but this film is a definite step up for me, even if there's still something off in the way I see these filmmakers trying to mask their deficiencies in some faux naturalistic style. Even so, since I like this film as much as any on the tab so far, I'm going to shut up and just tell you that if you want to watch an offbeat baseball film that won't insult your intelligence, give Sugar a try.

Max Mon Amour (Nagisa ‘shima, 1986)




A British diplomat (Anthony Higgins) learns that his wife (Charlotte Rampling) is having an affair with a chimpanzee named Max, and the diplomat decides it would be better if Max comes to live with the family. That's basically the entire film. Now, what could seem shocking, weird, or funny is mostly played straight and there was little for me to react to since I found that nothing terribly interesting occurred. Rick Baker's makeup effects are mostly impressive, except for a couple of times they used a real chimp which threw things off. The film looks good too, but I just don't understand why things weren't more "fleshed out", if you get my drift. Why make a film with a seemingly-outrageous premise if it isn't going to be fully explored?

OSS 117: Cairo, Nest of Spies (Michel Hazanavicius, 2006)




This is one of Holden's favorite recent comedies, and it hits the right spot between incompetent spying, lame-brained action and romance and intermingling of Nazis and Arabs in 1950s Cairo. It may seem to be a spoof a la The Naked Gun or Top Secret, but it actually belongs to an older tradition of French spy flicks dating back to about the time this film is set. Jean Dujardin is hilarious as OSS 117, and I especially like his scenes with the Muslims where he's utterly clueless of what Islam is and will become. Even when the jokes aren't as humorous as intended, the film is one which actually uses humor to critique politics and religion, from the sides of both the French and the Arabs, and if you look even only slightly, you can see that Dujardin does a mean impression of Sean Connery, so often you have to wonder if he's also satirizing just Connery or Bond and all "old-fashioned secret agents". There's already a sequel out, OSS - Lost in Rio.

To Wong Foo Thanks For Everything, Julie Newmar (Beeban Kidron, 1995)




This is actually a low-key fairy tale about tolerance, being one's self, and always trying to help others in need. Brenda picked this one as a Swayze Tribute movie, and I found it more entertaining than I had previously. It's about two drag queens, Vida (Swayze) and Noxzeema (Wesley Snipes), who take under their wings a "drag princess", Chi-Chi (John Leguizamo) who has a few things to learn before she can become a queen. En route to Hollywood by car, the trio have a run-in with a bigoted sheriff (Chris Penn), and after their cadillac breaks down, they're forced to stay in the boondocks for the weekend. It's little wonder that the three "career girls" change the lives of the locals forever. Although there are some dramatic moments, To Wong Foo is basically a feel-good comedy. The key to the film's charms is that it always takes the characters seriously and rarely resorts to freakish caricatures for its humor (unless you want to count the one about abusive husbands, but I won't count that one). There is also a huge cast of actresses here: Stockard Channing, Blythe Danner, Melinda Dillon, Beth Grant, Alice Drummond, Marceline Hugot and Jennifer Milmore. People often call this a remake or a ripoff of the Australian film The Adventures of Priscilla, Queen of the Desert, and there are plenty of similarities and just as many differences, so to me, it doesn't really matter unless you're trying to collect some money from Hollywood for plagiarism.
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Danger: Diabolik (Mario Bava, 1968)
Yup, that sure is one ambiguous ending, but I'm glad Bava didn't do a sequel. It adds to the mystique of the character for me. Did you like the scene with the laughing gas?



Bright light. Bright light. Uh oh.
Sure, I liked that, but that seemed a lot less campy to me than the "Batman" TV series, even though they did the same thing. I grew up with "Batman", but aside from Diabolik's maniacal laugh and the fact they could lift the train car with a few air balloons (and undoubtedly a few more scenes I'm blanking out on), it seemed less campy than I was expecting. One other thing to remember is that I watched it so many times that the "dead spots" grew larger unfortunately. Still, it's a fun movie, especially for lovers of that kind of genre.



will.15's Avatar
Semper Fooey
Diabolik inspired a more kid friendly British comic paper serial imitation called The Spider. Most of the stories were written by Superman creator, Jerry Siegel, and drawn by Reg Bun, "the king of cross hatching," in an absolutely stunning style that evokes pulp illustration at its best. There was a book collection that came out a few years ago and there was promise of a volume 2, but it never came out.



Dying Breed



Before we start, a little preamble is needed methinks.
Once again the 21st century shows why it’s become on of the most vital and exciting times (ever growing and utterly pointless re-make trend aside) for Horror/Exploitation film production.

In the late 60’s and 70’s, when the perfect storm of more liberal censorship, with an exploding independent film production/distribution market to enjoy it, met the upheaval of Vietnam, the Kennedy assassination and the threat of nuclear destruction, it buffeted not only America but most of the World and this extreme climate ensured that we were offered up some of the most groundbreaking, radical, pessimistic, cruel, extreme and just plain brutal Horror (and Exploitation) cinema we had ever seen.

Psychologists often state that at times of great upheaval Horror cinema goes through a resurgence, and just as in the 60's/70's this is being proved correct once more.
Now that upheaval is in the form of an unprecedented terrorism threat from within and without, of brutal conflict worldwide, of Global political mistrust at an all time high, of religious dogma at its most unrelenting and extreme since The Crusades.

And once again censorship is at its most forgiving (The UK for example now routinely passes films uncut it would have once banned outright) and although the great indy Drive-In/Grindhouse circuits for film distribution have long since gone we now have the even more widespread and powerful distribution tools called DVD, Blu-ray and even the internet as home theatre systems becoming bigger and more sophisticated.

From around the globe we are being treated to some of the bleakest, nastiest, most exciting genre cinema. They may not all be masterworks, though some are, but all are deeply effective and make most of what came in the last decade (more underground/indy fare like "Henry: Portrait of a Serial Killer" aside) look like the drab, weak, safe efforts they were.
Flawed some of these may be, but the likes of , "The Devil's Rejects", "Hostel", "The Descent", "Inside", "House of 1000 Corpses", "Cannibal", "Martyrs", "Mum and Dad", "Shuttle", "Frontiers", "Dead Girl", "Gutterballs", "August Underground" and "Saw" have all, from the multi-plex, to the DVD player, to the PC monitor given us something as close to those halcyon days of 70's extremity and grime as we will ever get again.

And with bigger budgets (even for indy productions), easier to use equipment and more sophisticated effects possibilities, than the rough 'n' tumble 60's/70's film makers could have imagined, Horror and Exploitation cinema has been able to achieve much more in terms of what we see and yet (thankfully) has often remained as gritty, uncompromising and unforgiving (as these dark times display their inescapable influence) as those rough, tough products of that other harsh era.

And "Dying Breed" is very much a creation of all these elements. Nothing particularly original here, but it's packed with the well loved elements we actually want from such a film and delivers them with razor sharp, sadistic, unforgiving precision.


Like its distant cousin "Wolf Creek" this excellent example of Australian terror cinema utilises the country's huge, mysterious, ancient wilderness to great effect.
This may be internationally exportable, but it retains its Australian roots.
The scenery here may not be the arid dead lands of the sweltering, colossal, outback so well used in "Wolf Creek", but the huge lakes dotted with drowned skeletal trees, overhung rivers, mighty peaks and ancient misty woodlands are just as otherworldly, lonely, treacherous and forbidding.
The excellent Cinematography not only captures the overwhelming scale of the landscape to wonderful effect but also captures the stifling intimacy of the deep forest with equal effectiveness.
The movie is a genuinely startling visual treat.

The film's opening third plays very much like that of "Deliverance" and although it may not have anything as iconic as the 'dueling banjos', "Dying Breed" perfectly captures that essential uneasiness of strangers entering a world they can have no understanding of or can truly realise, despite shows of bravado, how dangerous their situation is.

When the film moves into its middle section the pacing does start to sadly flag though. And although we are now deep inside the heart of this fascinating wilderness the film does offer us more scenes of the antagonism that exists between Jack and Nina than we really need, as this friction has already been introduced and exploited during the drive to Tasmania.
If the otherwise stunning "Wolf Creek" could have moved 10 minutes from it's first half to its second, "Dying Breed" could at least exchange 5 minutes of the time spent in the forest now to the betterment of the movie's last third.
But even then, what a last third it is! Chilling, exciting, brutal, grotesque and filled with tension and surprise set-ups you dearly wish that those extra 5 minutes were available to play with.

Director Jody Dwyer delivers all we could have hoped for during the generally effective build-up as the movie now crushes the audience's face into a bloody mire of hacked limbs, ripped open flesh, animal fury and the most chilling and twisted gene pool seen in the genre for a long time.
You can keep the weak, bland, mutants of that unnecessary "The Hills have Eyes" remake...this rather more realistic and, dare one say it, human psycho set-up delivers so much more and is able to utilise these strengths to deliver some unsettling twists and grim reveals as to the influence and power of this backwoods, inbred, community existence.
That is not to say that the essential 'mutated cannibal' character is not here though. With a generally excellent mix of make-up and CGI tweaking the main, hulking, deadly patriarch of this 17th century throwback existence makes for a wonderful visual treat with his grotesque face being the crowning achievement of perhaps all inbred cannibal killer movies.

Mention of the effects brings up the stunning corpse reveal in the film. Strung up, cruelly naked and exposed, half eaten and mutilated this shock scene moment would be at home in any of Deodato's classic Cannibal films and is uncompromising in how it visually wallows in the explicitness of the sight. There is a pure Exploitation sensibility being indulged here and we should welcome it.
Other effects are far more low key, short and sharp and pack a more violent punch rather than a gloating gore experience. Sadly the side is let down by an awful (why it was even allowed into the final film is a mystery, perhaps time was short to deliver something) CGI heavy death that sticks out like a sore thumb and takes you out of the grim, down and dirty feel the movie has carefully built up. Luckily the FX set-ups that follow this help us forget (though not totally) this folly.
Certainly, as the superbly twisted finale vomits out its putrid contents over the audience, any such simplistic shortcomings seem moot.

Performances are all good, with newcomer Mirrah Foulke doing a good job essaying the rather strung out and compulsive Nina, Leigh Whannell brings his likable personality and deliver that worked so well in "Saw" and truly gives it his all during the brilliant finale.
Nathan Phillips is far broader and initially plays the kind of arrogant, irritating Jock yahoo character seen in many American Horror films, but he certainly brings an energy to the film and handles the later action very well.
No one puts a foot wrong here.

Overall then "Dying Breed" may be a creature stitched together from many other Horror and Exploitation parts, but in the right hands, and in the right environment, such homage to past glories can be equally as effective and just as unforgiving as what gave it life. And, some pacing and one FX fault aside, "Dying Breed is thankfully part of a breed of movie that is far from dying out at the moment.
In fact such harsh, uncompromising, extreme and cruel Horror films are alive and well in these dangerous and uncertain times and "Dying Breed" can run with the best of the pack.



birdygyrl's Avatar
MovieForums Extra
I recently watched two recommended movies, both of them starring Charlie Chaplin. I absolutely now love Charlie Chaplin. He was a genius. Writer, composer, director, actor...he did it all.

The first one I viewed was Modern Times, 1936, dir. Charlie Chaplin.




Chaplin stars as a factory worker, an "everyman", who is besieged by management to keep up with the work load as they constantly increase the speed of the assembly line. This leads to him having a nervous breakdown, for which he is institutionalized. Upon his release, he is now unemployed, and faces the dilemma of how to fend for himself. He innocently stumbles onto a Communist demonstration, ends up picking up a red flag that falls off a truck, and is arrested.




While in jail, he picks up a salt shaker that another inmate has filled with cocaine to avoid being caught with it. Chaplin sprinkles it liberally on his food, thinking its salt, and becomes delirious. He winds up foiling a jail break by subduing the inmates. He is now a hero and is released. Once again, he finds himself in dire circumstances. It is the Great Depression and there are no jobs. He decides that things weren't so bad in jail, and attempts to get arrested. He comes across a young girl, a "gamin", (played by Paulette Goddard) who is being chased by the police for stealing bread. He tries to take the rap, but a witness comes forward and he is released. He becomes more determined to go back to jail, goes to a cafe, eats his fill and has no money to pay the bill. He winds up being arrested, and on his way there in the police wagon, he meets up with the gamin. She persuades him to take it on the lam, and they escape. Dreaming of a better life, he gets a job at a department store as a night watchman. He lets the gamin in, and they make a night of it. (The skating scenes were totally priceless.) While there, the store is broken into. He confronts the burglars, and they end up eating and drinking their fill. He becomes intoxicated and falls asleep in a pile of clothes. Needless to say, he is arrested, again. After spending a little while in jail, the gamin takes him home to their little shack. He hears there are jobs available at the factory where he worked at before, and he manages to get hired. The factory workers decide to strike, and after a confrontation with the police he is arrested yet again. This time, after being released, he discovers that his lady love is now working at a restaurant, and somehow she convinces the owner to hire him as a singing waiter. (This was some of the most fun footwork in the film. Chaplin was grace personified.)



Being nervous about having to sing, the gamin helps him write down the lyrics to the song on his cuff. Well, the cuff is lost, but not his spirit. He begins to sing to the audience. It is absolutely unintelligible. (I replayed it a couple of times, to no avail.)
His act proves to be a big hit. However, his joy is shortlived as the police arrive to arrest the gamin for her past misdeeds. They manage to make an escape, and walk off into the sunset together.



The film was seen as a commentary on the rampant unemployment, poverty and hunger of the Great Depression, as well as the effects the Industrial Age had on the human spirit. It was one of the best movies I have seen in a long time. It was considered a "quasi silent film" as there was some sound involved. One of the music themes used during the romatic scenes later became the song "Smile", which was made popular by Nat King Cole. I absolutely loved this film and it is very very highly recommended.

Take it away Charlie.....

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The Band of the Hand - 4/5
Oddly enough, first time I believe I ever saw this film, unless I forgot about it. Seems as though it would have been a cult favorite though, so I can only imagine it escaped me back then. Great throwback film to the old days, kind of Warrior-esque, and reminiscent of the days when teenagers werent so mollycoddled and expected to be inside on computers. Great stuff.

The Box - 2/5
Odd little flick from Gabrielle Union that went straight to video. Good atmospheric movie, good premise, good acting, but when you watch the flick, you can see why it wasnt expected to make an impact mainstream. Nice to see Mia Maestro on the big screen, and here's hoping she doesnt get typecast. All in all, not a bad film, just odd in weird places.

Dawn of the Dead - remake 4/5
Now that I went on a marathon with the Old Dead films, I've been itching to rewatch the remakes to spot differences. Happened across Dawn of the Dead on Hulu, and gave it a go. They definitely change a lot of the film, but I'll give them that they kept the general premise (e.g. Mall, Parking lot, escape to an island). I guess the riffraff security guards inside doubled as the "motorcycle gang" riffraff from the original? Who knows. They added a lot of women, which I find interesting to note, because the original only had one girl, who was the focal point of the movie. In the remake, they have an eclectic assortment of people, and added enough girls to go 'round, I guess? I find I liked the original better, even though I think the remake is good. The original doesnt seem to dillydally with all the little extra drama - in fact, its as if the original feels that the little crew of humanity they show have enough drama to keep the attention of the audience. Almost makes you wonder if produces feel that these days were all saddled with ADD, and need them to add a ridiculous number of storylines to keep us interested. As nowadays zombie flicks go though - good stuff.



Sure, I liked that, but that seemed a lot less campy to me than the "Batman" TV series, even though they did the same thing. I grew up with "Batman", but aside from Diabolik's maniacal laugh and the fact they could lift the train car with a few air balloons (and undoubtedly a few more scenes I'm blanking out on), it seemed less campy than I was expecting.
This is what I said when I tabbed the movie a couple of months back...

think a markedly slicker version of the old Batman television series crossed with Sean Connery era James Bond, and you're on the right track.

I think that's a reasonably fair comparison. I wasn't suggesting it was exactly like Batman; just that it incorporated similar elements of high camp with James Bond style action.



28 days...6 hours...42 minutes...12 seconds
Trick 'r Treat




Trick R Treat tells multiple stories that all occur on the same night, Halloween. One involves a principal and the skeletons in his closet, a virgin who is about it experience her first time, a man who loves the holiday and his wife who hates it, an old cranky man in his house and finally a bunch of kids and a school bus. I'm trying to be a vague as possible because going into this film knowing very little is what will make you enjoy it more.

I got a very "Creepshow" vibe from this one, the only difference is that the separate stories actually intertwine. Seeing bits in the beginning that you know will be explained at the end is always fun. It makes watching a film like this for a second time just as fun to try and spot more connections. The film has some comedic scenes, but don't be fooled. This film is not a comedy. The scenes a few and far between and mostly involve Brian Cox and Dylan Baker. Both of which are the highlights of the film.

Baker is deliciously evil as the principal, who in my opinion is tarnished later on in the film by his reappearance in another 'story'. Cox is the grumpy old man who must battle the 'spirit of Halloween'. His story has the most creepy moments, but the film never really reaches any moments of true fright. It's just so random and unexpected that you don't really have any time to be scared. There are a few moments in the film that will have you scratching your head, but for the sake of the film, I just went with it. In the end, it all jives together.

There is no central character or story, just a Halloween themed film that is meant to entertain the audience, and that it did. You can't really predict what happens in this film, aside from one of the stories. The other ones are just too far out there. You will feel more connected to some stories over others, the way the film plays out you can tell it is more interested in the ones it wants you to be interested in.

The atmosphere here is great and it truly felt like Halloween night. As far as horror anthologies go, I'd say this is one of the better ones. I will say this though, this film has one of the best transformation scenes in horror. Watch the film and you'll know what I mean. Can I recommend this one? Sure, it's nothing too memorable, but it is indeed fun.

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"A laugh can be a very powerful thing. Why, sometimes in life, it's the only weapon we have."

Suspect's Reviews




The Dirty Dozen

Robert Aldrich 1967

Better than Inglourious Basterds.


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Bright light. Bright light. Uh oh.
Diary of a Chambermaid (Luis Buñuel, 1964)




Buñuel returned from his Mexican exile to France to make this gorgeous and incredibly on-target flick which has barely any surrealism in it whatsoever. The film starts out as a sex comedy, but as it moves along, it does seem to get more into politics. The thing which unites the flick seems to be that every man in the film, whether horny or impotent, has the hots for chambermaid Céléstine (Jeanne Moreau), but she sees herself as worthy of more than the BS which her job has surrounded herself, especially considering that she hasn't done anything but let an old man fondle her calf or allow an old soldier to stick it in once or twice. The flick is full of people hating each other for no good reason, but it at least does end up on a positive note where the people who actually go out of their way to get something in this life have a chance to triumph over the others. As I've said before, Buñuel is a genius, but maybe this isn't the place to discuss it.

The Wild Man of the Navidad (Duane Graves & Justin Meeks, 2008)





The writer/producer of the original The Texas Chain Saw Massacre (Kim Henkel) returns to Texas and a 1970s cinematic sensibility for this low-budget flick which has a few interesting ideas but is basically undone by its repetitiveness and poor acting. Allegedly based on Dale S. Rogers' diary, it tells of a young welder named Dale (Justin Meeks) who loses his job and then earns money by opening up his ranch to hunters. The problem is that there is some kind of humanoid creature on his property which craves blood, but Dale has to take care of his invalid wife, so that doesn't stop him from endangering the lives of said hunters. Bathed in sepia tone, the film comes across as a loving recreation of films such as The Legend of Boggy Creek and The Town That Dreaded Sundown, complete with props and homages to the original Chainsaw flick, but after a while, the film begins to spin its wheels, going nowhere, and the monster is less than scary-looking. Even at 86 minutes, the movie seems to go on forever, but some '70s horror fans still might want to take a peek.



Kiss of The Spider Woman


A very touching film about the relationship between two prisoners with very different lifestyles; one who escapes with fantasies, one who is a political activist.

Really sad ending but a very well made film and some powerful acting.
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You cannot have it both ways. A dancer who relies upon the doubtful comforts of human love can never be a great dancer. Never. (The Red Shoes, 1948)



Hello Salem, my name's Winifred. What's yours
Jennifer's Body

She may be on all the posters, but make no mistake, this is Amanda Seyfried's movie and not Megan Fox's.

Fox is still used mostly as decoration as a vapid teenager while Seyfried plays the real scream queen. Scares are few and far between but the comedy isn't bad but you can do better for horror comedy.

i will say it has an ultra sexy scene which is almost watching the whole film just for it.

Diablo Cody's difficult second movie.
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Bright light. Bright light. Uh oh.
Cartouche (Phillippe de Broca, 1962)




De Broca's swashbuckler is a perfect reflecton of The Three Musketeers. This flick takes place in the 18th centuery and is full of derring-do, swordplay and romance. In fact, this is one of the few French swashbucklers which actually keeps all the tragedy of something along the lines of The Three Musketeers. Jean-Paul Belmondo is excellent as the guy who just can't let others dictate his life for him, and of course, Claudia Cardinale is perfection as the French woman who doesn't totally understand how true his love is. This is a funny adventure which also adds on details of politics, but when it reaches its conclusion, it becomes dazzlingly romantic with an overriding tinge of pathos and an almost depressing sense of fate hanging in the balance.

My Father's Glory (Yves Robert, 1990)




This is one of my wife's fave films; in fact, she calls this her favorite film and one the most romantic films ever made. The way it paints a picture of family as beautiful, whether it seems idealistic or even better still, realistic, is almost unmatched. It also details a world where nature and mankind seem to get along pretty well. Overall, the thing which makes me think this is obviously one of the greatest films ever made is the way that all the characters let you in on their secrets up front so that you can later on relate to their utterly-perfect interpretations of an unfortunately lost world of simple pleasures. As I said, this may well be the most-romantic film ever, so you don't just need some idiot like me to explain it to you, you just need an overriding heart and brain to tell you that you may actually be closer to reality while watching this luxurious and hilarious concoction than maybe you realize.



I ain't gettin' in no fryer!
Zombieland -


Had Zombieland, been a tad bit longer, I would've given it a stronger rating. True, you can only go so far with zombie killing, and the director was smart to not drag the story out, but I was having a good time and didn't want it to end.
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"I was walking down the street with my friend and he said, "I hear music", as if there is any other way you can take it in. You're not special, that's how I receive it too. I tried to taste it but it did not work." - Mitch Hedberg



Pandorum
this was a decent and entertaining sci-fi horror but the last 20 minutes ruined the whole film with a really poor twist and a terrible terrible ending. This is the first time in a while I have left the cinema filled with rage.

Species
It is a bit dated now but it was the first time I watched this perfectly decent example of sci fi horror. It is not great but there is nothing really wrong with it either.



Zombieland -


Had Zombieland, been a tad bit longer, I would've given it a stronger rating. True, you can only go so far with zombie killing, and the director was smart to not drag the story out, but I was having a good time and didn't want it to end.
Trailers for this look good. Not sure if I'll see it at the cinema (at these prices!?) but it looks like a certain DVD purchase.