What I've Just Watched: Part 3 - The Search for Spock

Trouble Man (1972), directed by Ivan Dixon (The Spook Who Sat by the Door (1973)), and written by John D.F. Black (Shaft (1971) and The Carey Treatment (1972)), this blaxploitation action film was as one of the more popular ones to come out of Hollywood at the time, and it benefited from having Marvin Gaye do a cool, funky soundtrack as well. It's also quite bloodily violent and a lot of strong language for it's day. Mr. T (Robert Hooks) is a private detective and pool shark who works in the underbelly of Los Angeles, and he's able to survive by dealing with both sides of the law, quite dangerously too. But, when he's approached by Chalky (Paul Winfield) and his partner, Pete (Ralph Waite), to look for men holding up and robbing illegal gambling operations in the city. Mr. T takes the case, but Chalky double-crosses Mr. T, framing him for the murder of the henchmen of underworld boss Big (Julius Harris). Now with the police and the underworld after Mr. T, he has to get even with Chalky and Peter to clear his name, and that means getting tough, and taking on the underworld. It's a very down and gritty film, but it has a good plot with some good action pieces throughout, it's definitely a product of it's time, but it doesn't add anything new to the blaxploitatation genre, which was well into the swing of things when this came out. Plus, this was edited by Spielberg's longtime editor, Michael Kahn, 3.5/5



The Zero Theorem (2013), Terry Gilliam is back!! Returning to the world of sci-fi after Brazil (1985) and Twelve Monkeys (1995)), this is an existential sci-fi drama, which happens to be Gilliam's cheapest film in years, and shot in a meagre 37 days. This is Gilliam's tightest yet most inventive film in years, it has some brilliant performances throughout and Gilliam is able to create visual beauty with his limited resources. Set in London somewhere in the 21st Century, computer genius Qohen Leth (Christoph Waltz) works for information gathering company Mancom, but he's been waiting for a call, and would rather stay at home so he can get this call. Mancom's Management (Matt Damon), allows this to happen, asking Qohen if he can use his time at home to solve solve a mathematical formula known as The Zero Theorem, a mathematical formula, which shows that life has no purpose. Should be easy, but Qohen is distracted by the seductive Bainsley (Mélanie Thierry), teenage computer geek Bob (Lucas Hedges) and online psychiatrist Dr. Shrink-Rom (Tilda Swinton). It truly is an amazing film to watch, as there's a lot going on, even in the quiet scenes, there's always something going on, but this shows that Gilliam can make great art even when he has no money to work with. It proves he's brilliant with actors, and can make thoughtful, intelligent films. Simply impossible to forget. 5/5

Bloody Sunday (2002), written and directed by Paul Greengrass (The Bourne Supremacy (2004), The Bourne Ultimatum (2007) and Captain Phillips (2013), this real-life drama was originally made by Granada Television as a TV film for ITV, however after premiering at Sundance, it was given a cinema release. It's a powerful and unnerving real-life drama, with a lot of realistic action and the depiction of an absolute massacre. Sunday, January 30th 1972, and Northern Ireland MP Ivan Cooper (James Nesbitt) has organised a Northern Ireland Civil Rights Association march through Derry, it should have gone off without a hitch. However such marches in Northern Ireland were banned by the British government. But Cooper and about 15,000 marchers carry on regardless. However, British Army paratroopers led by Colonel Derek Wilford (Simon Mann) and Major General Ford (Tim Pigott-Smith), ended up opening fire on the marchers with live ammunition, whether it was a misunderstanding or provoked by the marchers is debatable, but at the end of the day, 13 demonstrators died. Based upon Don Mullan's book Eyewitness Bloody Sunday, which caused the British government to look again at what happened, it's a powerful and upsetting drama, depicting the atrocities of that day in a realistic fashion. It was this hard hitting style of film making that led to Greengrass going off to Hollywood. 4/5



The Grand Budapest Hotel (2014), written and directed by Wes Anderson and inspired by the writings of Stefan Zweig, coming quickly off his sweet romance film Moonrise Kingdom (2012), this is a large and very funny caper film with a lot of Anderson's unique touches, with Anderson's biggest cast to date, made up of old friends and collaborators, as well as a few new faces to his massive repertory company of actors. Set in 1932, in the European republic of Zubrowka, at the titular Grand Budapest Hotel, newly employed lobby boy Zero Moustafa (Tony Revolori) is educated by the hotel's dashing and charming concierge Monsieur Gustave H. (Ralph Fiennes). When one of the hotel's resident guests Madame D. (Tilda Swinton) dies, her son Dmitri Desgoffe-und-Taxis (Adrien Brody) and the family are horrified to learn that Madame D. bequeathed a valuable painting to Gustave. The police think Gustave killed Madame D. Gustave is imprisoned, Zero along with his new love interest Agatha (Saoirse Ronan) break Gustave free, and try to prove his innocence. This looks as overblown and indulgent as The Life Aquatic with Steve Zissou (2004), but it isn't, it's much more entertaining, it's a murder mystery thriller disguised as a clever and quirky caper comedy. It has a who's who in the cast, some of them appearing for less than a minute, but it all adds to the fun of the film, there's a lot to take in with this film, a second viewing would benefit, but it's a great story and visually stunning. 5/5

300: Rise of an Empire (2014), after the surprise success of 300 (2007), Warner Bros. wanted a sequel, comic book creator Mark Miller worked on one called Xerxes, (which still remains unpublished), but 300's director Zack Snyder couldn't wait, so he wrote and produced this one, and gave the director's job to Noam Murro (Smart People (2008)), this is both a prequel and sequel which manages to be bloody and exciting equally. Narrated by Queen Gorgo (Lena Headey), she tells the story of how Persian King Xerxes (Rodrigo Santoro) was affected by the death of his father Darius (Yigal Naor), but also how Xerxes was shaped into the king he was by Darius' naval commander Artemisia (Eva Green). The warrior who killed Darius, General Themistocles of Athens (Sullivan Stapleton) is tasked with leading his men across the Aegean Sea to stop Xerxes' naval forces from attacking Greece. Xerxes is trying to attack Sparta with a massive advance towards Thermopylae, but Themistocles' attempts to negotiate with Artemisia end badly, leading to more out and out war at sea. It's just a bit of brainless action, but at least the makers have done their homework with the subject matter, and have cleverly weaved this around with the events of 300, which happen at the same time while this battle is going on. The CGI blood does become a bit tiresome, and it makes you wish they'd used proper Kensington Gore. 3/5



Sid and Nancy (1986), written and directed by Alex Cox, then hot of the success of his feature debut Repo Man (1984), this started life as a script Cox wrote in 1980 called Too Kool To Die, lightly inspired by the death of Sid Vicious, however when he heard of a potential Hollywood version in development starring Rupert Everett and Madonna. Cox quickly got this version made, and it's a tragic and very painful love story. This tells the story of how Sex Pistols bassist Sid Vicious (Gary Oldman) met American groupie Nancy Spungen (Chloe Webb), who came to England to bed the Sex Pistols, the two fall in love but after the Pistols split up after their ill-fated American tour in 1978, that brings Sid and Nancy closer together, it gives Sid more freedom to do what he wants. They move to Paris to start a solo career, but no-one will take Sid seriously, because he has a very bad heroin addiction, and he's become very unreliable. Sid and Nancy take residence in the bohemian Hotel Chelsea in New York, descending into a hellish abyss of dangerous drug usage. It might not have been historically accurate, but Cox succeeded at creating a punk Romeo and Juliet in a weird, twisted way. For a film about the noise and angst of the punk movement, Cox finds a sweet and doomed love story in the eye of the storm, but the film briefly made Cox a big name in Hollywood, shame it didn't last. 4/5

Swallows and Amazons (1974), adapted from Arthur Ransome's 1930 childrens novel of the same name, and directed by Claude Whatham, (That'll Be the Day (1973) and Hoodwink (1981)), this is a sweet and innocent children's adventure, made for a meagre $250,000. It's a prime example of the kinds of children's film that simply doesn't get made anymore, as the frolics that they play in the film seem so old-fashioned now. Set during the summer of 1929, the Walker family go on holiday to the Lake District, while the mother (Virginia McKenna) stays at home, the Walker children, Susan (Suzanna Hamilton), John (Simon West), Titty (Sophie Neville) and Roger (Stephen Grendon) take a boat out into the middle of the neighbouring lake, and set up a camp on the island, they call their group the Swallows, named after the boat that took them out there. It's not long before they meet two other children, Nancy (Kit Seymour) and Peggy (Lesley Bennett), who are a lot more mischievious, teasing their Uncle Jim (Ronald Fraser), who is staying on a boat nearby, they're the Amazons. It's a very old fashioned film, cut from similar cloth to The Railway Children (1970), and it does highlight the art of children getting out and about and playing. The shoot was an absolute nightmare though, Ronald Fraser was never sober and the weather was very uncooperative, but a charming and precious film emerged from it all. 4/5



To Kill A Mockingbird (1962), based upon Harper Lee's 1960 novel of the same name, which was immediately optioned by producer Alan J. Pakula and Universal Pictures. Robert Mulligan (The Great Imposter (1961), Inside Daisy Clover (1965) and Up the Down Staircase (1967)), was hired to direct the film. It's a powerful and dramatic adaptation, and it's a film which lives up to it's reputation as one of the greats. Set in Maycomb, Alabama in the early 1930's, this tells the story of widowed father Atticus Finch (Gregory Peck), who is a struggling lawyer in Maycomb, and he's always able to divide his professional life, from his family life, raising his two children Jean Louise "Scout" Finch (Mary Badham) and her brother Jem (Phillip Alford). While they're off having adventure of their own with new friend Dill Harris (John Megna). Atticus is asked to defend black man Tom Robinson (Brock Peters), who is accused of sexually assaulting local teenage girl Mayella Ewell (Collin Wilcox). Atticus accepts the case, which seems open and shut, but Atticus ends up being ganged up on by local bigots who believe Robinson is guilty, and his children end up getting taunted because of it. It's a very compelling film with some brilliant dialogue and brilliant performances, from the children and their exploits, to Peck as the idealistic, unprejudiced lawyer, (he won an Oscar for the role), it's a timeless film, one that will never date as it's a true American story, one which has heart and tenderness, and family at it's heart. 5/5

Duplicity (2009), directed by Tony Gilroy, (Michael Clayton (2007) and The Bourne Legacy (2012)), this is a bubbly spy comedy caper which has a good plot, but there's too many twists and turns to keep up with. That unfortunately keeps it from being compelling, however if it has been told in a linear fashion over it's complex juxtaposed form, it wouldn't have been as entertaining. But it does have a good cast to it's name. This tells the story of MI6 agent turned corporate spy Ray Koval (Clive Owen) and CIA Agent Claire Stenwick (Julia Roberts), who have crossed each others paths at various times over a 5 year period, beginning in Dubai when Claire stole classified documents from Ray. Since then, Ray now works for Dick Garsik (Paul Giamatti) at Equikrom, while Claire does work for Burkett & Randle, ran by Howard Tully (Tom Wilkinson), and both companies are planning to steal chemical formulas off one another. But, we learn that Ray and Claire have a past and they've been planning to con both bosses, and make a massive deal that'll set them both up for life. While Roberts and Owen have fun playing spies who lie for a living, that backfires when it comes to the finished product of the film. It could have been made less complicated and still made sense, but the flashback and flashforwards do work against it. But it's not all that bad, but it could have been better if it was simpler. 3.5/5



Carry On Constable (1960), the fourth Carry On film, and here they were starting to hit their stride with more confidence and the smutty humour was starting to come in more prominently. This was also the first Carry On film to star Sidney James, and while he was playing a more restrained, straight-man role compare to the sorts he would eventually play. It is still a very funny film with some good characters and smutty jokes. Due to a flu epidemic, a local police station ends up being badly understaffed, Sergeant Frank Wilkins (James) is under pressure to get more bobbies on the beat from his boss Inspector Mills (Eric Barker). 4 new recruits come straight from the police training school. They are PC Stanley Benson (Kenneth Williams), PC Tom Potter (Leslie Phillips), Constable Charlie Constable (Kenneth Connor) and Special Constable Timothy Gorse (Charles Hawtrey), who are absolutely inept and bumbling.  Their antics get Wilkins' blood pressure up, and it tests Mills patience even further, but a stroke of blind luck leads to them following the leaders of a wages robbery to their hideout. It's a very silly film, but it does have a lot of the regulars that would come back time and again in future Carry On films, while it would have been a lot naughtier if it had been made 10 years later, it was pretty risque for it's time, but it's still a very funny film, and there's a lot of wordplay and misunderstandings. 4/5

Shakespeare in Love (1998), directed by John Madden, (Mrs. Brown (1997), Captain Corelli's Mandolin (2001) and The Best Exotic Marigold Hotel (2012)) and written by Marc Norman and Tom Stoppard. This romantic comedy-drama set in the Elizabethan period became a massive box-office success thanks to aggressive marketing by Bob and Harvey Weinstein, who would win Oscar gold for promoting the film heavily. Set in 1593, William Shakespeare (Joseph Fiennes) is suffering an unfortunate case of writers block, which is a shame Philip Henslowe (Geoffrey Rush), playwright and owner of the Rose Theater, needs a play as he owes money to Hugh Fennyman (Tom Wilkinson). Shakespeare does have a play in mind called Romeo & Ethel, The Pirate's Daughter, but he's not happy with it. But when he meets Viola de Lesseps (Gwyneth Paltrow), daughter of a wealthy merchant, he finds his new muse, and his play transforms and they begin a passionate affair. However, Viola is engaged to be married to Lord Wessex (Colin Firth), which complicates matters further. It's a good film, but not the classic it's reputation makes it out to be, but it's plus point is the massive cast in the film, including Ben Affleck, Judi Dench, Simon Callow, Jim Carter, Martin Clunes and Rupert Everett. It's got a good, dry wit and a lot of romance on display, but it didn't deserve the Best Picture Oscar. 3.5/5



Need for Speed (2014), based upon the Need for Speed series of video games released by Electronic Arts, and directed by Scott Waugh (Act of Valor (2012)), this is a car race and chase film which boasts that they used no CGI at all for the car stunt sequences. While it's setting itself up to be a rival to the Fast and Furious franchise, it manages to be a bit of cheesy fun, ticking all the cliches for films like this along the way. Tobey Marshall (Aaron Paul) is a former racing driver who now works in his fathers old garage in upstate New York. When his former rival Dino Brewster (Dominic Cooper) arrives in town, he asks Tobey to complete a Shelby Mustang, and they'll get 25% of the profit. But when Dino later wages a race with Tobey and his partner Little Pete (Harrison Gilbertson), which ends in tragedy. Dino double crosses Tobey, and Tobey goes to jail for 2 years. When he gets out, with help from English car dealer Julia Maddon (Imogen Poots), who bought the Shelby Mustang, Tobey plans to get even with Dino in an illegal car race happening in California. It tries to be complex in places where it shouldn't, and at heart it's a brainless car action film which owes a big debt of gratitude to Vanishing Point (1970), Dirty Mary Crazy Larry (1974), Smokey and the Bandit (1977) and The Cannonball Run (1981). It's got some brilliant car chase action sequences, but that's about it. 3.5/5

Adventureland (2009), if Superbad was at one end of the spectrum of teen movies, then this is at the opposite end. Greg Mottola followed up Superbad with this small, personal film based upon his time working at a funfair in the mid-1980's. It's not the knockabout comedy the trailers promised, it's much more mature, it has heart and brains about it. It's touching with a gentle wry wit about it. Set in 1987, it has recently college graduate James Brennan (Jesse Eisenberg), having to put the kibosh on his plans for a European trip with his friends after his parents find themselves strapped for cash, and in order to make some money, has to take a job at a rundown amusement park in Pittsburgh, run by Paulette (Kristen Wiig) and Bobby (Bill Hader). Although not thrilled at having to work there, he soon finds himself falling for co-worker Emily Lewin (Kristen Stewart), but the course of true love doesn't run smoothly, especially with maintenance man Mike Connell (Ryan Reynolds) is around. It's a touching and heartfelt teen romance, where it's humour comes from the conventional and mundane aspects of everyday life. These are characters you can identify with, as we've all been there. Eisenberg has the makings of a good actor, and this was a good break for Stewart from the Twilight films. I tell you what, John Hughes would have been proud of this film. 4/5



Filth (2013), adapted from Irvine Welsh's 1998 bestselling novel, which was claimed to be unfilmable due to the broken and unorthodox narrative. However, when writer/director Jon S. Baird (Cass (2008)) took it on, some worried, as some Welsh adaptations like The Acid House (1998) and Ecstasy (2011) didn't translate as well. But, Filth translates to the screen brilliantly, it's an insane and trippy black comedy. Set in Edinburgh, Detective Sergeant Bruce Robertson (James McAvoy) is scheming, manipulative and bigoted, and when he hears about a position of Detective Inspector, Robertson will do ANYTHING to get that position over his partners in the force like Ray Lennox (Jamie Bell) and Amanda Drummond (Imogen Poots). However, Robertson's life seems to be coming apart at the seems, he sends sick phone calls to Bunty Blades (Shirley Henderson), the wife of his best friend Clifford Blades (Eddie Marsan). Then Bruce ends up having hallucinations of Dr. Rossi (Jim Broadbent), who prescribes him his medication, and it gets worse for him. It's a very good adaptation, even if it does change a few things around here and there, it keeps the spirit of Welsh's book intact. It's not a film for everyone, and this is a film which will make make you feel very unclean for watching it, but it's not everyday you get a film this twisted, perverse and carefree. 4/5

Plan 9 From Outer Space (2nd view) - A masterpiece. Most films wish they could be this entertaining - 5/5





The Lives Of Others (1st view) - Impressive, but I was distracted by how much the dude being spied on looked liked Iain Glen - 4/5*





The Verdict (2nd view) - Very good work from Paul Newman and James Mason - 4/5*




Behind The Candeabra (1st view) - No mention of LIberace's appearance on the Muppet show. Booo! - 4/5*




The Red Shoes (2nd view) - Just as bad as I remembered - 2/5*

Robin Hood (2010), Sir Ridley Scott takes to Sherwood Forest for his this historical epic, taking on the legend and myth of Robin Hood. Giving him an origin story, how he came to be. It makes for a good action-adventure, with Scott's perfect visual eye doing wonders yet again, it has a brilliant cast and good action too. Set in the 12th Century, it has archer Robin Longstride (Russell Crowe) fighting the Crusades in France with King Richard the Lionheart (Danny Huston). When the King is killed in battle. On his way home with Alan A'Dale (Kevin Durand), Will Scarlett (Scott Grimes), and Little John (Alan Doyle). They come across an ambush of the King's guard by the traitorous Sir Godfrey (Mark Strong), but Robin takes the identity of a dead knight, Sir Robert Loxley, and his men retrieve the crown and return it to King John (Oscar Isaac), Richard's younger brother. Robin and his men travel to Nottingham to break the news of Loxley's death to his father Walter (Max Von Sydow) and his widow Lady Marion (Cate Blanchett). Meanwhile, Sir Godfrey is plotting a French invasion of England. It's a very good action film, considering it could have been so much different, but in Ridley Scott's hands, he's made it a fun, enjoyable adventure. Russell Crowe makes a good action hero, never mind the accent, and Blanchett portrays a different kind of Marion, this one is tough as old boots. The rest of the cast, including William Hurt, Eileen Atkins, Matthew Macfadyen and Mark Addy round out the film nicely, and it leaves the door open for more films!!   4.5/5



Muppets Most Wanted (2014), well it had to happen, and so it did. After The Muppets made a massive comeback for their 2011 film, a sequel was inevitable, and it follows the crime caper set up of The Great Muppet Caper (1981), but it has some brilliant gags, and the biggest selection of celebrity cameos since the first Muppets film. Not all of the jokes work, but don't worry, there'll be some gags along shortly that do work. Now a success again, The Muppets are coerced by international talent agent Dominic Badguy (Ricky Gervais) to go on a world tour. Kermit is unsure, but everyone else wants to. On the road, their first stop is Berlin, but there's a darker plan afoot, with Badguy working with evil frog Constantine, (who looks like Kermit), and Constantine and Badguy rob museums next to the venues on the European tour. Kermit is framed and thrown into a Russian Gulag, ruled with an iron fist by Nadya (Tina Fey). Back on the road, the robberies get much attention, so Interpol agent Jean Pierre Napoleon (Ty Burrell) and CIA Agent Sam the Eagle team up to stop the crimewave. It is a very silly film, and while it might not be as catchy as the 2011 comeback, there's still much to enjoy along the way here, and it has some very funny moments and clever gags. Plus, you get to see Christoph Waltz do the Waltz with Sweetums, and see Ray Liotta and Danny Trejo sing and dance in the gulag!!  4/5

Thor: The Dark World (2nd view) - Enjoyable sequel - 4/5





This Is The End (1st view) - I can't stand Danny McBride. Why he has a career just baffles me. No one, and I mean no one, infuriates me quite so much as McBride. Which is why I'm quite surprised that I still managed to really enjoy this film. It's very silly and not entirely good but it did make me laugh , moreso than any other similarly-aimed comedy from thge last 10 years - 4/5*

The Pianist (2002), directed by Roman Polanski and written by Ronald Harwood (Australia (2008) and Quartet (2012)), this is a true story based on the autobiography written in 1946 by Władysław Szpilman. It was also a very personal film for Polanski, as he'd grown up in the horrors of the Kraków Ghetto during the war, and he could identify with Szpilman's plight. It's a harrowing film, but it's a powerful and shocking tale of survival. In September 1939, Polish-Jewish pianist Władysław Szpilman (Adrien Brody) and his family including his father (Frank Finlay) and mother (Maureen Lipman) are caught up in the Nazi invasion of Poland and they're soon forced to move out of their expensive apartment and move to a designated Ghetto in Warsaw. They struggle to survive, but Władysław makes a living as a pianist making what money he can. However in August 1942, when his family are rounded up and sent to an extermination camp, Władysław escapes and tries to survive in the almost deserted ghetto with what friends he has left, and he faces a tough struggle for survival in Warsaw. It is a powerful and upsetting film, but it is a film about an unbreakable spirit, and someone who refused to do what the Nazi's said, Brody is magnificent as Szpilman, and he rightfully picked up an Oscar for his performance, plus Polanski and Harwood picked up Oscars for bringing this story to the screen. 4/5



The Hoax (2006), directed by Lasse Hallström (What's Eating Gilbert Grape (1993), The Cider House Rules (1999) and Chocolat (2000)), this is based on the 1981 book of the same title by Clifford Irving, and it tells of a simple hoax Irving attempted to pull off in 1971. It sounded like the perfect crime, but their greed let them down, it makes for a good film but they did take liberties with the film, and sounds a bit too unbelievable. In 1971, author Clifford Irving (Richard Gere) has done a book about art forger Elmyr de Hory called Fake! Which hasn't sold well, and he's struggling to get his next book published, but after a chance encounter with fellow writer Richard Suskind (Alfred Molina) in Puerto Rico, they note how a hotel has been entirely vacated to make way for reclusive billionaire Howard Hughes. Irving comes up with an idea, and tells publishing bosses at McGraw-Hill that he's the ghost writer on an autobiography Hughes is writing. Irving and Susking work on the fake autobiography, but it all comes apart at the seems when they're unable to keep up with their lies. It's a good idea for a film, and Gere and Molina make a good double act throughout the film, but the true story of how it happened was a complex web of lies, whereas the film version just scratches the surface of what really happened, combining incidents and removing key facts, which hurt the film sadly. 3.5/5
 

I've had The Hoax on DVD for years, still not seen it!

Give it a go!!

City of God (2002), directed by Fernando Meirelles (The Constant Gardner (2005)), produced by Walter Salles (The Motorcycle Diaries (2004) and On The Road (2012)), and based upon the 1997 book of the same name by Paulo Lins, this depicts real life events and situations that occured in and around Rio de Janeiro in and around the 1970's. It's a very gritty film, but it depicts a stark way of life that isn't shown much in films. Set mostly in the Cidade de Deus suburb of Rio de Janeiro, 3 small time crooks Shaggy (Jonathan Haagensen), Clipper (Jefechander Suplino) and Goose (Renato de Souza) are in a gang known as the Tender Trio. They do small crimes, but it snowballs into murder one day, witnessed by Goose's younger brother Rocket (Alexandre Rodrigues), who later on in the 1970's, finds himself being drawn into the world of organised crime, when in life he just wants to become a photographer. The drugs in the area are being sold by Li'l Zé (Leandro Firmino da Hora), but he soon finds competition from Benny (Phellipe Haagensen) and Knockout Ned (Seu Jorge). It's not a film for everyone, but Meirelles keeps the energy and rhythm up, and it's a tale of survival in a dangerous part of the world, which has since been contained and cleaned up since the 1970's. The film was successful enough to earn a spin off TV series City of Men, and another film with some of the cast returning. 4/5



From Here to Eternity (1953), directed by Fred Zinnemann (High Noon (1952), Oklahoma! (1955) and A Man for All Seasons (1966)), and based upon the 1951 book of the same name by James Jones. This is a powerful and emotionally charged war drama set before, during and after a pivotal moment during World War 2 when everything changed. It has a brilliant ensemble cast and it's a film which still stands strong today. Set in late 1941 at the Schofield Barracks on the island of Oahu, Hawaii. The film focuses on three soldiers, Private Robert E. Lee Prewitt (Montgomery Clift), who always seems to get picked on by Captain Dana "Dynamite" Holmes (Philip Ober). With Prewitt acting out against everyone, First Sergeant Milton Warden (Burt Lancaster) is under pressure to have Prewitt placed under court martial, which he doesn't do. Prewitt is supported by his best friend and fellow army buddy Private Angelo Maggio (Frank Sinatra). Meanwhile, Warden is having an affair with Holmes's wife Karen (Deborah Kerr), while Prewitt falls for Lorene (Donna Reed). It's a complex story, but it does pay off, and the big climax is only a footnote to the drama that the characters all face, the bigger picture seems insignificant compared to their dramas and woes. This was the big Oscar winner of 1953, and unlike other years where the wrong films seem to win, this truly deserved it. 4/5

Captain America: The Winter Soldier (2014), directed by Anthony and Joe Russo (Welcome to Collinwood (2002) and You, Me and Dupree (2006)) and written by Christopher Markus and Stephen McFeely (The Narnia Franchise and Pain & Gain (2013)), this is a different breed to Captain America: The First Avenger (2011)), it's set in the present day and it's darker and has more emphasis on action, but it's still good fun. Steve Rogers (Chris Evans) is still trying to adapt to the 21st Century and does espionage work for S.H.I.E.L.D. Rogers is overseen and supervised by S.H.I.E.L.D.'s top agent Nick Fury (Samuel L. Jackson). However, Fury finds he cannot access files obtained by Rogers and fellow agent Natasha Romanoff (Scarlett Johansson), he takes this matter to S.H.I.E.L.D.'s senior leader Alexander Pierce (Robert Redford), who seems to be wanting to get S.H.I.E.L.D.'s new counter-offensive strategy Project Insight off the ground, but Rogers comes across a much more dangerous adversary, The Winter Soldier (Sebastian Stan), whom Pierce seems to know about. There's a lot crammed into this film, but there's some very good action sequences on display, and it does herald that there'll be darker days ahead in the Marvel films to come, but Evans has made Captain America his own, a fish out of water slowly adjusting to the modern world, and it has a good supporting cast. 4/5



World War Z (2013), directed by Marc Forster (Monster's Ball (2001), Finding Neverland (2004) and Quantum of Solace (2008)) and ever-so-loosely based on Max Brooks' 2006 horror novel. This action-horror had a nightmarish production, with half of the film being reshot and 2 cinematographers quitting, but the big shock that a very good film has come out of the other end against all the odds. Gerry Lane (Brad Pitt) and his wife Mireille Enos, and daughters Constance (Sterling Jerins) and Rachel (Abigail Hargrove) find themselves having to evacuate their hometown of Philadelphia when there's a Zombie Pandemic. A former United Nations employee, Gerry is asked by old colleague Thierry Umutoni (Fana Mokoena) to take part in a mission to find the source of the outbreak and how it started. They travel to South Korea then onwards to Israel to find answers, but Gerry notices the zombies don't go for everyone, and he has to find something to prevent more people from being massacred by the growing plague of the zombies. It has some good moments in it, but moments of wreckless danger, like Brad setting a grenade off on a loaded plane, killing innocent people. But the final act in a lab in Wales is much better than the action hero one they planned in Russia, and it's where most of the suspense and fear comes in, it should have come in sooner. 4/5

Scum (1979), directed by Alan Clarke (Billy the Kid and the Green Baize Vampire Rita (1985) and Rita, Sue and Bob Too (1987)), and produced by Davina Belling and Clive Parsons (Gregory's Girl (1981) and Comfort and Joy (1984)), this started out as a play for the BBC written by Roy Minton. But the BBC banned it before it was broadcast, so Clarke raised the money to remake it as a film. It's still heavy going, and hard to watch. Set in a borstal, 3 new inmates arrive. Carlin (Ray Winstone), Angel (Alrick Riley) and Davis (Julian Firth), all prosecuted for various crimes and misdemeanors. They try to adjust to tough life behind bars. Carlin just wants to try and get by with a low profile, in the hope that he'll be released sooner, but he soon finds himself up against Banks (John Blundell), who is the 'Daddy' of the Borstal. But when he witnesses Davis being set upon by Banks and other inmates, Carlin plans revenge, and it's not long before Carlin becomes the 'Daddy' of the borstal. He also see's that the inmates get what they want, but there's a few who stand up to Carlin's ways. It's a very violent film, and you can't believe they got away with this, but it's impact was felt and reached the British Government, who ended up closing borstals up and down the UK, and replacing them with young offenders institutions. If a film can have that kind of impact on a country, it's done something right. 4/5



Notorious (2009), directed by George Tillman Jr. (Soul Food (1997), Men of Honor (2000) and Faster (2010)), this biopic about rapper The Notorious B.I.G. was in development for years, and a number of directors including Spike Lee and Antoine Fuqua, before Tillman signed up. It's careful to being respectful of it's subject, but at the end of the day, it's another rags to riches biopic tinged with tragedy and hardship. Christopher Wallace (Jamal Woodard) grew up in Brooklyn with his mother Voletta (Angela Bassett), at the time during the mid 1980's, there was a "crack epidemic" in America, and Christopher ends up being a dealer on the streets, and his mother kicks him out when she discovers what he's doing, Christopher even spends time behind bars for dealing. However, Christopher has a talent for rapping, and he's discovered by Sean Combs (Derek Luke), who has Christopher signed up to Bad Boy Records, and Christopher becomes The Notorious B.I.G. But, dark times lie ahead after he meets West Coast rapper  Tupac Shakur (Anthony Mackie). It's a very good film, and you don't have to know or even like rap music to get at what Tillman and his team have made here, it captures the era well, and the film was even produced by Wallace's mother, as well as Sean Combs. Plus, Wallace's own son, Christopher Wallace, Jr. plays his own father when he was a boy. 3.5/5

Talladega Nights: The Ballad of Ricky Bobby (2006), after the success of Anchorman: The Legend of Ron Burgundy (2004), director Adam McKay and Will Ferrell reunited for this comedy which lampoons one of America's greatest pastimes, NASCAR racing. This was simply pitched to the studio in 6 words, "Will Ferrell as a NASCAR driver." It paid off, and it makes for a very silly and enjoyable comedy about a true American idiot. Ricky Bobby (Ferrell) grew up wanting to drive really fast, and he gets his big break at driving when he replaces NASCAR driver Terry Cheveaux (McKay), and his rise to fame is immediate, and his friend from childhood Cal Naughton, Jr. (John C. Reilly) joins the team as a driver too. Ricky marries Carly (Leslie Bibb), and have two children, Walker (Houston Tumlin) and Texas Ranger (Grayson Russell). But, Ricky's success is short lived when French Formula 1 driver Jean Girard (Sacha Baron Cohen) beats him on the track, and Ricky goes to pieces, and is dropped by his racing team, it takes his father Reese (Gary Cole) and secretary Susan (Amy Adams) to help him recover. Ferrell has great fun playing absolute ninny's like this, and while it's not as good as the Anchorman films, it has a lot of funny moments and it manages to spoof the car films Burt Reynolds used to make like Smokey and the Bandit (1977) and Stroker Ace (1983). In fact, he's the only thing missing from the film. 4/5



A Long Way Down (2014), based on the 2005 novel by Nick Hornby, this pitch black comedy was nearly made with Johnny Depp attached, but he let the rights lapse, so Hornby co-produced it with Pascal Chaumeil (Heartbreaker (2010)) directing and a script by Jack Thorne (The Scouting Book for Boys (2009)). It's a film which tries to be a meditation on suicide and depression, but it comes up being a tad insensitive. One cold New Year's Eve, disgraced TV presenter Martin Sharp (Pierce Brosnan) decides he's had enough and heads to the top of high rise Toppers' House in London to end it all. But, as he's about to jump, he's met by single mother Maureen (Toni Collette), who also wants to jump, then they're joined by disturbed teenager Jess Crichton (Imogen Poots) and then they're joined by failed American musician J.J. (Aaron Paul). After listening to each others stories as to why they're up there, they decide not to jump, and they postpone it. Their story ends up becoming news, so they decide to go to Tenerife to get away from it, but the peace doesn't last. Considering the subject matter, it's a wonder the makers have been able to find any form of comedy at all throughout, but it's very dark, gallows humour, quite literally too. But the end result is quite far fetched, despite some good performances and good intentions, but it could have been done better. 2.5/5

An Officer and a Gentleman (1982), directed by Taylor Hackford (Dolores Claiborne (1995), The Devil's Advocate (1997) and Ray (2004)) and written and produced by Douglas Day Stewart (The Blue Lagoon (1980)), this is an emotional drama that would end up being referenced to high heaven by many films and TV shows in the years to come, but it's impact has not been diminished one iota, it's a great story and well made too. Zack Mayo (Richard Gere) has lived in the Philippines with his alcoholic Navy chief father Byron (Robert Loggia) since he was a boy, and not wanting to end up like his father, Zack enrols in the Navy's Aviation Officer Candidate School (AOCS) to become a Navy pilot. There, he's put through a hellish training regime by Marine Gunnery Sergeant Emil Foley (Louis Gossett, Jr.) Foley is determine to see his candidates quit or fail, as he wants the best of the best. But, Zack will not give in, will won't give in to Foley's taunting and put downs, and his confidence is boosted when he meets factory worker Paula Pokrifki (Debra Winger) at a Navy hosted dance. While it might look like a romantic film on the surface, it's actually a lot tougher and hard-nosed than people give it credit for, mostly down to Gossett's put downs and abuse, (he rightfully won a Best Supporting Actor Oscar), but it's a film which highlights the underdogs who want to do right in the world and succeed. 4/5



El Condor (1970), directed by John Guillermin, (Shaft in Africa (1973), The Towering Inferno (1974) and Death on the Nile (1978)), and produced by André de Toth (House of Wax (1953)), this adventure-western might seem quite dated by todays standards, but it's one of the best westerns to come out of Hollywood at the time, even though it follows the template of a lot of Spaghetti Westerns made around that time. Set in 19th Century Mexico, it follows the exploits of escaped black convict Luke (Jim Brown) who teams up with eccentric gold prospector Jaroo (Lee Van Cleef), looking for gold. Jaroo hears of a vast heavily armed fortress which is said to contain a large cache of gold. They end up recruiting a band of Native Americans, led by Santana (Iron Eyes Cody), to perform attack waves on the fort, but the fort, ran by Chavez (Patrick O'Neal) seems to be well handled to tackle the Native's attack waves, so Jaroo decides to plan a stealth attack, and they're able to get Chavez's mistress Claudine (Marianna Hill) on their side to help with their planned attack. Shot in Andalusia, Spain, where many Spaghetti Westerns were made during the 1960's, it's a good film with a good plot and Brown and Van Cleef make a good double act throughout the film, and there's some good action sequences too. It also has a good score by Maurice Jarre, which helps add to the atmosphere. 4/5

White Chicks (1st view) - Not entirely sure why I watched this - 2/5*

Cloudy With A Chance Of Meatballs 2 (1st view) - Not as good as the original but still a lot of fun - 4/5*




After Earth (1st view) - Oh, M. Night, what happened? You were doing so well and then The Last Airbender came along, and this isn't much better. I find it quite hilarious that Jaden Smith was nominated for the MTV awards in Summer's Biggest Teen Bad Ass Star ctegory. Why do those awards even exist? - 3/5*

Death Wish V: The Face of Death (1994), and so it came to this, just when you thought lightning couldn't strike twice for the character of Paul Kersey, it strikes a fifth time. Shortly after the release of Death Wish 4: The Crackdown (1987), Cannon Films went bankrupt, but producer Menahem Golan was able to get the money together to make another Death Wish, and it's just as sleazy and violent as the other films. Paul Kersey (Charles Bronson) now lives in New York City again, living under the pseudonym of Paul Stewart, and he's managed to put his violent past behind him and he's now in a relationship with fashion designer Olivia Regent (Lesley-Anne Down), who has shows in New York. At one of the shows, she's threatened backstage by her ex-husband and notorious gangster Tommy O’Shea (Michael Parks). Kersey is able to see them off, but not before learning that O'Shea is the father of Olivia's daughter Chelsea (Erica Lancaster), and O'Shea is using intimidation to get custody. But when O'Shea brings violence to the proceedings, Kersey plans payback. It's a sleazy and predictable thriller, just the same as the past 4 films in the franchise, more Death Wish films were planned, but the failure of this one put the kibosh on that. Bronson just dials it in for the money, and he doesn't show any form of emotion or fear, just mugging around, unsurprisingly this was Bronson's final film. 1.5/5



Carry On Cabby (1963), the 7th Carry On film, and the first one to be written by Talbot Rothwell, who would stay with the series until Carry On Dick (1974), a whopping 20 films!! His brand of humour was perfect for the Carry On films, and he got off to a good start with this entry, which has some good gags, both verbal and visual. Charlie Hawkins (Sid James) is a cab driver for Speedee Taxis, but his demanding schedule as a cab driver means he hardly has anytime for his Peggy (Hattie Jacques), who feels neglected which is as a result of the overload of work, including training up new driver, the bumbling Terry "Pintpot" Tankard (Charles Hawtrey). But, after Charlie misses his 15th wedding anniversary by running expectant father Jeremy (Jim Dale, his first Carry On) backwards and forwards, that's the final straw for Peggy, and she gets her own back on Charlie by starting her own rival cab firm GlamCabs, which has cabs all driven by women in brand new Ford Cortinas, only Charlie doesn't know that it's Peggy who's the boss of this new firm, and his team go about trying to sabotage their reputation. It's a very good Carry On film, much milder than what was to come, (it didn't even start out as a Carry On film at first, it only became one mid-shoot.) But, there's alot of fun to be had with this one, with alot of misunderstandings and naughty wordplay, but with Rothwell as writer, the best was to come... 4/5

Noah (1st view) - Crowe's Noah is quite unlikeable, the film is unintentionally hilarious at times and I have no idea why Ray WInstone was in it, but I liked it a lot. The score is ace - 4/5*

White House Down (2nd view) - Big, dumb fun. Really enjoyable and better than the similarly themed Olympus Has Fallen - 4/5

The Muppets (3rd view) - One of the many reasons why The Muppet Show worked so well was because it was two shows in one. A chaotic, anything-goes sketch show and a mayhem-filled behind-the-scenes sitcom. Add to that the guest star element, and you had the winning formula of wit, humour and craziness that made The Muppet Show one of the very, if not the, best TV shows ever made. One thing that the show didn't have, however, was sentiment. Preaching and life lessons weren't to be found. The Gogolala Jubilee Jugband did not sing songs that made you question your place in the universe. Veterinarian's Hospital did not ponder over what it was to be human, and Pigs in Space very rarely dealt with the concept of togetherness. Nope, it was the Muppet films that brought these issues to the forefront of the Muppet world. It's the nature of the beast that a two hour film needs some kind of plot and emotional hook in the way a 28 minute episode may not, but generally they have been dealt with in an assured manner, minor blips in the recent TV movies notwithstanding.

This Muppets reboot probably has the most sentiment of any Muppets films and I generally could have done with it being dialled back a little. As good as Man Or Muppet may be, it's fairly mawkish and the whole central plot strand is kinda cloying (this coming from someone who likes their sappiness in bucketfuls) Then we have the awful rap sing from Chris Cooper, the forgettable "Me Party", the fairly pathetic cameos (only Alan Arkin, Jim Parsons and Neil Patrick Harris stood out), the pointless freeze frames during the kidnapping and any time two humans were together it all got a bit boring. But wheneverr the Muppets are on screen, it's absolutely fantastic. There are more bits than I could possibly list that had me grinning/laughing/guffawing like an idiot but a few choice moments include - "In control", Muppet man, Rowlf's return to the group (and how great was it to see more of a role for that loveable dog than he's had in years), Everything Stinks, 80s Robot modem, Beauregard, the fridge, Deadly and Bobo singing Together Again, The Barbershop Quartet, recreating the show titles.

And much more fun than the human cameos is trying to spot all the Muppet ones. Marvin Suggs, Behemoth, Julius Strangepork, the Lunch Monster, Droop, Afghan Hound, Pokey, Wayne and Wanda (I defy anybody who has seen the show to not say that pairing in Sam The Eagle's voice), The Mutations, the Snowths, Bobby Benson's babies, the cactus Quartet. I wish there had been room for more. Reading about all the human cameos that were filmed and cut, I would have much rather there's used that time to add more Muppet cameos.

I still can't quite give it top marks but it is supremely good fun. Restaging the Muppet Show itself was something of a genius idea, and I think like all Muppet movies it works best if thought off as Muppets making a movie and not a movie about The Muppets, which this was anyway. Their best since Christmas Carol, and probably the third best Muppet film overall. Now if only their next film after MUppets Most Wanted could be a feature length edition of the Muppet Show, that would be fantastic in more ways than are possible - 4/5

I'm surprised you haven't seen the new one yet!!

Coming To America (1988). directed by John Landis, who had come from the double success of Spies Like Us (1985) and Three Amigos (1986), he was overseeing Amazon Women on the Moon (1987) when Eddie Murphy came to him with a 25 page outline he'd conceived. Landis, keen to work with Murphy again after Trading Places (1983), accepted, but it would prove to be a stressful production for everyone on board. In the African nation of Zamunda, Prince Akeem Joffer (Murphy) has been pampered on every day of his life, and he's getting bored with it. The final straw comes when his parents, King Jaffe (James Earl Jones) and Queen Aeoleon (Madge Sinclair) arrange for him to get married to Imani Izzi (Vanessa Bell), who Akeem has never met. So, Akeem and his loyal aide Semmi (Arsenio Hall) end up getting out of Africa, and heading to New York, to look for an independent and intelligent woman he can marry. They end up in a slum in Queens, where Akeem starts over, and gets a job at a fast food chain called McDowell's, and Akeem falls for the owner's daughter Lisa (Shari Headley). It's an amusing fish-out-of-water comedy with some good humour and observations, and it began Murphy's appetite for multiple roles. But, Murphy had become too big for his boots, and was at loggerheads with Landis during the shoot. It left both of them drained, and their careers suffered after. 3.5/5



Dom Hemingway (2013), written and directed by Richard Shepard (The Matador (2005) and The Hunting Party (2007)) and produced by Jeremy Thomas (The Last Emperor (1987) and Sexy Beast (2000)), this is a pitch black crime-comedy which has some good performances throughout, and there's something undeniably old-school about it, and while it's clear fun was had making it, it comes across a bit off-kilter. Dom Hemingway (Jude Law) is a larger than life, near psychotic safecracker who spent 12 years in jail, and never grassed anyone up. For serving his time, Dom with his best friend Dickie (Richard E. Grant) head to the South of France to meet crime lord Mr. Fontaine (Demián Bichir), who has been holding money for Dom from the crime committed 12 years before. However, Dom's aggressive and arrogant attitude alienates Fontaine, and he nearly ends up with nothing, and after a booze-fuelled car accident, Dom begins to reassess his life. He heads home to London, and tries to make amends with his estranged daughter Evelyn (Emilia Clarke). It's clear that American Shepard loves British gangster films, and he does well with this one, but you do get the impression there was more left out, or that it could have done with a more engaging plot. Law and Grant make a good double act, but something doesn't ring true, and it's jarring tone is all over the place. 3/5

The Mod Squad (1999), based upon the popular TV series that ran on ABC from 1968 to 1973, this adaptation was written and directed by Scott Silver (writer of 8 Mile (2002) and The Fighter (2010)), and co-written with Stephen Kay (Get Carter (2000) and Kate Lanier (What's Love Got to Do with It (1993)). This was one of many adaptations of old TV shows that came out in the 1990's, but it's tone is all over the place. This tells the story of 3 teenage delinquents, Julie Barnes (Claire Danes), Pete Cochran (Giovanni Ribisi) and Lincoln Hayes (Omar Epps). Who after various crimes and misdemeanors, face jail time, but when police Captain Adam Greer (Dennis Farina) decides to employ them as undercover cops, using the teen scene in Los Angeles as their opportunity to go undercover. However, when Greer turns up dead, Barnes, Cochran and Hayes are all on their own, with no-one to go to and help them. They end up having to stay one step ahead of the police, and using their cunning and ingenuity to try and find Greer's killer, but the police don't believe they're undercover cops. It's certainly not as bad as what some critics at the time made it out to be, but it could have been much better and it could have done with a more focused script and a more focused, tighter plot, because it ends up becoming a bit complicated and incoherent towards the film's climax. 2/5



Spring Breakers (2012), written and directed by Harmony Korine (Gummo (1997), Julien Donkey-Boy (1999) and Mister Lonely (2007)), this was written by Korine as a way of making up for all the spring breaks he missed as a teenager, and he concocted a crime caper scenario as the backbone of this film. It's a good film but it's very wild, and there's a lot of colour on display, and it has some good performances actually. St. Petersburg, Florida. 4 friends, Faith (Selena Gomez), Brittany (Ashley Benson), Candy (Vanessa Hudgens) and Cotty (Rachel Korine) head down there for spring break, but they don't have any money, but that's OK, as they'll just steal it, by any means necessary. Robbing local restaurants and stores to fund their hedonistic lifestyle down in Florida, but they soon end up getting arrested but they're quickly bailed out by the mysterious Alien (James Franco), who turns out to be a local rapper and gangster, who does gun and drug runs. He wants the girls to come and work with him, and enjoy his criminal lifestyle, but it tears the friends apart. Korine seems to be maturing a lot more since he wrote the likes of Kids (1995), while the film has an unmistakable Dogme 95 look and feel about it, all shot with day-glo colours, it manages to be engaging. It's well worth it for Franco, who has the time of his life playing the dangerous yet charismatic Alien. 4/5