Reviews

Despite my score, the film is not flawless, but it is close enough to it to merit such a score. I saw this twice on the big screen, and countless times on the special edition DVD. it is a masterwork of technology and style blending together to create a noir hell of an environment. each episode connects and yet stands alone. repeated viewings are vital, of both versions, in order to understand and appreciate all that it contains. The strongest element in the film would have to be the visuals, and then, surprisingly, the acting. it's truly amazing the depth and life that Bruce Willis, Mickey Rourke and others bring to their roles. if I have any complaints about the film, it is that I wanted more, and we the audience will get that in the forthcoming sequels. the film begins with a mans voice-over begins, accompanied briefly by a delirious jazz note, and continues through a scene straight out of a pulp fiction tale, before diving into the Marv sequence. I had trouble deciding which tale was "the best" and have settled on the idea that each one is equal to another, and simply different. The Marv sequence is a classic murder-mystery Revenge tale, while The Big Fat Kill is action and the final tale falls somewhere in the realm of bitter love. each is extraordinary, and each is supreme in execution. The lighting, the makeup, and the special effects-which one can argue is the whole film-are amazing. the last comment comes from the fact that the majority of backgrounds and sets in the film exist only in the realm of digital code. Even certain characters are on-screen concurrently only through the same process. simply incredible and an intriguing glimpse into the future of film technology. Aside from Batman Begins and Road to Perdition, I have never seen a graphic novel or comic book brought to the screen as well as Sin City has been. a triumph on every level.

As the first game of it's Genre and MAGNITUDE, to attempt such a radical departure from what has come before, especialy in a series as revered as FINAL FANTASY, the skilled creative team at Square has created a MASTERPIECE for the ages. This beautiful game illustrates precisely what is expected of the current crop of Role-Playing games, giving the player a hint of what to expect in the future. The voice work is sound, Overall, with only a few minor disturbing points, IE, lips seems to not QUITE be in sync at all times, but to notice this, you REALLY have to be looking for it, and WANT to find something to complain about. The mechanics of play are very different from what has come before, and herald a new STYLE for the series. At the SAME time, they are rather familiar. Perhaps that is what is so great about this title...the BALANCE found throughout. It is a LARGE game, even larger if you want to complete EVERYTHING, which is next to impossible in one run-through. The music, by the now LEGENDARY Nobou Uematsu, and the GLORIOUS Computer-Generated Cinemas, blend well with the games amazing environmental and charachter designs to help tell a VERY good story. This could easily have been a movie, what with the Spoken dialogue, the haunting themes, the Emotion inherent in most every scene. Is it the best game of all time? MAYBE. Is it the best Entry in this Series? YES.

Blessed with an innate sense of history, and tinged with a touch of melancholy, this title provides a fond FAREWELL to the OLD style of Final Fantasy. I will miss it, but that is NOT what impressed me the most about this game. It was the nicely wrought story, the most fully fleshed charachters of ANY 32-bit game, the AMAZING artwork, and the way they wove pieces of the series past into the story and environment. The gameplay is the most addictive in the series since 6, which came out here as 3, but was recently re-released as part of Final Fantasy ANTHOLOGY. I enjoyed the VERY SOUL of this game, an aspect that seemed minor in the previous two entries. This game reminds players WHY they loved the series in the first place.....STORY AND PERSONA. The best music and cinematics EVER to Grace ANY 32 or 64 bit system.

I am probably one of the Few people who did not Immediately dislike this often dogged game. I found the DRAW/Junction system to be Fascinating, and mightily enjoyed the Story, once it got going. I can see where some may have problem with this...I know I do...but, it is a TRUE example of the designers inventive nature that they even DARED to make it in such a manner. The music is much more complete than in the previous game, the design of EVERYTHING is much more realistic, which fits the style the game is trying to achieve. The cinemas are among the best in all of Gaming, not just for the technical boundaries they push, but for the ARTISTRY involved. This may have been the first game where I could FEEL a directors presence, and it Enchanted me. Hats off to SQUARE.

I loved it. Great story, top-notch direction, and the CGI Cinemas were breathtaking, but.....Where is the Music? although it is not anywhere near being bad, it is NOT up to standards, not as they have been set by THIS series. Also, The graphical presentation of the game, while VERY effective, has one flaw....VERY Bare charachter Texturing. Yes, the colors are deep, but, it still does NOT compensate for the lack of detail that COULD have been put in. It is, as are EVERY title in the Series, a MASSIVE game. There are things that many will NEVER be able to accomplish. I highly enjoyed this, and, if you have NEVER played an RPG before, give this a try.

This film is the most affecting work of Cameron Crowe's career as a Writer/Director. It's story, lifted from his own life, is very entertaining, very real. It was my choice for the best film of 2000, and sits on my top 100 of all time. this may be one of the best studies of growing up, of courage-of the small, every day kind-of commitment, ever to grace the screen. Watch the performances VERY CLOSELY, or you WILL miss quite a bit. pay attention to the soundtrack as well-not just for the fact that it enhances, as well as helping to convey the story, but for the reason that it is of the utmost quality, not something associated much with the 70's music scene, which, as this film shows, is both a blessing & regrettable. perhaps the most wonderful thing about this film is that there is something in it for everyone, from teenagers to the very elderly. DO NOT think of this film as a "TEEN FLICK." It is not. The very intelligence with which this was filmed denies it that dishonor, helping lift it to a higher plane of cinematic existence. Simply brilliant.

OK. Yes, it's good-but not that good. it is, in essence, a very average film-look close at the sets, costumes, the makeup,the VFX-sometimes muddied, never truly breathtaking. even the great SIR IAN McKellen could not make this film move beyond mildly disappointing. I could have accepted the fact that Jackson wanted to tinker with certain aspects of Tolkiens work, after all, that is what makes an adaptation worth doing, but... the changes may be too drastic, taking away much of the FEEL of the BOOK(S). one example is that in the book, certain events take place over long periods of time,while the film presents them as happening far too close together. In this way, much suspense, and a deeper connection to the various inhabitants of the tale will be lost, or at least was to me. The fact that there will be a DIRECTORS edition DVD gives me hope, that perhaps Jackson had orders from the studio to cut it to a certain length, thus explaining certain lapses, but...look close, & I believe I may simply be wishing. The opening prologue is very well done, and perhaps if they had shown a capsulized version of "THE HOBBIT", in addition to the mighty opening, the film would have more heft. as it is, certain Performers barely rank as deserving of a screen credit-most notably, and regrettable, IAN HOLM as Bilbo. I lay this films problems at the feet of MR. JACKSON-as director, he should have known better.

A twist, a turn, a curve. In every way, this movie will live up to your

expectations-if that is, you come in without any. The film is a dark and earthy look at how certain people cope with the events of their lives, how the decisions we make, whether intentional or not, can have dire consequences-if it be now, or thirty years in the future. It's about blame, it's about guilt, acceptance, denial-all the things we humans struggle with in our every day lives. The early scenes, of a family connected, yet hesitant, and the contrast with how it changes, is breathtaking. Sissy Spacek may get all the publicity-she really is only average here-look instead to Tom Wilkinson, Nick Stahl & Marisa Tomei. They carry the weight of the film, in the manner each of us carries the burdens of our lives. I was astonished to hear so many people brush this off as no more than a "TYPICAL INDEPENDANT FILM." It is not, far, far from it. The direction, the writing, the acting, is too assured for it to be grouped in with "TYPICAL" anything. You will find yourself caught up, at least to some degree, with these individuals, so, when the film reaches its conclusion, take a moment, and ponder the results. Think about your response, and what the film has made you examine about yourself. It should be quite a revelation.

Those who have seen only the edited version of the pilot, and the somewhat dull first season missed out. this series has raised the bar in terms of science fiction on or off television, and in my opinion, raised it for filmed entertainment, period. there are moments in this series where one sits, thinking to themselves that Shakespeare, Dickens, Stienbeck, Hemingway, Homer-none could have created a tale any better. JMS, the series creator, is an absolutely amazing and devoted writer. this is a project unlike any other that has been done. when first conceived, the series was to run for five years. none expected it to get the go-ahead for a pilot. now, pilot, 4 TV films, 110 episodes, 13 episodes of a spinoff, various books and magazines later, not to mention a new film to be aired this year, & rumors of a coming second sequel series, along with the possibility of a feature film, the show has become a classic, and somewhat of a fixture in its field. the books regularly sell neck and neck with the "TREK" titles, the re-runs on the SciFi channel bring in a decent audience, and the series finally has some respect. but enough on that which is not about the series proper. the series unfolds slowly, at first, giving the audience glimpses of what will come. then gradually it builds into a true epic. by the time it is over, you WILL want more. but,the story has been told, and take comfort in that. the writing is amazing, full of depth and compassion, with wonderful dialogue[for the most part]. the direction sparkles, the actors are peerless for this type of series. each season unfolds as a part in a book, with twenty-two chapters in each part. the reason I make the book analogy is simple-IN ESSENCE, THAT IS WHAT THIS SERIES IS, A NOVEL FOR TELEVISION. it has all the complexity and traits of a novel. the series was maligned for its many cast changes, but that is beside the point. 95% of them were storyline dictated. that is another term that takes on new meaning with this show. JMS had the whole thing planned out before one frame was shot, one set built, one actor or director contacted. whatever you do, don't miss an episode, and watch them in order, from the beginning. if you do not, you could get lost, especially after the second season gets rolling. what I enjoyed most was trying to unravel the many mysteries contained within the greater framework. I was regularly surprised, if not by the occurrence itself, then by the way in which it unfolded. NEVER think you know what is going to happen. I will tell you this: episode ten of the first season is a prime example. do not stop watching until the end credits roll. then you will know what I mean by this. another brilliant aspect of the series is that there are no cute robots or cloying kids-an edict handed down by the series creator, along with a pleasant lack of hokeyness. this is not to say that the series does not have its moments, but, otherwise, it is solid. there are moments of such power within this series that at times you may well weep. please, if you like good writing, great acting, fine direction, and are looking for something different, give this series a chance. you will not be disappointed. keep in mind that not only did JMS write all 5 films, executive produce the series, direct the final episode, and write 8 of the spinoffs 13 episodes, he contributed: 12 eps in the first, 15 in the second, the entire 3&4 season, and single-handedly wrote 19 of the series final season. of that final season, two of the other three were co-written by him. all other episodes were heavily influenced by his ideas for the show. this goes to prove that it is true: in the beginning, there is the word. POWER TO THE SCRIBES!

this documentary has humor, a bit of poignancy, and seemingly, the desire to turn the viewer on to it's flip-side of the film industry. to call this a GREAT film, would be to give REAL documentaries a kick in the pants. to totally disparage it, would be to give this otherwise fine work a grave disservice. It WORKS because it leaves the viewer with an impression of the industry. I felt the shame and humiliation these individuals must have felt, sitting there, watching it. especially of interest is the early portion of the piece, when it explores PORN'S early days, and it is during this that the "film" generates much of it humor. All in all, it gave me much to think about. there are interviews to spare, with those both in and out of the industry. what they have to say is very revealing, to those who know little of this subject. it is not as if this came as a TRUE revelation to me, but it was nice to know that not everybody involved in adult films are utter trash. though rated X, the film shows no less than the average NC-17 film, although when people engage in sex in this, it is real, not faked. all in all, what will most likely go down in history as the best sex documentary ever made.

This is a piece of entertainment that could have gone down one of two roads: cringe-worthy garbage, or worthy successor. luckily, for me at least, the latter would appear to be the result. much has been said about the FLAWS in the place. for those who wish to make certain everything in this film GELS with everything in the prior one, just take another look at the original. much like the GODFATHER series, the Stephen Sommers written/directed MUMMY saga seems to be one continuous story. this film will fill in some gaps, open new questions, but mostly it will simply bring you enjoyment, if you have any sense of wonder left. DO NOT go into this thinking it will be deep or meaningful. that's not to say it is shallow, but rather that it is what it is: good, solid entertainment. The film is much broader in scope than the original, the production values, as high as they were on the previous entry, are obviously much higher. there are moments in the film that seem a little far fetched, but then that's the point of it all. Personally, I could have done without The Rock, but, then again, it doesn't take much to pull off his role. aside from that, I highly recommend it.

Why all the love and admiration for this film? granted, Hal is great, granted that the film has interesting sets and for its time, great visual effects, but...COME ON! as a story, it fails on many levels. the dawn of time sequence is prolonged to the point of distraction, as is the endless sequence towards the end, where, well...this film simply takes to long showing the audience details which mar the true beauty it could have been. like most Kubrick films, this feels hollow and incomplete. then again, maybe that was the point. it is not that people won't understand this film-the overall story is actually too simple for confusion-but rather that one may fall asleep during the film. I have seen this film three times, and each time I notice something new, something that does not need to be there. the first time, it was the score, which was a cheap way out of a bad situation for the films creators. don't get me wrong, I LOVE classical music, but the repetition displayed was overwhelming. again, that was another problem with it. too much of the same old same old. at times it is as if Kubrick wanted nothing more or less than to film but a few scenes in as many ways possible. As science fiction, it is neither a failure nor a success. it just is. as a film, it is just not my cup of tea.

This was a film I had no delusions about. one which, despite my policy of entering the screening room with little or no opinion on the film, I had nonetheless decided that this would probably be a cheesy, trifling dud. well, I was VERY pleasantly surprised. this has got to be one of the very best films ever made. It has to be one of the most mature films I have ever seen. The only compliant is that there were times where I wanted to know more about the minor characters, especially at the end. at the same time, that is part of what makes the film work so well. William H. Macy, not Burt Reynolds, as great has he was, gave the films best supporting performance. His was a persona which captured the tone and flavor of this films dark spirit. the other notable performances came from Mark Wahlberg in a break-out role, and Julianne Moore, as heartbreaking figures of self destruction. As I viewed the images before me, I was stunned, moved, captivated as I have rarely been during a modern film. there are scenes in this film which finally show people as people, that life is life, and that the good times perhaps aren't always so good, but they may be all you have. INCREDIBLE.

When I was young, I would constantly beg my parents to allow me to watch this. they would put it on, and I would sit there, watching time and again as the characters and situations unfolded. at a very young age, I could recite most of the film. then, for many years, I stopped watching it, but sequences remained with me, bits of dialogue refused to leave. a few years back, after I had read the book upon which this was based, which in it's own inimitable way,is another classic, I found this movie for sale, unused, for only a few bucks, so I picked it up. once more, my eyes grew slightly moist, but this time, it had a deeper impact on me. I was enjoying this as an adult, and as an adult reconnecting with their childhood. the opening song is more poetic than anything in the Disney films, the animation, the voice cast, the "ACTING"-it all blends together to create a marvelous entertainment. the film lives on inside you. I recommend this as a film for all, especially if you have young children. give them the gift of this film. they will thank you for it.

Anime is not my thing. Certainly, there have been those films which I have enjoyed, but so few and far between were they that as a whole, I had little hope of ever finding a REAL film amongst them. then, this came along. A classicly styled fantasy epic, so vividly brought to life that it almost makes you cry at the commitment its creators have demonstrated. And it was animated, which was the perfect choice for this story. The music, sound effects, the direction, which honestly I have never been able to detect in an animated feature before, the story-it all boiled down to one of the greatest viewing pleasures I have ever had.

Now, if there is a complaint to be made, it is that there are sequences which seem a little overdone, or bits of dialogue that somehow seem out of place, or at least badly performed, which is surprising being that the voice casting of the English dub for the film is extraordinary. Aside from that, EVERYTHING else is pitch perfect.

This is a film where you can usually count the digits on a hand, and come up with the right number. Where when the breeze sweeps through a persons hair, not only do you see it, but you can nearly feel it yourself. A film that has the courage to show its audience something profound in a format which, in the United States, is sorely lacking. In this country, the creatures would all be cute, not menacing. Here, even the most docile of creatures has a realistic edge. It would have none of the philosophy this contains, and most heartbreaking of all, it would be overlooked entirely, all for the simple fact that it was animated. This proves the point that animation is an art form. CARTOON does not apply in this case. The film isn't for children, & I would never recommend this to anyone under 13. Not because of excessive violence, foul language or nudity, but rather because the tone and the complexities of the story will probably not keep the interest of most under the aforementioned age, or even interest them in the first place.

This is a film, which, when compared to live action features such as Excalibur, Gawian and the Green Knight, Dragonslayer, Conan, Beastmaster-it has only one difference: the freeing majesty afforded it by virtue of being animated. I mention these films as they are similar in tone and texture to this, yet, somehow, this surpasses them all. Not just the greatest animated film of all time, but perhaps the greatest fantasy film in cinema history. If you have ever read the ancient myths and legends of mankind, if you thrilled to the "Lord of the Rings" series, then this is the film for you, one which manages to capture on screen what your imagination once conjured.

This film belongs, without a doubt, to Willem Dafoe. His portrayal of Max Shreck is beyond any other performances of 2000. There is a scene, about midway through the film, where all he is doing is talking, but the camera moves in on his face, slowly, and you feel drawn in by the sheer power of his eyes, the tone of his voice. This one scene alone is worth the time spent sitting through what is otherwise an uninteresting and indeed, annoying film. Of course,Malkovich and the other actors are top notch, but here they are all dimmed by the amazing presence of Dafoe in the role of a lifetime. Though the sets, costumes and makeup all faithfully recreate the era and its the settings, despite a decently worded script, the film ultimately fails. The director seemed to want to go many places at once. The result is a muddle where there should have been a classic.

The most brilliant aspect of Phillip Kauffmans film is how faithful he remains, not only to the screenplay by Doug Wright, but to the era and indeed, most amazingly, the subtle way he captures the very essence of Dessad's work. The film plays out in episodes, which at first feels somewhat disconnected, then gradually binds together, forming what is in fact, a version of one of the Marquis works, or something approximating it. The film is gloriously made-stunning costumes, art direction, interesting cinematography, fine performances, especially from Kate Winslet and Joaquin Pheonix, as well as another robust turn by the always impressive Geoffrey Rush. For those looking towards this film as a history lesson, it is not. For those looking towards it as a vision of French culture in the late 18th, early 19th century, it could be, to a degree. No, what this film is, essentially, is a story of some very twisted individuals, a film which even begs the viewer to decide for themselves, at what point do you say someone has crossed the line?But, more importantly, how much would you enjoy crossing that line yourself?

Roberto Benigni's performance in this film stands not only as the

greatest of modern, i.e, last 20 years, comedic, performances, but as

one of cinemas all time best. This is not to underplay the importance

of his more dramatic work in the film, as both are stunning. It is

rather that I wish to say that this is true comedy, blending both

genres into an incredibly complex achievement.

In this astonishingly emotional tale, we the audience are introduced

to Guido, a character that at once seems fresh and close to home. Fresh

because we have rarely seen such energy before, because we have never

seen acting quite like this before. Close to home, because we can all

identify with him to some degree, because He is 100% human. The

inflections in Benigni's voice, the look in his eyes, the lines on his

face, the way he moves-I hate to make comparisons, but, if Buster

Keaton and Charlie Chaplin were combined, you would probably end up

with something like this-it all adds up to one of the most finely

wrought performances you are ever likely to encounter.

This engaging tale is full of such passion that at time it is

overwhelming. If you have ever doubted that a story can transcend

language barriers, than this film should be priority viewing. The

characters and their performers come alive with such vision that at

times you may feel yourself drawn into the film to such a degree that

you cannot help but to cry.

Many people complained that the film made fun of a tragic event. I

say that it hardly did that. Rather, it is a monument which attests to

mans ability to face any obstacle, and overcome it, even if bad things

happen have happened to good people. That in the end, we should all

remember how precious our lives really are, and that life is indeed

beautiful.

This is perhaps the most overrated film of the modern era, that being

the last twelve years, 1989-2000. The film is miscast, with highly

annoying performances from drab players. The set design is terrible,

with only its dark cinematography as a saving grace.

The direction by Sam Mendes is very one note, as is the ludicrous

script by Allan Ball. The usually superb Kevin Spacey is seen here

giving his all in what appears to be a daze of egotistical

self-indulgence, shouting his lines, grimacing for no reason, but

otherwise-and this is the unnerving part-boring you to tears.

Indeed, the whole film leads up to only one thing worth seeing-the

end credits. But wait-that's not all! Spread amongst this cinematic

wasteland are a bunch of overly theatrical performances, including a

celebrated turn by the less than impressive Annete Benning.

My major problem with the script is that it is so flippant about

everything, and seems to suggest that such behavior should be adopted

and celebrated. Sorry. Wrong. If this film had its way-well, trust

me...you don't even want to know. So spare yourself the pain of this

embarrassment. Read a book. Get a hobby. Do something-but don't damage

yourself with this drivel-I beg you.

Stunning. Raw. Revealing. Unforgettable. Words alone can't describe how this movie made me feel, can't describe the film itself. It is at once, disturbing and inviting. Inviting because it asks us to learn about these people, disturbing because of the dark paths which they follow.

In this extrodinary film, Director Darren Arronofsky takes the viewer on what feels like a trip to hell-or perhaps through it. he leaves no stone unturned when studying his subject-the drive to find a means of aqquiring the next fix, the emptiness in between highs, the bleak hallowness of a users life. It is made all the more remarkable by four career high performances. Each person seems to symbolise a part of the users "Profile". I won't go into detail, so as not to spoil it for you, should you be reading this before you see the film, but suffice it to say that the film is not for the faint of heart. It is, in the end, a film for everybody-for anyone who wants to truly understand what a users life is like.

The film was given an NC-17 by the Ratings Board, yet this defeats a purpose: those too "YOUNG" to see it, are the exact audience that should see. Trust me. I would never do drugs anyway, and this film more than reaffirmed I had made the right decision. One of the absolute most important works of cinema-ever.

Being that the first film in this series was somewhat of a disappointment, I had no expectations of this being above or beyond its predecessor-much to my surprise and pleasure, I was rather thrilled at the results.

The animation is stunning, even inspired. The illustrations are full, with just enough whimsy to let you know that this is still what it is. The story is a bit of a tear-jerker, especially if you have seen the series and are familiar with the characters. Anyone who doesn't feel something during this film never had a childhood.

Each segment comes alive with its own beat, pulsating joyful across the screen. There is enough in here for adults to WANT to see it again, and enough that the kids won't complain. The references to pop culture are extensive, not limiting themselves to the last five years, or just one genre, but running the gamut from art to politics and back again, from the present day to the distant past. This a film to treasure-not quite all time great material, but very, very good.

There are of course, scenes which don't work, or could have been cut out, but then it wouldn't have been itself-And what's the point of that?

Amazing. So moving, So real. These are just a few of the terms that can be used when describing Mike Leigh's glorious homage to the theater. The film is not just for those already initiated in Gilbert and Sullivan. Indeed, I knew very little beyond that they were behind H.M.S Pinafore and Pirates of Penzance. In education and enjoyment, this film goes beyond cinema, and into the realm of a living history lesson.

Every detail in the film resonates with accuracy and care. Never before have I felt so drawn into a film: you truly feel as if you know these people by the time the credits roll, and miss them more than can be imagined. No punches are pulled when detailing the various foibles in these lives. As real people, they demanded respect. As history, they received it. In this, I believe Mr. Leigh was on the right track.

If there are any faults to be found, I honestly could not see them, at least none which make a difference. Without a doubt nor reservation, one of films very best.