Reviews

Paul Hogan's knive-tossing, hand-slapping Outback legend skipped the whole of the 90's so his 2001 comeback came as something of a big surprise. Unfortunately, audiences had of course moved on and the critics didn't hesitate in drowning the film. Indeed, you don't have to be an expert to realise that this belated third caper isn't exactly accomplished film-making; there's an uninvolving and considerably underdeveloped plot whilst the comedy itself (consistently spot-on in the original) is pretty much hit-and-miss here.

Still, if its clean, fun, enjoyable entertainment you're looking for, Dundee in LA serves the purpose well and is satisfying for the family or younger ones. The character himself is still interesting and enjoyable to watch as he once again returns to the USA, this time acting detective when he suspects a shady movie company of smuggling. Not by no means a classic but harmless and pleasant entertainment nonetheless.

Whilst not as smooth, slick or satisfying as the box-office storming original, Paul Hogan's sequel is still crowd-pleasing entertainment and for those who felt the first film could have done with a tweak in the plotting department, Hogan seems to have moved up a gear here. The plot is in fact reverse to the original with Aussie Mick Dundee running into trouble when his journalist girlfriend Sue (Linda Koslowski) is kidnapped by an evil drugs baron. "I need to be someone where I can see them coming", the hero exclaims and that can only mean one thing - a return to the bush! Indeed, the second half of the film in Australia is notably more successful and inventive. Hogan's screenplay again features a bunch of memorable and exciting moments, whilst the delightful Peter Best score is also retained.

Paul Hogan's original tailor-made 'fish out of water' flick became a massive hit in 1986 and still remains a warm, amusing and irresistibly enjoyable. In terms of plot, its simpler than simple - American reporter Linda Kozlowski is sent to Australia to investigate the legendary 'Crocodile' Dundee (Hogan) and ends up bringing the charming rogue back to the Big Apple. It's a winner in every sense from Hogan's wonderfully laid-back performance to his own screenplay, featuring an array of classic quips and moments. Peter Best's excellent musical score also deserves applause in helping to ensure that this film remains great, exciting and still novel entertainment almost two decades on.

By the time of George Lucas' third installment of his Star Wars trilogy, the series had already surpassed itself through the previous two films leaving good old George a tough job in rounding off his landmark saga. In terms of plot, originality and creativity, Jedi distinctly lacks in comparison with its predecessors and is more direct on resolving old questions and stories rather than taking any new paths. The most inventive and diverting sequence in the film is its first half-hour in which our heroes attempt to save Han Solo (Harrison Ford) from Jabba the Hut, after which things regress into a notably routine formula.

However, in terms of thrills, tension and excitement Jedi still has considerably much to offer. One of its merits is its handling of the relationship between the hero Luke Skywalker (Mark Hamill) and his villainous father, Darth Vader (David Prowse), which is captured perfectly in several scenes leading up to their penultimate duel. A touching farewell from Yoda, a memorable forest shoot-out between the Ewoks and the Stormtroopers and a rousing, high-spirited finale, also help to make Jedi a respectable and effective climax to a stunning series.

After the excess of Moonraker, producer Cubby Broccoli vowed to bring Ian Fleming's superspy back to earth for Moore's sixth 007 adventure, which in most departments, was admirably achieved. The massive sets and hi-tech gadgetry, the panto-like megalomaniac villains replaced by sinister Greek smugglers and the buxom beauty replaced by a haunted, revenge-seeking heroine.

The plot itself resembled Fleming's original stories, with Bond relentlessly pursuing the captors of the vital ATAC system, responsible for programming British submarines, running into orphaned but restless Melina Havelock along the way. But, alas, the screenplay is considerably self-deprecating, overlooking much needed plot information and development for a never-ending series of action set-pieces, whilst still the allowing for out-of-place slapstick humour of recent films to creep in.

Nevertheless, Eyes Only is certainly not one of the series' weaker films thanks to fittingly in-tune cast performances, clever twists and a cracking cliff-hanging climax. And there's Shenna Easton's Oscar-nominated title song to shout about.

Peter Sellers' unintentionally final appearance as Inspector Clouseau is sadly the weakest of the star's outing for the series. The slightly ironic plot has Clouseau donning a series of wacky disguises as he searches for his would-be-assassins, whilst the rest of France, except for long-serving manservant Cato (Burt Kwouk), a jilted female accomplice (Dyan Cannon) and his still-crazed former boss (Herbet Lom), believes he is dead.

It has its moments but in comparison to its predecessors, Revenge is considerably lacklustre in its gags and laughs. Even Sellers struggles to squeeze anything of real worth out of the whole thing, which feels more like a Pink Panther imitation rather than an actual functioning Pink Panther film.

However, it's not a disgrace and Sellers manages to bow out respectably but you just wish that Clouseau, one of the great characters of screen comedy, and of course Sellers, one of the great contributors, could have exited on a more stronger note.

What started out as a vehicle for star Frank Sinatra, eventually became Don Siegel's classic, hugely influential cop thriller that confirmed star Clint Eastwood's place in Hollywood. Eastwood was made for his now legendary role as Harry Cahallan, the tough, hard-bitten cop who goes in pursuit of a deranged sniper (a terrifying Andy Robinson) after his superiors fail to bring the killer to justice.

More than thirty years after its original release, the film carries a distinctive early Seventies look that is more compellingly realistic than dated. The screenplay is more or less unforgettable with line after line of punch, scene after scene of excitement, all coming to the fore in the film's climatic scene. The film was almost notoriously controversial and undermined in its day, which wasn't helped by the string of less credible, cash-in sequels that followed that were inferior on every level to Siegel's original offering. All in all, a strong achievement for Siegel and Eastwood.

Muhammad Ali himself had done a decent job reconstructing his carreer in 1977's The Greatest, yet a big Hollywood biopic was always on the cards and deservedly so. Fortunately, Michael Mann was the right man for the job and has turned an inspiring, remarkable and thrilling story into an exciting, electrifying and entertaining film in sleek, reserved style. Will Smith is the perfect choice to portray the great man and although the real Ali lingers in the mind throughout the film, Smith's performance is nevertheless winning and eye-catching.

The film span's Ali's career from his 1964 defeat of Sonny Liston (a great opening sequence) to his victory over George Foreman in the Rumble In The Jungle (a great climatic sequence). In between, there's the brush over the Vietnam War and Ali's relationships with TV presenter Howard Corsell (Jon Voight) and boxing rival Joe Fraizer. Oh, and the women. A great job by Mann and Smith.

1989 was one of them years where it seemed every Oscar-nominated picture deserved to scoop the prize. Dead Poets Society missed out but that doesn't stop it from ranking as one of the best films of the Eighties. Robin Williams shines in his finest film as Mr. Keating, an unconventional English teacher at a New England prep school who inspires and awakens his pupils - summed up with one famous catchphrase, "seize the day". The film then focuses on the effect Keating's influence on a group of boys, with both successful and tragic consequences. This could have easily been overly sentimental and cliché-ridden but the script (which did win the Oscar) is believable, absorbing and observing, which successfully conveys the spirit and impact of the story. All the important, crucial parts are perfectly cast and expertly performed by stars young and old. An inspired film that will most certainly inspire whoever watches it. And that's exactly what great films are all about.

Clint Eastwood's first self-directed Western is one of his most memorable, effective and arguably darkest outing in the genre. Eastwood takes the familiar role of a tough, silent, nameless stranger who rides into a cowardly Mining town only to quite literally make all hell break loose for the local community when they ask them to help defend themselves against three feared gunmen.

High Plains Drifter is electrifying from its iconic opening where Eastwood's stranger appears on the horizon like a ghost to its nightmarish climax. The film isn't quite as interesting when Eastwood isn't on screen and some details of the plot might as well have been non-existent. Generally, however, this is a perfectly-paced story with a strong dose of tension, suspense and symbolism and is only more powerful and noteworthy on a second viewing.

Despite being a box-office hit, the film wasn't well received by critics in its day, perhaps for its unconventional and dark overtones, but was undoubtedly a breath of fresh air for the genre and is now recognised (along with Eastwood's follow-up The Outlaw Josey Wales) as a superior 1970's Western.

For once a film that lives up to the wait and hype surrounding it. Sam Raini's Spider-Man is an instant classic; a comic-strip screen adventure supreme that surpasses many of the recent blockbusters of recent years and ranks comfortably with the original Superman and Batman installments, as well as being a stunning film in its own right.

Tobey Maguire is perfect as the young, nerdy student Peter Parker transformed by a spider-bite into the web-spinning, wall-climbing, wise-cracking superhero, whilst multi-millonare William Dafoe (in a splendidy villanous performance) risks loses his massive corporation, leaving him to adopt the evil persona of the Green Goblin.

This is fantastic stuff; good characters, spectacular action, strong themes, tounge-in-cheek humor, in-jokes - its all in there and used to the full. In terms of plot, the main focus is on Parker's complicated love for the girl-next-door (Kristen Dunst), which whilst somewhat unconventional for such an action film, brings a fresh, watchable and human touch to the proceedings. Super fun - lets hope the inevitable sequel is just as good.

The prision movie is one of those rare genres where more or less every film turns out to be a winner (The Great Escape, Pappilon, Midnight Express…), but The Shawshank Redemption of 1994 may well take its place as the best of them all. Frank Darabont's hugely impressive picture cuts a remarkable balance in paying attention to the harsh realities brutalities of prison life whilst also successfully conveying the power and determination of the human spirit.

Tim Robbins is Andy DeFrans, a banker sent to the maximum security Shawshank prison for life for the alleged murder of his wife and lover, where he strikes up a friendship with the seasoned convict Red (Morgan Freeman). The film has enjoyed huge popularity and acclaim since its surprisingly passive 1994 release (perhaps due to the attention surronding Forrest Gump) and almost certainly deserves its label as a contemporary classic; few films carry such a magnetic, absorbing and attentive pull. The result is something that not only ranks as great entertainment but a chance for the viewer themselves to enjoy and appreciate a first-class piece of screenwriting and film-making.

With the help of a starry cast, an inventive script, a bucket load of hype, as well as his own dazzling imagination, director Tim Burton turned the camp, colourful, iconic superhero popularised by the 60's TV show into a dark, menacing and ambigious mystery avenger. The result was a winner and led the way for three less impressive and increasingly weaker sequels.

Michael Keaton is perfectly cast as Bruce Wayne, the shadowy millionare, who becomes the fixation of photographer Vicky Vale (Kim Basinger), whilst Gotham City is left dumfounded by the mysterious Batman and (soon enough) dumbstruck by the evil Joker (Jack Nicholson).

Keaton is a solid presence but like the following films, the big star is the villain thanks to a gloriously, all-out performance by Nicholson. The film itself is a dazzling mix of genre; the comic-book, the gangster flick, film noir and the climax in a massive Gotham cathedral is more than reminicist of Hitchcock's Vertigo. A clever, thrilling and successful big-screen adapation, easily the best of the series

If there was ever a joint Best-Actor Oscar then Tom Cruise and Dustin Hoffman would be likely candidates for their superb performances in Barry Levinson's superb drama. Cruise is on fire as the young egotistical car salesman whose $3 million inheritance falls to the autistic brother (Hoffmann) he never he had. The rest of the film develops into a first-rate road movie as Cruise attempts to claim what should be is but ends up becoming a better man in the process.

Everything for a genuine masterpiece is there and is used to the full, the acting being the icing on top of the cake. Whilst there certainly is moving, subtle drama, there's plenty of laughs in seeing the highly-strung Cruise's greedy ambitions falling through before finally finding his heart. All in all, an absorbing, moving and undoubtedly wonderful film.

Peter Sellers and Blake Edwards are fully on form for the second and probably best in the Pink Panther series, a hillarious, outstanding slapstick treat to please all. This one brought forward the formulas for the later sequels, most notably Clouseau's demented boss, Dreyfuss (Herbert Lom), and highkicking manservant, Kato (Burt Kwouk). This time the hapless Inspector is determined to clear a more-than-suspicious maid of murder, even though the body count is going up while she's around. Sellers and Edwards make the film their own through a never-ending gallery of great sight gags, which usually last for seconds, but always come back the next morning for more laughs and smiles.

Pierce Brosnan's third and so far best Bond film - a powerhouse action adventure combined with driving characters and story, all polished with sleeker than sleek Bondian style. The cracking Brosnan means business as 007 here bringing all the elements the fans, audiences and critics love to see from the character and bringing back memories from the four guys who went before him, as well as the flair he brought to the role in his previous films. T

The story sees Bond investigate into the murder of an oil tycoon, which leads him into the path of his haunted daughter, Elektra King, (an excellent Sophie Marceau) and her terrorist ex-kidnapper, Renard, (Robert Caryle), who plans to gain unlimited power by siezing control of the King pipeline. Regulars Judi Dench (M) and Desmond Llewelyn (Q) are on hand with particularly memorable and fitting appearences this time around and the bankable cast is further expanded with the presence of Denise Richards, Robbie Coltrane and John Clesse (stepping in as Q's successor). All this and some of the series' most amusingly over-the-top and spectacular action ensures that this Bond is up there with the best of them.

Clint Eastwood had kept the Western alive in the 70's with two acclaimed contributions to the genre: High Plains Drifter and The Outlaw Josey Wales. Slap bang in the middle of the 80's, though, the Western again was going no-where and neither was Clint's career artistically. It could only mean thing and it came in the form of Pale Rider.

Big Clint plays the Preacher, the mysterious stranger who comes to the aid of a community in peril from evil local miners and agrees to fight for their cause. The film is a clever mix of Eastwood's own style a la High Plains Drifter with the classics, mainly Shane but also a touch with High Noon. The film does a good job in emitting a subtly supernatural feel but the classical style also inevitably leads to familiarity and predictability. The plot itself does not work out whilst certain parts of the script are considerably more interesting and exciting than others.

However, Eastwood effortlessly brings a sit-up and watch presence to the film whilst he himself stages the whole affair impressively, helped by some splendid colourful, revealing and realistic photography. Not a classic Western or one of Eastwood's strongest but it certainly kept the genre on its feet respectably.

Raiders, the original, classic Indiana Jones adventure, is one of those films that when you revisit makes you realise how hardly anything so fresh, exciting and superb comes on our screens these days. Following on from his only flop (1941), Steven Speilberg and George Lucas' all-stops homage to the old Saturday morning serials introduced us to the whip-cracking Dr Jones who would quite happily confront sword-windling Arabs and stowaway on a Nazi submarine but think twice about sharing a plane seat with a snake.

In his first and greatest adventure, Indy (Harrison Ford) goes out in search of the Ark of Covenant when he is told that Hitler is out looking for the very same thing. What follows is a non-stop array of spectacular action, death-defying thrills and ultimate tongue-in-cheek humour but its not all down to Speilberg's handling of the action that makes Raiders a classic among classics. Ford is just as perfect and superb in the role as Connery was as Bond and the whole experience would not be the same without his thick sweat or ice-breaking smile. Karen Allen also gives an endearing performance as the fiesty heroines whilst Paul Freeman and Ronald Lacey make terrific villains. The film was an overwhelming success and Speilberg kept the magic perfectly in two equally successful and classical sequels.

Still a good old howler more than 20 years after its original release, John Landis' quirky, witty and (when it has to be) scary tribute to the 'Wolf-Man' genre offers plenty of bite as both a comedy and horror. David Naughton is the American tourist who survives a grisly werewolf attack on the Yorkshire Moors, only to find his murdered friend later returning to warn him about the curse which is upon him. The trouble is David has wound up with a beautiful nurse (Jenny Aguter) and is living slap-bang in the middle of London; he's not going to take any of this and when he does there's more than enough for him to get his teeth into.

The script is finely tounge-in-cheek and clever, balancing the horror and suspense with light but sharp parody and humour (e.g. the excellent soundtrack plays upon the 'Moon' theme). Naughton's metamorphosis in the living room is still literally a hair-raiser (far more intense and frightening and if that isn't enough for you, there's that chase in Tottenham Court Road station to send chills down your spine. On the negative side, Landis' skilful use of suspense rather than gore is all thrown away in the film's climax in Piccadilly Circus, which plays like a display of violent excess rather than any leaving any important dramatic effect.

Generally, though, Werewolf in London is a sensible and rewarding entertainer, not for its later descent into gore (which many other films past and present have indulgenced in from start to finish) but for its freshness, suspense and winning tounge-in-cheek approach. And of course, London.

One of Peter Sellers' last films but undoubtedly one of his finest. Sellers earned his second Oscar-nomination here with an unforgettable performance as the simple-minded, child-like, Chancie Gardiner. When his master dies, Chancie, who has never set foot out of the house he has grew up and worked all his life, finds himself 'out there' - and in a matter of hours residing with a dying Pentagon representative and his wife (Shirley McLaine). Upon a meeting with the president, Chancie is mistaken for a genius when his own simple mind-spun philosophy is taken to be thought-provoking political points and so becomes a media and political sensation overnight.

The amazing and wonderful thing about Being There is how the many laughs and similes all come as a natural result from Sellers' peformance, without the script, star or direction bringing this all out through slapstick set-pieces - where such a character like Chance could easily be milked for. Instead, its all to do with our own perceptions -how we see people and interpret their behaviour differently. Also, at the end of the day, it acts as a wonderful memorial to one of the great comic geniuses. A warm, winning, special film.

After years of trying to get into Hollywood, Bruce Lee returned to Hong Kong and began his efforts with this low-budget martial-arts thriller. The result - an Asian box-office smash which made Lee an overnight sensation in the East. Whilst its not a great film or Lee's best work, it is an definite film classic that really opened the door for the martial-arts genre, as well as kicking off Lee's career. The story sees Lee coming to work in Banghok with his cousins in an ice factory, where he soon discovers sinister operations taking place under the thumb of the title villain. Like Lee's other films, the action builds up through the film to impressively staged fight scenes, all topped by a dramatic, all-out climatic bout between Lee and the Big Boss. Breakthrough stuff but the best (and the West) was yet to come.

Peter Sellers speaks his first five words as Inspector Jacques Clouseau, puts his hand on a large, spinning globe and...there you have it, the birth of the screen's greatest comic creation. The late, great Sellers immortalised the bumbling French detective into the history books although director Blake Edwards had intended for this original slapstick classic to be a vehicle for David Niven. Niven, however, is still a considerable presence as the suave jewel thief who Clouseau is after, unaware that they are both residing in the same hotel, next door to each other and are in love with the same women.

Whilst not the main focus of the film, Sellers' scenes are easily the best - his bedroom capers with wife Capucine are endlessly rewatchable - and the character only gets more funny as the film rolls on. Hugely successful, this first Panther was followed up by a staggering eight sequels - three good, the rest less than rewarding.

Big Clint's first film outside of Serigo Leone's sensational Dollars trilogy is none other than...a Western. Hang 'Em High is a rather overlooked entry in Clint's long and impressive film wagon, even though it is a serious, no-nonsense and modest look at crime and punishment and a subtle dig at the injustice system, which was somewhat forgotten by his critics who emphasised that he was a symbol of violence, especially in the Dollars trilogy and the Dirty Harry series.

Clint plays an ex-lawman who picks up a new badge after he is almost killed by a group of men who hang him and leave him for dead. He then embarks on a mission to hunt them down one-by-one and hand them over to the law.

Ted Post's watchable Western drama is definetly a refreshing break from most other 'revenge' movies. Instead of cold-blooded vengence, the script decides to display Clint's character, though still as the cold, silent anti-hero, as a more peaceful person who would truly like to see men behind bars rather than shooting them down. The film also keeps it grip, rarely letting a boring moment crawl in even though this is more talk than action.

Its not a perfect, polished or particularly great film - the characterisation always stays pretty low and the romance between Clint and the charming Inger Stevens isn't fully developed, for instance. However, it has its highlights - a memorable opening sequence and an effective musical score - along with its notable touch for seeing justice rather than violence and killing. A good effort that's worth watching and not ignoring.

Pierce Brosnan's third and so far best Bond film - a powerhouse action adventure combined with driving characters and story, all polished with sleeker than sleek Bondian style. The cracking Brosnan means business as 007 here bringing all the elements the fans, audiences and critics love to see from the character and bringing back memories from the four guys who went before him, as well as the flair he brought to the role in his previous films.

The story sees Bond investigate into the murder of an oil tycoon, which leads him into the path of his haunted daughter, Elektra King, (an excellent Sophie Marceau) and her terrorist ex-kidnapper, Renard, (Robert Caryle), who plans to gain unlimited power by siezing control of the King pipeline.

Regulars Judi Dench (M) and Desmond Llewelyn (Q) are on hand with particularly memorable and fitting appearences this time around and the bankable cast is further expanded with the presence of Denise Richards, Robbie Coltrane and John Clesse (stepping in as Q's successor). All this and some of the series' most amusingly over-the-top and spectacular action ensures that this Bond is up there with the best of them.