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Shadow of The Vampire
I reckon I would have given it a higher rating but continual interruptions and chat lowered the impact of Malkovich as the eccentric director and Willem Defoe as Count Orlock.

Rabid
I was drunk when I watched this which also lowered its impact

Halloween 2(2009)
Actually its not too bad, rather brutal with unsettling sound effects but it is a good slasher movie

Friday 13th (2009)
I suppose it is okay not a patch on the orginal but it passed the time



Give "Rabid" another go my friend.
Damn good gritty Cronenberg that's worth 10 "Eastern Promises".



Yup I second giving Rabid a second chance. That flick scared the crap out of me the first time I saw it. I was only fifteen and it was on Moviedrome presented by Alex Cox. I really miss that show; it's one of the reasons I got into cult cinema.




there's a frog in my snake oil
Gah, you reminded me to check on how Repo Chick was shaping up. Variety sez...

what you would get if Michael Moore directed an episode of...kiddie series Lazy Town.
That and the green-screen is making me think low-budget Speed Racer. Hope not.

Cox says Universal are rushing out some stashed Jude Law vehicle called Repossession Mambo as a faux sequel to Repo Man off the back of all this. The light at the end of the tunnel ain't no radioactive flying car, it seems


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I am half agony, half hope.
I was home sick today, and up early, so I self-medicated and watched crap movies while drifting in and out of consciousness.

House of Wax - not the cool, Vincent Price version, but the gnarly, please-hurry-up-and-kill-Paris-Hilton version.


Driven- does anyone even remember that Stallone did a racing movie? I don't think anyone used an avatar from this during Sly week. Can't say I blame them. Boringly bad acting, cliche dialogue spoken by Burt Reynolds, Stallone, and others. Bleh. Still, I watched it through.
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If God had wanted me otherwise, He would have created me otherwise.

Johann von Goethe



Surrogates, (2009, Mostow)- C+/B-



Okay, so this was my most anticipated movie for the summer, and it faired alright. I think this movie is getting too harsh of reviews from what I've seen. The whole concept of the movie is excellent, and to wonder about just how far the world will get along technologically. The designs of the surrogates are really great by showing just how beautiful and perfect the new world really is with these advancements. In particular, Bruce Willis' surrogate is really weird to look at, I've watched so many movies with Bruce and this version looks neither young or old but so perfect, I guess. Back to the film itself, the action sequences were nothing too special and maybe even borderline stupid "comic book villain" parts to the film. More character development with Bruce's character would've been even better, as being taken back to he and his wifes roots. So, in summary, this shouldn't be chalked down as an action film but more as a technical psychological take on human society that pretends to be something its not in crucial parts of the film.


Catch Me If You Can, (2002, Spielberg)- A-



First time viewing here, and it was a really entertaining film that differs from all of the Spielberg films I've seen. I admit, I am a big fan of Steven Spielberg and I might even give his movies more credit then they deserve but his movies are so powerful especially with the genre he mostly attempts. And this is a lighter movie that he attempted and I had to remember while watching this movie that it was Spielberg directing it. Leonardo DiCaprio brings a lot of charm and charisma to his character, which isn't very surprising because of his many great roles. I loved the soundtrack of the running clarinets or oboes going up and down and it created a nice theme and pace to the film. Towards the end I think the plot gets a little jumbled and maybe goes on longer than it should. But, overall, nicely acted, and often comical, Catch Me If You Can remains entertaining and fun for the viewer.


The Shawshank Redemption, (1994, Darabont)- A



Inspiring movie, with great messages throughout. Morgan Freeman should narrate more movies, it especially worked in this film front the point of view of another prison mate, and his smooth, calm voice added a lot. Looking forward to the re-watch.


The King of Kong: A Fistful of Quarters, (2007, Gordon)- B/B+



Fun documentary that takes video games to a new competitive level, I might have a new respect for extreme gamers. Billy Mitchell was hilarious in how arrogant and how dominant he was in video games.


2001: A Space Odyssey, (1968, Kubrick)- ?



I was taken back by this film based on its uniqueness and power towards the genre of science fiction. At first, I was bored with this movie since most of my movie exposure is to the "modern" era of the 90's and forwards, but then I started getting involved with the film. The small details that Kubrick puts in this movie and the booming soundtrack while watching beautiful sights from outer space. The messages and observations planted throughout the movie about mankind are strong, yet subtle which leaves it to your imagination to predict, guess, and reason with all of the steps taken. I admit that I was confused at times with the monoliths and the crazy last thirty minutes or so. But after reading the plot summaries and getting a better understanding of the film, it all starts to come together. This film needs to be acknowldged for how beautiful it is, especially the Stragate sequence which is an incredible visual and transformation. I can’t possibly give this film a fair grade right now, since I was trying to figure everything out while having the ultimate combination of confusement and awe.


V for Vendetta, (2005, McTeigue)- C-



This wasn't very good from the beginning, with a character that wasn't interesting in the slightest bit. I'm taking about the main dude, V, who wears the mask. Was he supposed to be cool and/or have any likability factor to him? The dialogue was cheesy, the action was weak, so not impressed with this film.



A system of cells interlinked
Gran Torino (Eastwood, 2008)




I can't say enough about this flick. Subtle yet engaging, an honest look at a dying American breed. The symbolism in the film is straight-forward but elegant, and it never drops an anvil on your head. Good old fashioned story telling.
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“It takes considerable knowledge just to realize the extent of your own ignorance.” ― Thomas Sowell



"Broken Oath"


The glorious Angela Mao blazes a trail of vengeance against the men that killed her parents.

Perhaps the ultimate Angela Mao movie, this is packed with wonderful old school fights as Angela (the 2nd best thing in "Enter the Dragon" damn it) expertly uses her fists, feet, poles, swords and handy scorpion filled lace scarf (!) on anyone in her way. To dazzling effect.

The odd acrobatic doubling aside the fighting is all the work of Mao as well whose blistering spin kicks are a sight to behold.
We have a slight bit of under-cranking to speed things up occasionally (though only one bad moment, during the finale swordfight, that seems out of place) but basically this is majestic martial arts skill at its old school best.
We also have a bit of 'Fire Breathing Fu', which is a total riot, and wacky Chinese healing tricks that are totally la la land but fun.

But there is more!
Not only is Mao herself in top flight fight form but she is joined by a wealth of martial arts film greats, all working under the action choreography guidance of the legendary Juen Woo-ping.

The Demi-God that is Sammo Hung makes an appearance, sporting funny big black beard and wielding a great 'double fan of knives on a chain' weapon.
The much missed Lam Ching-ying ("Magic Cop", "Mr Vampire") has great fun as nasty Kung-Fu assassin who looks like Rob Zombie's lost Chinese uncle.
'Bruce' Leung ("Kung Fu Hustle", "The Dragon Lives Again") has a reunion with Sammo and Angela following their stunning "Hapkido", and has a great one-on one battle with Lam Ching-ying.
Billy Chan (Award winning action choreographer on Sammo's classic "The Prodical Son") pops up.
And both Corey Yuen (future director of "Ninja in a Dragon's Den" and "The Transporter") and the superb Yuen Biao ("Prodical Son", "Project A", "Above the Law") make early appearances...Biao more than likely doing much of the stunt and acrobatics work.
Even Dean Shek (who almost ruined "A Better Tomorrow 2" with his overacting, but does better here) pops up as a brothel janitor.

Some overly complicated plot twists (most definitely not helped by some badly translated English subtitles) and a couple of pointless comedy scenes early on are the only bad things here, as Mao cuts a gorgeously ruthless swathe though this classic bit of Old School 70's mayhem from 'Golden Harvest'.



American Beauty

Currently being into American films/theatre, I thought I should give this a go. The comic parts were a mixture of sardonic bitchy humour and cringiness but the dramatic parts were very well done- nicely lit and good direction. The film's denouement was very good- hold on until the end because there are some interesting character twists that make unlikeable characters sympathetic- and although the final monologue was too long and a bit cringy, there was some wonderful bits that warrent 4 stars (and some great acting from Kevin Spacey)

Lost in Translation

This is one of the slowest paced films ever, even slower than Girl With A Pearl Earring. I like subtlety but not so subtle that there's no conflict. Because it was so understated, it wasn't overly funny.
There were some beautifully subtle bits but there should have been less musing. Perhaps it might be one you need to watch again.

Casablanca

It's a film classic- you gotta watch it. The lines are funny and memorable- you can pratically say the words along with the film on your first viewing. However it gets 3 and a half for the unfortunately cheesy lines Bergman has to say and because it doesn't flow together as a film. It's really a film you watch for 'moments'.



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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)



All good people are asleep and dreaming.
Chelovek No. 217 (Mikhail Romm)

Russian with no subtitles

1944, a parade of German prisoners is being escorted out of town. In the crowd of onlookers is Tanya, a pretty Russian woman, but aged by mistreatment.

1942, after being captured, we see her at a railroad station. German soldiers are assigning numbers to the prisoners, she draws 217. A wealthy couple picks her to be their household slave.

Tanya is strong, proud and endures her brutal treatment. Biding time for her revenge.

Now, onto problems I had with the movie. First, I can't speak Russian, but at least there was nothing to lose in translation. Second, a subplot involves one of her co-captures who is a scientist. After being questioned by German civilians and refusing cooperation, did he think he would get think he would get better treatment from Nazi soldiers? If you had relevant information, wouldn't you attempt to flee? Commit suicide?

Strong performance by Yelena Kuzmina as Tanya in this bleak film.



I would like to thank The University of Washington for allowing me to view this film.



28 days...6 hours...42 minutes...12 seconds
Eternal Sunshine of the Spotless Mind

One of my all time favourite movies, beautifully directed and masterfully written. Everything clicks and the two leads are lovable. The truth and sadness of any relationship can relate.

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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



Eternal Sunshine of the Spotless Mind

One of my all time favourite movies, beautifully directed and masterfully written. Everything clicks and the two leads are lovable. The truth and sadness of any relationship can relate.


I'm alone I know but I hate that film with a passion. I like Jim Carrey and Kate Winslet as actors but I despised their characters in that film, to me the had very few redeeming characterisitcs
the Invention of Lying-
Dull boring and not that funny. I mean I chuckled a few times but it was hardly worth my time. The rest of the audience did not laugh much either. It has some horrific product placement and pretty shocking continuity which generally does not bother me, but in some scenes Gervais is about 6 inches taller than Garner but in others she is 6 inches taller.



Dead Man Running Danny Dyer and Tamer Hassan's new brit gangster flick, not bad
Where did you see this. IMDB has no ratings, comments, or external reviews for it yet.



Righto. Nice gig as well, congrats.


"Doghouse"


Vince (Stephen Graham) is going through a nasty divorce and needs some good old brotherly love from his mates.
So his best friends Neil (Danny Dyer) and Mikey (Noel Clarke) arranges for Vince and four other friends to take a boozy lads holiday to an isolated village called ‘Woodley’ where the women outnumber the men 4 to 1 and where they can stay at the house of Mikey’s Nan.

But when they arrive at the forest-ringed village they find the 4 to 1 ratio of women to men has grown a bit wider as it seems the only people alive in ‘Moodley’ now are the women…mutated, psychotic, man-hating, cannibal women. And they're very hungry….


Hold the phone! Stop the presses!
Jake West has not only made a good film at last…he’s made a very good film!
After the tragic, embarrassing, Goth guff of “Razor Blade Smile”, the inane, swamped by crap acting, boredom of “Evil Aliens”, the admittedly hard grafting Mr West has finally directed a film that’s actually worth all the hard work he obviously puts into his projects.
I’ve always been hard on Jake West as his films always came off as the worst example of what low budget British horror movies can be like.
All seemed lost.

But now, because Jake has finally got some good writers and actors to create his genuinely interesting visions with, he has delivered a great horror-comedy romp that can stand proudly next to many other recent British horror successes.

With his biggest budget yet and solid actors to deliver some choice dialogue West gives us a fast-moving, astute, wonderfully politically incorrect splatter comedy that offers great no nonsense entertainment.
And away from the fun, gory, action it is the acting that makes the film so watchable.

Professional cockney wide boy Danny Dyer is in top form as the blatantly misogynistic Neil and although Dyer at first seems to be playing up to his mostly off-set (he actually very rarely plays such arrogant roles in his films) laddish oath persona, the screenplay (by comic book writer Dan Schaffer) gives him some great chances to break down this persona and Dyer astutely handles his character’s shifting perspectives.
Perspectives that deliver one of the best lines in the film (in a film full of great lines) when the new caring Neil is criticised by his friends, “This is not the time to stop objectifying women”!

The ever welcome Stephen Graham makes Vince extremely likeable and Graham brings his customary drive and energy to the role mixing humour and small moments of drama perfectly.

Of the rest of the cast Lee Ingleby is given the choicest role as the comic/film memorabilia shop owner Matt and does a great job. He also delivers a lovely signposted nod to the ‘are they zombies’ arguments, that films such as “Doghouse” still bring up between fans, when discussing an “Evil Dead” comic with a disrespecting school boy. As just as they were really possessed people in “The Evil Dead” not zombies, the cannibal women in “Doghouse” are infected by a virus and not actually zombies.
Let a “28 Days Later” battle commence!

Everyone else does a grand job and there is a nice support role for movie hard man Terry Stone, as a mysterious soldier, who has certainly improved since his work in “Rollin' with the Nines” and handles some top comedy scenes perfectly. He also gets to have a fun (if gory) reunion with his “Rise of the Footsoldier" co-star Billy Murray, who has a fun cameo.

The film looks good and professional too. Again a big jump from the amateur school play horrors of “Razor Blade Smile”. Some nice use of music, effective cinematography and well staged action ensure we have little from a technical viewpoint to take us out of the movie.
The only real negative points are some very false looking rooftop/house sets used for some sequences.

The ‘Zombirds’ are fun and varied and are essentially played as a genuine threat despite the black comic aspect of many of them as far as appearance goes.
The film has lots of fun playing with genre conventions while adding slapstick silliness, genuine excitement and crude laughs to the plentiful blood and gore on display.
Said gore may not be constant and never reaches crazy levels, but all the FX are well crafted, nicely messy, highly effective and perfectly edited (by West) into the action at just the right time, to boost the film when needed.

The screenplay may not be original and we have to face it that “Doghouse” owes a debt to “Shaun of the Dead”. But thankfully West and Schaffer play out many of these similarities with “Shaun” rather differently and even their own ‘let’s pretend we’re zombies’ sequence manages to become its own beast and delivers some good laughs, for longer than the similar scene from “Shaun” did, even if the basic concept is much broader in its humour.

Where the film really becomes its own film is the delightfully rare and un-pc way it mixes the ‘zombie’ action into the basic idea of 21st century men being emasculated, trained and played by many of the women in their life and more explicitly the way they are made to behave and think in today’s metro sexual environment.
Much of the dialogue from Neil (even if some occasionally crosses the line into ignorant insults) amusingly picks out the trouble men have at trying be good old fashioned fun loving blokes whilst all the time being told they have to be responsible and mature and it's a problem right at the heart of the plot’s basic set-up.
But it’s all done in a fun way, and while women in the film come off pretty bad (the women in the guy’s lives are shown to be just as screamingly driven and scary as their later ‘zombie’ counterparts) the film also takes a few swipes (via Dyer’s Neil and his various ‘zombie’ encounters) at frustrated men going too far and turning into disrespectful idiots.

But at its heart this is an explicitly male dominated film, mainly aimed at a male audience and full of ‘reclaiming your balls’ posturing and speech making.
All of which not only works as far as entertainment goes but is wonderfully rare and welcome.
Hell, an example of this is that the screenplay has West’s aforementioned lead actress Emily Booth (despite her pretty prominent billing) only appear as an unrecognisable ‘Zombird’ and is given no dialogue at all.
Instead she simply snarls and waves some lethal looking scissors around. But this could be her best performance ever, so everyone’s a winner.

A few plot mechanics are laboured (what little isolated English village has a Goth/Alternative shop, a large toy store and its own dental practice and mortuary?) and the ‘virus’ plan is never fully covered which makes for a few head scratching plot moments.
Plus the ending suffers from a foolish slow down of pace as it plays out a rather silly scene involving Dyer and a button and the finale seems very rushed and gives us a rather abrupt ending. Seems they ran out of film or something, as some kind of epilogue would have finished things off perfectly.

These small problems aside though, “Doghouse” is a straightforward, well acted, good time, horror-comedy blast delivered with a professional sheen but still with a rough ‘n’ tumble exuberance that keeps the energy flowing and the fun coming.

Definitely check this out. And if Jake West can deliver a couple more films like this…All is forgiven.



28 days...6 hours...42 minutes...12 seconds
Where The Wild Things Are




After getting into an argument with his mother, young Max runs away from home. He runs into a nearby wooded area, that leads us into his wild imagination. He, dressed up in a wolf costume, sets sail to an island that is inhabited by these giant talking creatures, who then take Max as their king.

The Shawshank Redemption and 2001: A Space Odyssey are both successful films that are based on short stories. Where The Wild Things Are is a new film from Spike Jonze based on a child's book that is extremely short. So short that one would think how on earth could it ever be turned into a film? One would have to go beyond the written and illustrated pages to make something like this work. It seems films based on stories and books that are relatively short succeed more than films based on books that are longer. There is more room for them to move around with.

Jonze, who started off in commercials and has since had a very successful working relationship with Charlie Kauffman, is behind the camera for this adaptation. Along with Dave Eggers, they add much more depth and emotion to the story. I knew going in that the film would have next to no plot, and that's pretty much the case, but that's not what this film needs. In other words, much like 2001: A Space Odyssey again, this is more of an experience, than a film. An experience that is not all fun and laughter.

Where The Wild Things Are is funny and heartfelt, yet also depressing and lonely. The advertisements make the film seems like a wonderful kids adventure. While the film does have bits of adventure in it, it is much darker and a bit more adult. The film explores relationships, loneliness, sadness, trust, love, etc. More than one might expect from a film based on a book that has very few words in it.

Max runs away from home after his mother doesn't give him the attention he wants. Who can blame her, she is a single mother, working hard and trying to have a relationship. He finds comfort and acceptance in this world he creates with these creatures that at first seem intimidating, but once you get up close to them are harmless. Each one has their own distinct voice and look. The voice actors all do a great job bringing just the right amount of emotion to each one.
Gandolfini voices Carol, Max's counterpart in the film. They have an instant connection. Both characters have to go through their own complex obstacles and learn from each other. Chris Cooper and Paul Dano supply voices for more Wild Things, each add their own little flair to their characters and it's Dano as the Ram, who gets the most laughs.

In order for this film to work, you need to connect to these beasts. I did, and the film worked for me. I was having fun when they were and sad when they were crying. Max Records, the young boy, has to carry this film, being the only human on screen for 80% of the film. He brings that sense of innocence to the role, seeing his mistakes and growing up to try to make them right. The creatures are wonderful. I'm glad they didn't use CGI for the entire characters. The use of people in costumes, mixed with animatronics and CGI work beautifully and feel more real than anything Michael Bay can conjure up.

The soundtrack is wonderful and the film has that emotional punch that will grab you. It might drag in places, but the overall experience is a good one. Be careful if you brings your kid though, I'm not sure if the content will be too much for them. There are some frightening scenes, and one in which a limb falls off. It may also be just too weird for some kids. Max literally hides inside one of these creatures. Where The Wild Things Are is a wild, weird fantasy that I look forward to see again.