Reviews

Very good version of Peter Benchley's novel 'Beast' about the arrival of a giant squid and the danger it presents to a small fishing community. Obvious references to Benchley's far more successful 'Jaws abound but the story remains as strong as ever, humans going up against a seemingly unstoppable sea creature to which anything but mortal fear would be an unusual reaction. While I personally disagree with a few of the editing decisions no one can deny that Charles Martin Smith's Graves is a better character than in the book and that William Peterson is perfectly cast as the hero Whip Dalton. Anyone who has read the book will be able to accept the smooth changes along with the rough and believe that this is a far-above average adaptation of any simple novel, especially one destined merely for TV.

This is without a doubt one of the funniest shows British television has produced in ages. Al Murray is superb as he translates perfectly his stand-up character, the landlord, into a sitcom star. His unusual and un-PC rantings almost always hit the spot and though his supporting characters are rarely given any material to work with who cares? He carries the show on his own with only Terry and, more recently, The Prof lending any comic support. Julia Sawalha is completely wasted. Steve is equally unfunny, and he's a stand-up comic apparently, but to be fair to them they haven't much to work with. The gags come fast and often and with most of them revolving around the pub trade (which has been meticulously copied, go to a real pub during the day and you'll see what I mean), the French and the landlord's own take on life, they're always good. A rare treat and I've become quite hooked, here's to a second series.

Another fantastic offering from the Monkey Island team and though it was a long time coming and had to survive the departure of Ron Gilbert it's another worthy installment. My only gripe is that it was a little short seeming in comparison to the previous two, though that might be because of a glorious lack of disk-swapping. Roll on MI4.

Similar in idea to 'American Beauty' but certainly not in style or content this bleak look at underground culture and the spiritual redemption it brings is easily one of the most intelligent films I've ever seen. Directed by the same man who brought us the superb 'The Game' this is another film which you'll have to see more than once to truly understand. Focusing on sad white-collar, middle-class Norton whose only real dream in life is to own all the contents of an IKEA catalogue it follows him through a chance meeting with charismatic stranger Pitt and the unfortunate events which conspire to draw them together. After a nights hard drinking they start a friendly-ish scrap which is viewed by a couple of others and from that small acorn a mighty oak called Fight Club grows. This is the point around which the whole film revolves with Norton and Pitt forming an underground club which draws more and more disillusioned young men to join it. Based on firm 'Queensbury Rules' it is a cathartic if bloody way to spend your night. Eventually as it becomes a huge operation Pitt, the de facto leader, moves it up a gear and creates his own cult from this secret society. This is where the film becomes brilliant and the twist near the end is magnificent, better even than the much talked about 'The Sixth Sense'. It just has so much to say about things: the emasculation of an entire generation of young men ("No great war to fight, no great depression"), the growing isolation we all feel from one another and the need to find something to draw us back together and most importantly, the power of an exciting, challenging idea and it's fermentation into cultism. However, where many films would just say 'This is a bad thing' 'Fight Club' doesn't. It is more a condemnation of a materialistic society which has forgotten about a large section of itself. You can empathise with these men completely, even when they band together against this uncaring society that has reared them to be something their instincts don't understand. It's as close to genius as you'll get and one film you'll talk about and think about for days.

This is very poor. It seems like quite a good idea and I personally love this sort of sci-fi chiller stuff but it just doesn't work. The Sphere itself is simply not scary enough in design or in execution and I frankly didn't think that it's effect on the crew members was either pronounced enough or, again, particularly terrifying. Being very similar to Event Horizon I now realise just how much better that film is. I admit that they are aiming at different audiences age-wise but the idea itself, a freaky alien device having a dangerous and maddening effect on mere mortals, is pretty much the same. Jackson, Hoffman and Stone all deliver quite atrocious performances as the 'distinguished' scientists and do little other than put on diving suits and act alternatively calm and terrified. The revelation of what the craft is and where it came from are quite interesting but not well enough delivered and after Jackson decides to go awol the film rapidly descends into yawn city. Why does the Sphere do what it does? What does it do exactly?! How come weird things were manifested and who was doing what and why? All good questions but sadly not answered in this made-for-children movie. Look elsewhere for good sci-fi.

What a fantastic movie, inspired even. It doesn't seem that interesting at first glance and the set-up is a little slow but after that, when Douglas's character goes to CRS to start his 'game' the film immediately hits top gear and is brilliant right up until the end. The genius behind it is that, unlike some other psychological thrillers like Perfect Blue et al, you know what's going on and what the current state of play is but you have no idea how it's going to end or whether CRS really are out to kill him. The pacing from Conrad's invitation on is perfect and to see the way Michael Douglas's in-control businessman is turned inside our by what he sees as 'depraved children' is very engrossing. It's difficult to put into words just how great this film is without getting my words into a tizz or giving away the plot. Needless to say everything about it is fantastic from the acting to the beautiful script to the hugely atmospheric photography. Brilliant, get it out, love it, buy a copy, love it some more.

The film which marked Steven Spielberg's rise to universal dominance as a director is an extremely exciting, tension packed thriller which sees poor Dennis Weaver being chased around in the middle of nowhere by an unstoppable supertruck. Tapping into something we all do and are all a little frightened of, driving, it makes it all the more scary when you realise that not only is the truck bigger and stronger than Weaver's puny saloon but it is also faster. He has nowhere to go, no means to outrun his pursuer and no one to turn to. It's also very clever on a number of levels: the difference in class between Weaver and the Truck Driver and their vehicles: bullying, most obviously highlighted when weaver gets out of his car to challenge the Truck Driver and he starts to run away, and also it points out that we all feel safe and alone in our steel boxes but just how true is that? This simple premise leads to a fantasticly suspenseful film and one which is definitely up there with Jaws and Saving Private Ryan as Spielberg's best.

Good film with an excellent cast which, though not as intricately plotted as the superb L.A. Confidential, still manages to deliver enough surprises and whodunnit action to maintain interest. As it contains a fairly expansive cast of police, FBI etc you never really know who's doing what until the end. Several characters seem very much intwined in the conspiracy and framing of Jackson yet are innocent while others, neither obvious nor covertly involved, become prime suspects. The pacing is just about right as it's not a straight shoot-em-up and tension is maintained right through. All in all good to watch on TV, though I doubt I'd go to the cinema to see it.

Appalling rubbish centreing on scientifically and technically implausible ideas, featuring a terrible cast of badly acted cliches and helmed by possibly the worst director possible. I hated it, it wasn't even funny, and every five seconds either I or my friends pointed out and error of some kind. Avoid at all cost, even the sharks and the effects were rubbish. Watch Jaws and Tremors instead.

Quite a few people have blamed this film for being slow yet I feel that the contrast between the hectic Air-Traffic control station and the positively pedestrian outside world is what drives this film. You find two different men with different lives and personalities compete to be the best and though the sheer excitement of their plane-coordinating is hard to beat I personally found the way they reacted outside of their job fascinating. Cusack plays the cool Falzone, who eats stress for breakfast and is known as the best in the business. Though he handles his job with ease his life outside seems to revolve around driving fast, talking fast and trying to recapture the buzz of it all. Thornton on the other hand plays new guy in town Bell who doesn't know the meaning of stress and shatters Falzone's cosy world when his seemingly insane methods produce better results than his illustrious comrade. As has been mentioned the constant game of one-upmanship that these two men indulge in throughout the film is the central theme of the film and what it does to their lives and loves. Blanchett and Jolie are wasted for sure but they do their jobs well and that's all that's necessary. The tense feeling I had in the pit of my stomach throughout the film made it all the more exciting and I loved the battles the two protaganists engaged in, whether the reasons behind them were real or imagined. Great viewing.

Half-decent Bond vehicle which has all the usual gadgets, explosives and attractive women but which fails to be either particularly interesting or well put together. Often feeling like two films it impresses with it's action scenes but is let down by it's lack of a good couple of baddies. Robert Carlyle simply is not on screen long enough to be effective in his role and the immense fear everyone holds him in isn't at all understandable. Sophie Marceau at least gets a chance to show off her tremendous range of accents (Is it English? French? Russian? Who knows!)and that'll hold her in good stead but I can't help but feel that after Goldeneye and Tomorrow Never Dies this is quite a tame effort in comparison.

Good neo-western with Spencer Tracy excellent as the one-armed war veteran who arrives in a small, suspicious town looking for a missing Japanese farmer. The excellence comes from not knowing why Tracy is there or what exactly happened to the farmer to make all the townsfolk so nervous. As he unfolds the mystery the people start to fall into three camps, those who are with him, those who are against him, and those too scared to speak out. Portrayed over a 24 hour period and shot almost exclusively in a bright, oppressive sun which mirrors the welcome Tracy receives you can't help but find yourself sitting on the edge of your seat as you wonder if he'll make it or if the shear weight of angry townsfolk will make him disappear as well. The small town location is also put to good effect as it appears claustrophobic and spooky, as if everyone is constantly watching the new stranger, afraid of what he might uncover. I highly recommend it.

Interesting and mildly convoluted whodunnit with the 'World's Greatest Detective' Darryl Zero and his long suffering partner and front man Steve Arlo. Hired to investigate a seemingly routine blackmail case Zero's obsessive reclusiveness is put to good effect as he first investigates the blackmailer and eventually the blackmailee. This is the most interesting and unique part of the film and Bill Pullman is excellent as the definitely weird Zero, hiding away alone with only Ben Stiller's Arlo knowing who he is. As the film moves along at a comfortably slow pace we become more aware of the motives and personalities of the 4 main players, none is the stereotypical bad guy or good guy and this lends the film a very refreshing air which keeps you watching right till the end. Zero's awakening itself is superbly written and acted and the finale is not the usual thing we've come to expect from Hollywood. In all honesty this could spawn at least a sequel and possibly a whole series. I hope so at least.

While not a great film 'Very Bad Things' succeeds in being exactly what it claims to be: an unpretentious black comedy. The lack of a serious undertone to the events or a sense of urgency despite the escalating murder rate devalue the film in my eyes but I still cheerfully watched it as the 5 misguided but determined bumblers attempt to keep everything quiet. The idea of the first one being hushed up makes sense and gets the ball rolling but as more and more death is required to keep the rapidly diminishing group safe you feel that writer/director Berg chooses the wrong path in getting all light when he should have gone deep and shown us the pain and confusion everyone is suffering from. Though we could see what drove them to do what they did the transition wasn't as smooth as it could have been and so the movie felt off-balance. Recommended but not essential viewing.

This is a terrific movie which combines fantastic action, a good plot and one of the finest leading characters seen in a long time into a undeniable classic. Russell Crowe's casting as Maximus is perfect and he produces a magnificent performance as the invincible Roman General who's nobility, honour and fearless composure in all things win over everyone. He is a born leader and warrior who has only one dream: to defeat all who oppose his Emperor and to retire back to his Spanish farm with his wife and son. When those things are taken from him by the ruthless Commodus his initial welcoming of death becomes tempered as he sees a way to return vengeance upon those who have destroyed him. Ridley Scott deserves most of the congratulations as it is he who once again delivers us the kind of movie he is capable of making, beautiful, graphic but above all else utterly absorbing. The special effects and the music are amazing and serve to draw you completely into the film as its story unfolds and not once do you find yourself thinking 'Nah, that didn't look real'. If they had to complete some of Oliver Reed's scenes without the great man then the join is invisible and goes to show exactly how well the money was spent. Without a doubt THE summer blockbuster of 2000.

Though after seeing this film I didn't come out quite as impressed as some of my friends did it is still a very good movie. Bruce Willis turns in a surprisingly intelligent, gentle performance and is matched step for step by Haley Joel Osmont, who shows what child actors can do if they are both good and blessed with a decent script. The well-documented twist at the end, though not that well filmed in itself, is still the best since 'The Usual Suspects' and as a result one really done need to watch it twice.

Hilarious and thought provoking at the same time this insight into one over-achieving prissy control freak had me engrossed for it's entirely too short length. Witherspoon is exceptional as always as the ambitious, and possibly evil, Tracy Flick who will do anything and destroy anyone in her ruthless pursuit of power. Her uptight mannerisms and facial expressions are worth the rental fee alone as she works night and day to achieve her goals. Set against her is three-time teacher of the year winner Jim McAllister (Matthew Broderick) who, seeing her rise to said position of power because of the mostly apathetic student body, sets out on a noble yet ultimately self-destructive course to stop her at all costs. Though the school itself is full of people it often appears like there are only two combatants locked in a struggle for supremacy, each with their own agenda and methods. Witherspoons character comes across as equalling determined and manipulative as she is pathetic and needy. Broderick on the other hand sees his life spiral out of control as his all-pervading crusade to stop her eats away at his otherwise feeble and easy-going nature. The supporting cast also perform superbly with Chris Klein (Who looks and sounds more like Keanu Reeves every day) earning particular praise for his nice, deadpan yet intelligent jock who, under Brodericks guidance, plans his own campaign. This is where the film elevates itself above normal teen movies with the very morals and ethics so subtly woven into the film early on becoming the most important part of this titanic struggle. As Broderick falls deeper into the dark side in his effort to stop Witherspoon he loses the decency and even-handedness he so valiantly displayed at the beginning. Is he really right to use Flick's own dubious ethics against her, even at the risk of becoming what he most despises? Depending on whether you're an ambitious go-getter or a couldn't-care-less daydreamer you might find the answer a little less than straightforward. The ending itself is brilliantly surprising and just when you think it ends it doesn't quite. Fantastic.

Just like any one of a hundred fart-joke inspired comedies trundled out every year this movie has it's moments and is at times very funny. Wayans is pretty good mainly because he can be ridiculous without over-acting and therefore becoming annoying. However, there is nothing here that you haven't seen before and to know exactly what's going to happen before it happens becomes tiresome. If you want low-budget comedy you'd be better off watching the inspired Ski School 2 or Happy Gilmore and give this one a miss.

Having seen this only after watching 'The Matrix' I can tell where the latter film got all of it's ideas. Subway and Lobby scenes, graphic martial arts, thumping music. All present and correct, and though 'The Matrix' does all of these things better and is in general a far superior film you have to give it up to 'Blade' for thinking of them first. I admit though that like many people I watched 'Blade' without the faintest idea about the comic book it was based upon and I still don't know anything about it. Like many big screen versions of such comics it fails in that it tries to deliver to both fans and newbies alike. Frankly I got the idea but I got the definite feeling that there was a lot more back story and a whole new universe which wasn't particularly well expressed throughout the film. Also, the similarities to the TV series 'Buffy The Vampire Slayer' were quite obvious, though who came up with it first is debatable. Basically I liked it though Snipes brooding, invincible character made the film a little too clearcut. The man seemed to have no weaknesses, either emotional or physical, and so it was clear to me who would 'out'. Still, it's unlikely that 'The Matrix' would have turned out to be such a brilliant film had it not been for this merely average actioner so hats off to it for that.

Small town misfit Lucas Jackson ends up in a road prison for 'criminal damage against municipal property'. Despite the rather unusual crime he committed and his standoffish attitude he eventually gains the respect of prisoner and guard alike. This is a neat little film which showcases Newman's undoubted talent. His excellent performance as the non-conformist 'Cool Hand' Luke lends much to a film which has been eclipsed repeatedly as best prison movie. What the film lacks in the depth of it's characters it makes up for in audience feeling towards Luke and his desire to find his place in society yet not change his ways. You can't help but love his stubborn arrogance as he goes up against the system and many of the films ideas can be found in better and deeper movies like 'The Shawshank Redemption'. It's sad to think that it is better remembered for the egg-eating scene than for it's symbolism and regard to those who choose to live as social drifters.

Obviously based upon a certain US President this documentary style film follows southern Governer Jack Stanton's bid to be the Democratic candidate for the Presidency. Uneasily flitting between Stanton's honest love for the people and his desire to make a difference and his serial adultery it tries very hard to be a good film. Mostly it succeeds and it was very entertaining. However, not enough emphasis was placed upon characterization with some of the minor supporting roles given little, indeed often contradictory, personalities and despite being quite long it only shows his run for the candidacy, not for the Presidency itself. Travolta is good as the kindly, messed-up Stanton and the rest of the cast acquits itself very well, especially Adrian Lester as the naive do-gooder Henry Burton, but they are often lost amongst the film itself. Despite the obvious relevance to the Clinton's it seemed to me to be only in part based upon them (And no doubt all shady politicians in general) with plenty of originality tucked in too. I only wish it had explained Stanton and his team a little more, their real desire's and motivation, then I could have felt more emotion about it all. Instead it becomes a bit of a sub-standard Boogie Nights, which is a shame really.

Showcasing Nicholas Cage's immense talent for overacting in an annoying way Snake Eyes is the kind of film you can watch peacefully without having your brain taxed too hard. This is a shame really as it's meant to be a suspenseful thriller with twists and turns a-go-go. The conspiracy itself is rather poorly explained with both sides failing to get their point across in an emotive, thought provoking way. Characters flit in and out without leaving any kind of mark on the film or raising any kind of questions and at times it gets a little difficult to follow who is on which side. The ending itself is also rather disappointing with little in the way of justice except for Cage's character. So all in all what seems like a nice little whodunnit (And whytheydunnit) ends up being a bit wet all round. De Palma's direction also seems rather amateurish at times, none less than in the final climactic weather shots (The hurricane that is meant to be banging at the door ends up making no difference at all to how the film ends) and in the 'lucky number' phone call (What was that about and how did he get any kind of clue from it??). At least Cage doesn't do his manic 'Shout every second word for emphasis' routine for the whole movie, just the first 12 minutes.

It was okay, but not great. Steve Martin is the eponymous Bowfinger who has a dream. That dream is for a Fed Ex van to roll up to his house and hand deliver to him a package inviting him to direct a major motion picture. But in order to be noticed by anyone he first has to direct one film which will showcase his talent to an audience. After seeing his advances to major stars flatly rejected he hits upon the novel idea of filming one, Kit Ramsey, without his knowledge and slotting him into his latest blockbuster. This is basically the plot of the film and though it's pleasant enough to sit through it didn't strike me the way it should have. It seemed a lot like a b-movie straight-to-video, albeit a decent one, with top notch talent. Without Eddie Murphy's superb turn as the intensely paranoid conspiracy theorist Ramsey the whole thing might have sucked. In the end it was just okay.

Once again showing that animated films often have better plots, more humour and far greater emotional pull Antz delivers very well. Brilliantly cast throughout Woody Allen especially shines as (What else) a neurotic, physically and aggressively diminutive misfit whose non-conformist attitude sets him against the engrained Ant culture of self-sacrifice and collectivity over the individual. Although the Marxist undertones are obvious they are well put and not too in-your-face. They also show animators desire to open up this market to adults as well as children. Funny, scary and absorbing this film pushes all the right buttons as it's perfectly timed 80 minutes elapse. One to watch, even without the kids.

This is a very good comedy, not many of those about these days, which manages to sublimely tread the line between mocking Star trek and celebrating it. The idea itself is the old chestnut of people being taken for something they aren't and then proving that they are. However, put into the situation of washed-up has-beens from a long-cancelled TV show and it seems both new and, most importantly, relevant to anyone who likes the aforementioned Star Trek. The special effects are superb and add greatly to the 'realism' of the movie and the humour, though practically non-existent at the beginning of the film, makes the second half one big barrel of laughs. Tim Allen is superb as the obviously Shatner-inspired Jason Nesmith and he's ably supported by a surprisingly strong cast. Best of all though are the 'termites' (watch the film and you'll know what I mean) and Sam Rockwell's magnificent Crewman #6 who knows fine well just how expendable he is. Helped along by some mean looking baddies, who reminded me just a little too much of those from 'The Fifth Element', and plenty more ST references this is a must see movie for any cinema goer.