Reviews by Lexi

''Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms, and the autumn moon is bright.''

Upon his return to his ancestral homeland, an American man is bitten, and subsequently cursed by, a werewolf.

Benicio Del Toro: Lawrence Talbot

The Wolfman; Directed by Joe Johnston with Andrew Kevin Walker and David Self working on the screenplay. Well, it's a gorey bit of diluted fun.
To start, the film is beautifully produced, and photographed by Shelly Johnson with desaturated colours hearkening back to the similar look of Sleepy Hollow rather than the more lush, vibrant palette found in Bram Stoker's Dracula. With the actual production designed by Sleepy Hollow veteran Rick Heinricks, and the screenplay co-written by the aforementioned Andrew Kevin Walker, the general audience will be subconsciously reminded of that last great, Gothic chiller.



As the title character, Benicio Del Toro goes all out. This Wolfman is brutal, scary and doesn't hold back. While not quite the fluffy-headed, neatly dressed icon we all know and love from the original, Rick Baker's masterful make-up is still faithful enough to legendary monster-maker Jack Pierce's classic design (despite making him bulkier and little more wild.) It is truly a testament to Pierce, that a character he designed almost seventy years ago can still be horrifying (with a few tweaks) to modern audiences! Even when the Wolfman was tearing up extras and shredding them up in the goriest ways possible, it was seeing that classic face doing it that nearly brought a tear of joy to this fan's eye!

As for the rest of the cast... how can you not like Anthony Hopkins in anything? The man's played Van Helsing, Hannibal Lecter and even Zorro! That being said, nobody plays a kooky, twisted old man like Hopkins, a role he plays here deliciously. If another actor was cast in the role, I don't think the film would have been as good as it turned out. Emily Blunt is attractive and plays the damsel as well as anyone, and Geraldine Chaplin is memorable, despite being grossly underused as Maleva. Of course the third great player in the story is Hugo Weaving as Inspector Aberline. While not as show-stealing as Hopkins, he certainly gives Del Toro a run for his money in the charisma department as the inquisitive detective. ''Another pint of bitter please?''...It's sort of like watching V for Vendetta when he dresses up as the old dude and does that jolly crisp London accent. Quality albeit humourous without intending to be.

I must admit the film flatly kind of fails in the character development department, shifting the original's tragic drama of Man vs. Self, to a more dumbed-down Man vs. Beast (aka Dad) conflict. I do admit, though obvious from the trailers, it was a good twist to spice things up from the original, but I do wish more time was given to flesh out Talbot's inner-suffering.
Maybe it had enough, but Del Toro just didn't embody it like Chaney. However, the climactic werewolf showdown was a bit much, and while expected from the beginning, it was the only part I found kind of cheesy or silly (especially the Bad Wolf's demise, which is still burned in my mind!) The fight scene reminded me of something out of Van Helsing with Hugh Jackman, with the werewolves looking more like two of Disney's Beasts throwing themselves at each other. Another problem I had with the film was the lack of Maleva. While she was prominent in a few scenes, she wasn't given a strong presence throughout like she could have, and it seems like the filmmaker's completely forgot about the "Pure in Heart" poem in the film's actual story, so they shamelessly tacked it on the beginning. I also have to confess that Danny Elfman's salvaged score wasn't as soulful as it could have been, often seeming like a riff on Kilar's Dracula soundtrack; Although supported the film's Gothic atmosphere in areas, where it could have been in fact a lot worse. Although the film was filled with digitally altered skies and quick cuts, they were no where nowhere near as distracting or as fakely executed as with Stephen Sommers' Mummy franchise.

Overall, it's enjoyable yet hardly memorable. While it could have been so much better, I am still grateful for what we got, instead of what it could've been. Finally a Universal horror film remade as an actual horror film and not a dumb action/adventure with plenty of comedy and CGI! After three-years in the making, Joe Johnston's The Wolfman is filled with samples of atmosphere, drama, suspense, black humour and carnage to stand it proudly on the shelf next to Coppola's Dracula, Brannagh's Frankenstein and Burton's Sleepy Hollow as a successor to it's Gothic horror roots. I pray the movie does well, because the efforts of Johnston, the cast and crew and of course Baker's terrific make-up. A standard effort.

''I am what I say I am... a monster.''

''I'm a guy with nothin to lose!''

As homicide detective Thomas Craven investigates the death of his activist daughter, he uncovers not only her secret life, but a corporate cover-up and government collusion that attracts an agent tasked with cleaning up the evidence.

Mel Gibson: Thomas Craven

The director of GoldenEye and Casino Royale. Directed by
Martin Campbell, William Monahan and Andrew Bovell worked on the screenplay,
taking the screenplay from Mou gaan dou(Infernal Affairs) and adapting it to The Departed. With all of this talent it's safe to assume a competent job, but the title is such an obvious prelude to a slog of a journey.



While visiting her father, Emma Craven (Bojana Novakovic) is shot. As the only witness and one of Boston's finest, Tom Craven (Mel Gibson) goes to work as the daddy of revenge. Meanwhile, the culprits enlist the help of the mysterious Jedburgh (Ray Winstone) to keep the damaged Tom from unraveling the grander scheme. The result: the requisite game of cat and mouse, which almost doubles as the James Bond script Mel Gibson was never offered.

It's good to find a story that has carnage and mayhem that doesn't seem to be implemented with an iron CGI fist. Edge of Darkness can be thrilling at times but it's so slow. When it comes to gun violence or vehicular homicide, director Martin Campbell takes it into more thinking and conspiracy and Boston accents that make you want subtitles.
The roles in the film opt for believability from us; We are supposed to believe that Tom Craven is a veteran detective. I don't know how he could have solved anything to earn his tenure when on this case we see him stumble randomly into clues. Shaft or Chinatown Jack he is not. The most obvious clue is in his face for so long that he's either lost focus or Campbell wants the audience to do the same.

To its credit, Edge of Darkness does mix together some grand segments. What felt like a laughable ode to Star Wars gains a much-needed explanation later in the film. Ray Winstone is the scene-stealer, though there were plenty of times where his script must had told him to speak inaudibly. Every instance involving a moving car is golden.
Unfortunately, thrillers need twists and Edge of Darkness gives no surprises to it's own adoration. We know early on that Tom Craven (Mel Gibson) is going to lose his daughter. The only way that would come as a surprise to you is if you avoided every detail.
The story has been around far too long and it gets retold each year. Edge of Darkness is mostly enjoyable because it works the angle of tried and tested film; it has around 30 years of R&D going for it. What a great shame that new ideas can go through the pipeline so seldom these days.

'' Madness? THIS IS SPARTA!''

King Leonidas and a force of 300 men fight the Persians at Thermopylae in 480 B.C..

Gerard Butler: King Leonidas

Visual, artistically flamboyant, action-packed, violently machoistic repetitiveness yet visually stunning and imaginative. This is 300(2006); The film adaptation from Director Zack Snyder, from Frank Miller and
Lynn Varley's graphic novel, loosely based on real events. Truly immense and the scale epic, violence oozes from it. The illusory green screen and effects really, truly shine as being art and believable.



David Wenham's narration is an acquired taste, yet grows on you on numerous viewings in meaningful poetry laden frontiers.
Gerard Butler as King Leonidas was absolutely one with the part he plays. He's such a remarkable versatile actor whom plays such a strong lead. He IS Leonidas.
Lena Headley as Queen Gorgo also such a strong leading woman among such a male dominated cast yet shes formidable and a good enough actress to remain stand out.
Michael Fassbender and Tom wisdom as Stelios and Astinos had witty lines and strong humourous chemistry in the film.
Andrew Tiernan as the hunchback Ephialties also has depth, meaning and a layered personality. The betrayer, the judas of the story whom betrays because he's not accepted, because of his deformed weakness that Spartan's cannot tolerate. Abandoned for this, cast away as is the Spartan way. Traitorous but still one can't help but feel sorry for his plight.
Rodrigo Santoro as Xerxes is so moulded into his character I failed to recognize him on my first viewing years ago. He's an ordinary height in real life and on this he's like a 7ft god-like figure. Really looks the part with all the enigmatic beautiful shrapnel decorating his face and illustrious make up.

''This will not be over quickly. You will not enjoy this. I am not your Queen!''

Fans of ancient history and classical studies will find a lot to criticize because it's not an accurate depiction of ancient Greece but you should always make the legend according to John Ford.
The Spartans don't really come across as real characters from ancient times, more of a crowd of wise cracking macho cyphers. But who the hell cares? This is a Graphic Novel inspired film.

This is a truly memorable movie down to the jaw dropping visuals and it's the visuals and music the film will be rightly remembered for. It's a pity that the Oscar voters ignored 300 because certainly make up, cinematography, editing and possibly best supporting actor for Andrew Tiernan as Ephialtes should have been nominated at least and this film obviously will achieve cult classic status in the future if not now.



Parts I absolutely loved on 300 are numerous, including a love scene with Butler and Headley, utterly blossoming with passion, their last night of intimacy, for love, a bond persevered.
This movie is more than an action movie for me. It's about love, camaraderie, the defending of what they love, of what they believe in. It's about the power not to give up but follow their destiny and to do what they think is the right thing. Plus the fact it's also about the soul-mates; The King and the Queen.

Loved all the battle scenes and great lines:

''Spartans! Ready your breakfast and eat hearty... For tonight, we dine in hell!''
or '' Give them NOTHING! Take from them EVERYTHING!''. ''They look thirsty, let's give them a drink!'', ''Feast hearty men for tonight we dine in HELL!'', I love the reversal here Queen Gorgo says to that black-hearted traitor Theron while skewering him,''This will not be over quickly. You will not enjoy this. I am not your Queen.'' The line I love the most and thats so lovely and makes me think of love eternal, ''My Queen! My wife. My love...'' It's so heart-felt and so loving and touches my soul, I cannot help but become emotional from seeing this everytime.

The story was great and the segment as you arrive at the closing credits with the sound still roaring and pounding gives one a real surge of vibrancy and energy.
For me personally 300 is certainly unique and inspirational. It's a masterpiece utilizing visual effects, colour, sound, soundtrack and the absolutely stunning performance of the cast.
A graphic novel-to film masterpiece. Quality filming, take a bow everyone who made this possible.

''The world will know that free men stood against a tyrant, that few stood against many, and before this battle was over, even a god-king can bleed.''

''So, you were scared, weren't you Goldie? Somebody wanted you dead and you knew it. Well, I'm gonna find that son of a bitch that killed you, and I'm gonna give him the hard goodbye. Walk down the right back alley in Sin City, and you can find anything.''

A film that explores the dark and miserable town Basin City and tells the story of three different people, all caught up in the violent corruption of the city.

Jessica Alba: Nancy Callahan

How do I describe Sin City(2005)? Put in simple terms, the masterpiece Sin City is without a doubt smart, stylish, sexy and sick. It's also violent and funny. Certainly not a film for the whole family, but for those of us who enjoy our movies rated Adult or 18, this flick kicks the head and the gut like a mule, pardon the pun.
So Frank Millar's three graphic novel stories are adapted into a film which literally screams straight from the pages themselves. Director Robert Rodriguez, collaborating with Frank himself, and even guest director Quentin Tarantino succeed in bringing the stories to life with splashes of black and white mixed with lashings of colour.



Sin City for years was a world that only existed on paper in black and white with splashes of colour, but it was enough to make Sin City live and breathe in ways that few others in the medium have ever been able to accomplish. Due to Frank Miller's dark, noir overtones which painted a very clear, and fully realized visual of every seedy back-alley and strip club. Also the cheap motel room in the fictional Basin City it became painfully obvious that it was just too visceral a place to ever be real in a way that could be upon film's frames, or at least we, including Miller himself, thought. We were wrong.

''My warrior woman. My Valkyrie. You'll always be mine, always and never. Never. The Fire, baby. It'll burn us both. It'll kill us both. There's no place in this world for our kind of fire. Always and never. If I have to die for you tonight, I will.''

This is THE comic movie we have been waiting for and it does not disappoint from the first overly dramatic voice-over to the last frame of the credit scroll. Telling three tales from Miller's world (The Hard Goodbye, The Big Fat Kill, and That Yellow Bastard) the comic transitions from paper to celluloid, flawlessly merging together these worlds. This is especially incredible for something so over the top and stylized like this, that it's almost hard to imagine that these are the actors you've grown to know and love for years. But they are and it all comes together beautifully.

The cast, crew, and artists involved in making this adaptation a reality should be commended for their service to the idea that a true comic book movie can, in fact, be made without making concessions to the masses, without altering the plot or changing the characters, and still manage to retain the feel that the ink on paper had while creating a truly entertaining film. Much of this film's success can be directly contributed to the fantastic casting job which encompasses an incredibly long list of a-list and up and coming celebs plus a few obscure but cult favorites, I'm talking to you Rutger; Who pulled off appearing in this and Batman Begins in the same year, plus the tag team direction of Frank Miller and Robert Rodriguez. Rodriguez should be particularly touted for pushing Miller to finally do this project, and for leading the way to make this the film that Miller always wanted it to be and that Rodriguez knew he could make.



''Deadly little Miho. She won't let you feel a thing unless she wants you to. She twists the blade. He feels it.''

The music is amazing and stylish, narration perfectly delivered, Rosario Dawson & Jessica Alba drool inducingly sexy!
Miho, Jackie Boy, Nancy, Gail, Manute...Loving all the Character's who come to life next to their comic-book representations. All three stories within Sin City are well knitted together here, will be interesting when the sequel comes out as it is a prequel. The Story and book aptly named A Dame to Kill For, will interestingly enough be the source material for Sin City 2. So expect Manute, Dwight and Gail to appear again and also characters you thought wouldn't be seen again. The concept of Sin City seems to be a paralleled thought, similar to the matyring heroes of 300. As with Frank Millar's mindset, we see through his work what he's truly thinking. Ironically we are all dead men, even our heroes, and this cannot be stressed enough in-between the lines of Sin. What makes it stand out further is that the town is corrupt but to stand up the corruption, a hero must do something sacrificial in defiance of the immoral villainous nature of it's denizens.

I'd also advise getting hold of the EXTENDED RECUT special edition immediately! Remember in the Cinema, the beginning, the gun Josh uses. It was silenced! Now in this version it's restored to how you saw it in theaters. Each Comic book Story can be seen in order,That Yellow Bastard, The Hard Goodbye,The Big Fat Kill & The Customer Is Always Right. It gives us the viewers more choice and flexibility, as if you're reading the actual novels themselves. Extra footage really adds unparalleled depth to an otherwise perfect adaptation.
Amazing Extended scenes, should be owned by any lover or fan of Sin City.
Dark noir Graphic Novels from Frank Millar directed by Robert Rodriguez.
Also a special mention to Tarantino for that marvelous scene with Dwight & Jackie Boy in the car.

"Hell's waking up every goddamn day and not even knowing why you're here."

"Never give an Irishman a cause for revenge."

"Better come clean with ya now, sweetheart. That was an outright lie I was giving ya about me revolver being wet. You see, I'm not too fond of shooting. It's my preference to blow things up. Once you blast the roof off a pub, and see all the parts flying off people, a little bang-bang's never going to match the sight of that. And here I am with all these fine grenades, and such a sweet beauty of a remote. But it's my knife I'll be doin' you with."

Sin City equals a Graphic Novel masterpiece. Original and noir drenched style on speed and then some.
Though Sin City has been claimed to be a guy film, I don't see why women cannot enjoy it too and know a fair number of women whom love it just as much as the next man. Yes, most of the women in Sin City are essentially prostitutes, but these women are just as powerful and iconic as the men and they defend their own territory, their own kind with unrivaled resonance. They are not portrayed only as mere sex objects.
Everything finely fits together in Sin City. It's Rodriguez's best work to date. Everyone involved in the making should be commended for their effort that's wonderfully captured. It's certainly not a film to sit down with the family (Yes, it's deservedly and strongly rated 18) but a great piece to view with friends or company. I'm eagerly awaiting the new installments of the saga by Frank Millar and helmed directorial wise by Robert Rodriguez.

''Aim careful, and look the devil in the eye.''

''They are gentle, loving, faithful, lacking in all guile and trickery. The words denoting lying, deceit, greed, envy, slander, and forgiveness have never been heard. They have no jealousy, no sense of possession. Real, what I thought a dream.''

A Terrence Malick-scripted drama about explorer John Smith and the clash between Native Americans and English settlers in the 17th century.

Colin Farrell: Captain Smith

Q'orianka Kilcher: Pocahontas

Terrence Malick's The New World(2005) is simply an emotional and visual artistic masterpiece that can and will only be appreciated by a very perceptive patient audience. Mainstream viewers are advised to keep away, not having perhaps the vision or aptitude to appreciate what Malick strives to capture upon every frame of detail and utilizing such vast storytelling.
The New World is a reminder and story concerning the iron logic of Nature, followed swiftly by the stormy tempest of love and discovery.



The New World combines luscious visuals with haunting yet vibrant melodies that create a renounced picture of a new world reflective of the piece's title, nature and poise.
Absolutely compelled by the mood and magic of this spectacular period film. Inspired by the legend of John Smith and Pocahontas; This story is a sweeping exploration of love, loss and new beginnings. Perhaps even the best filmic adaptation of the legend.
The threads and intriguing cinematography assault any grievances with originality criticisms and simply dismisses them as abrupt untruths. The work is simply a beautiful engrossing escape into the realms of love, enigma and luscious visages of natural temperament.

Colin Farrell portrays John Smith with the wild man essence he deserves, volatile, brave and a rough man. Colin's gruff unpolished looks and demeanor are without a doubt spot on perfect for the role and this wild, passionate love he feels for the mesmerizingly gentle beauty Pocahontas results in being nothing but fiery and enriched with subtle realism.
Q'Orianka Kilcher plays Pocahontas with a kind and innocent temperament where she has a curiosity and wisdom beyond her physical years. We must also remember that Pocahontas was a very young girl when she meets John; The New World accurately depicts this better than any other version available.
Performances from icons such as Christopher Plummer, John Thewlis, Wes Studi and Christian Bale as John Rolfe who appears in the 2nd half, the next great love of Pocahontas and the opposite of John Smith. While Smith is wild and unpredictable, Rolfe is refined, thoughtful and a gentleman.

Terrence Malick has made a mini-masterpiece which has all the beauty frozen upon film much like an oil painting by Renaissance period greats; Such as Leonardo Da Vinci or Michaelangelo.
Original Music by James Horner shines, thrills and gives shivers up your spine mirroring the effect of the visuals with it's usage of sound. Cinematography by
Emmanuel Lubezki simply is vast in scope and plausible breathtaking execution. A magical transportation into a historical, richly inviting world of wonder.

Overall The New World isn't just in a sense the newly discovered land of America but a New World for Pocahontas too; A new start and her journey to an Old World parallel to her own, thats the real new frontier, the real new World.
The two loves of her life reflect the wild nature of chaos and passionate love. John Smith is the wild, enticing man she falls in love with when he enters her life. His strength and intenseness reflecting the qualities perhaps of her home. John Rolfe perhaps reflects for Pocahontas a new love and steady order to the wild and unpredictable Smith; He is her carer and protector, one whom she grows to love and one whom strives to provide an anchor and root for her entry into new frontiers.

Epic yet gentle The New World is a gradual process of reminiscing, arrays of colour, complete nature and the innocence of an unblemished place, where a loving pure people are respectful of the land they live in and honour each other: These people never take more than they need.
They have no greed or jealousy, no materialistic dogma or lying trickery, no destructive monotheistic Religions, diseases or horrific wars.
What they have can only be described as real, true and pure.
Terence Malick succeeds in bringing about a masterpiece portrait based upon a legendary story that simply leaps to life when the sound and visuals hit your senses: It fuses storytelling with your senses while giving you something to dwell and reflect upon. It will take your breath away time and time again while importantly it strives to make you think and comprehend the implications of our origins and the actions of our ancestors.
It will show you a new World and that a simpler, purer way of living did exist... The New World shows us love. Shows us hope. Shows us that a different way of life is still possible while showing many aspects wrong in our own world. The message is this: So we know what's wrong with our way of life; What are we going to do about it?

''Lost memories fill my heart.''

A sixteenth century love story about a marriage of alliance that gave birth to true love between a great Mughal emperor, Akbar, and a Rajput princess, Jodha.

Hrithik Roshan: Jalaluddin Mohammad Akbar

Aishwarya Rai: Jodhaa Bai

Ashutosh Gowariker's majestic magnificent Jodhaa Akbar(2008), is an extremely intricately created period epic romance drama.
Unquestionably one of the finest song and dance sequence ever shot in Indian cinema that I have witnessed. Costumes, songs, locations, props are all inspiring and dazzling to witness.



Ashutosh Gowariker proves himself once again by attempting a unique idea on screen.
Gowariker is a master storyteller without a doubt, he has lived up to the expectations with his artful colour laden Jodhaa Akbar.
When it comes to performances, Hrithik Roshan is unbeatable. As Akbar, Roshan excels and breathes life into the role with his charisma and vitality.
His body language and dialogue are unsurpassed; You will be convinced that no other actor could have pulled off the role of Akbar with such flair.
Aishwarya Rai Bachchan as Jodhaa does not disappoint either. She utilizes the role with grace and emotes effortlessly where needed.
The supporting cast is a mixed palette of palpatation regarding acting. Sonu Sood as Sujamal results in perhaps a 2D character in terms of expressing emotion. Some of the finer performances are by Illa Arun as Maham Manga, Kulbhushan Kharbandha as Raja Bharmal and Punam Sinha as Hamida Nabu. Illa Arun is devilishly cunning as the evil Maham Manga. Nikitin Dheer does well as Sharifuddin Hussain, considering this is his debut film as an actor.

Cinematography by Kiran Deohans is perfection quite literally on a plate. Sixteenth century is beautifully captured and the war scenes successfully add action to the drama and songs.
Costumes by Neeta Lulla are wondrously alive and radiant rainbow assorted greatness. Never over the top, Neeta Lulla does a fine job with Akbar's costumes and the entire cast including extras and the marvelous weaponry, furniture and intricate accessories on display. Editing (Balu Saluja) is sometimes minimal; Every detail is kept for vibrant and consistency for detail. It is obvious that Gowariker did not want any particular scenes to be edited. Dialogues are note worthy and well delivered. Production values are of top quality. Special mention must be made of the publicity designers for the superb posters and the theatrical trailer which were of international standards.

A R Rahman's brilliant score along with the visuals brings to life the story and draws us into this intriguing world of wonder. Songs which truly stand out in the film are Khwaja Mere Khwaja and Azeem-o-shaan Shehenshah, both of which are choreographed superbly. The choreography of the Khwaja track is one of the finest you will ever come across in Indian cinema. Background score by Rahman is also successfully delivered.

Overall, Jodhaa Akbar results in being an artful insight into the past. While opting for more musical and art forms upon execution it succeeds even if parts are not historically accurate. The useful mixing of drama, battles, story, romance and mystery all dismiss any prior grievances. This is an epic journey of storytelling and wondrous characterizations laced with visuals mixed with musical poignancy. A musical artistic marvel to be watched on numerous occasions.

''Why seek paradise? When it is before me now.''

''Like a leper rotting in flesh let all avoid me. Like a cripple without limbs let me not move freely. Remove my cheeks, that tears may not move down them. Crush my lips and tongue, that I may not sin with them. Pull out my nails, that I may grasp at nothing. Let my shoulders and back be bent, that I may carry nothing. Like a man with a tumour in the head, let me lack judgment. Ravage my body sworn to chastity, leave me with no pride, and have me live in shame. Let no one pray for me, but only the grace of the Lord have mercy on me.''

A failed medical experiment turns a man of faith into a vampire.

Kang-ho Song: Priest Sang-hyun

Ok-bin Kim: Tae-ju

Bakjwi(2009) translating as Thirst is the latest film from visionary director of the cult phenomenon Vengeance trilogy, Park Chan Wook. Thirst his new film project covers a very enigmatic yet intriguing storyline; A priest turned Vampire, where upon every sin becomes a necessity, human blood a craving as well as sustenance needed to avoid his skin devolving into leprosy. It's intriguing material and a whole new spin on cinema and storytelling.
Seo-Gyeong Jeong and Chan-wook Park worked on the screenplay while Emile Zola wrote the book Therese Raquin on which the film was inspired by and used as a source.



Thirst starts by letting us into the World of priest Sang-Hyun whom is with a patient about to drift off into a coma or the great unknown. Cleverly Chan-Wook Park utilizes some great dialogue in the instance the characters begin to converse.
The film begins to explore the ideas and boundaries of faith, science, sex, human nature, life, death and superstition. Cleverly Thirst often leaves enigmatic questions instead of dismissive answering of mysteries concerning plot.

Numerous scenes that Thirst throws at us end up being undoubtedly memorable. Hell, the whole film is not just a film or story; It is quite literally an experience.
Priest Sang-hyun's prayer near the beginning with a medieval sounding piece from the score( Original Music by Young-ook Cho) really touches the soul and emotions as well as having deep and meaningful significance. I included his prayer in my starting if what lengthy quote opening my review to flesh out a feel for the raw power and crushing faith over physicality, binding with the enduring human spirit.
Kang-ho Song quite literally embodies his role as the protagonist priest Sang-hyun. Throughout the film after he becomes this Vampiric creature torn between his faith by this insatiable craving. His eyes alone convey the emotion conflicting with his actions, needs and resentments.
Ok-bin Kim as Tae-ju deserves a special mention as the fiery devious girl whom seduces and captures Sang-hyun heart. Whereas he shuns his vampire curse she looks upon the disease as a gift and her wild nature threatens to destroy their lives as well as her step-brother/husband and mother.
Ok-bin Kim's performance succeeds in being great and without a doubt lingering in the memory and synapses.

The cinematography by Chung-hoon Chung also is vast, epic in scope and dynamic execution. Examples of the greatness on display resides in a daring, bold jumping rooftops from the main two characters: Tae-ju and Sang-hyun. The intensity and clashing of personalities comes into a clash ensuing the chase upon the rooftops.
At times we see Sang-Hyun hanging from ledges by his feet reminiscent of how a bat sleeps upside down. The pilgrimage to Africa, the climactic sunrise at the sea and the darkness of the town all add to the meticulous detail Thirst has to offer us.

At times Park Chan-Wook takes the violence, showing of blood, and nudity to shocking lengths and revelations for viewers. Alot of audiences will not be able to handle the nature and alluring bestiality Thirst offers. Lovers of Sympathy for Mr Vengeance, Oldboy and Lady Vengeance will feel right at home with this latest cinematic feast.
The psychology is explored, guilt is wonderfully provided for the characters on a myriad palette. Man losing faith yet regaining his spirituality later is a journey one cannot be missed.
A journey that forces one to look outward as well as selfishly inward.
Thirst cleverly inspired by a book could quite easily be a graphic novel. A bandaged up priest becoming a vampire, a drowned ghost sharing their water bed reflecting their guilt, a comatose patient providing blood; This is original, fresh and a fine addition as well as an original concept involving vampire lore and religion.

At it's heart Thirst is one of the best enigmatic films of 2009 in it's complexity, imagination and tragic love story of sorts. Faith, superstition and science merge together in a story that keeps you relentlessly thirsty for more. As with it's vampire host and hero we too are mutually sharing his pain and torment. In essence the inner demons Thirst confronts us with could well relate to our own. Park Chan-Wook simply has beautifully crafted a masterful artwork frozen upon the frame of film.

''Kill me or save me, you'll regret it either way.''

''To sum it all up, I must say that I regret nothing.''

Based upon the final confession of Adolf Eichmann, made before his execution in Israel as he accounts to Captain Avner Less, a young Israeli Police Officer, of his past as the architect of Hitler's plan for the "final solution." Captured by intelligence operatives in Argentina, 15 years after World War II, Eichmann (Kretschmann), the World's most wanted man, must be broken down and the truth unveiled. As the world waits, two men must confront each other in a battle of wills - the result of which will change a nation forever.

Thomas Kretschmann: Adolf Eichmann

Eichmann(2007); The film depiction of Adolf Eichmann directed by Robert Young and formulated from writer Snoo Wilson. The project is particularly siding and at times quite pro-Israeli yet at times it duly shows Israel brandishing a need and thirst for justice(or is it hatred?) towards a singular man. The man in question perspectively responsible for the deaths of Jews in the execution of the Final Solution for Hitler's Third Reich. Eichmann shows us Adolf Eichmann as a cunning, dubious, intelligent, charismatic man whom has been abandoned and more or less subjugated to the role of monster.
My main interest for viewing Eichmann apart from an historical insight was admittedly surrounding the inclusion of Thomas Kretschmann whom I always adore watching in his numerous film outings; Eichmann for me was another success for him in terms of acting and changing his appearance and persona to match that of Eichmann whom he portrays wonderfully.



In terms of cinematic reference the film Eichmann can be at times sickly in terms of it's stance and one sided nature. The cinematography is conveyed effectively and successfully from Michael Connor. Original music from Richard Harvey elevates the piece emotionally lacing passionate and crucial scenes with levity and panache.
The cast is littered with varied talents from the acting world; Stephen Fry, Troy Garity and Franka Potente all add their respective talents to their roles and give the film a professional lingering resonance.
Most notably Eichmann boils down to being a battle of wits between interrogator Avner Less (Troy Garity) and Eichmann. Yet it also serves up useful political stances on argument, following orders and what exactly guilty elaborates in being. The defense of Eichmann never truly is shown frequently in helping him yet Eichmann deflects numerous allegations thrown at him from his interrogator.
Interestingly, the film shows us the life and family of Avner Less, and the effect the interrogating of Eichmann has upon him and of his wife and family. So how does Eichmann try to win us over in sympathy for either party? The signed list containing Avner's father whom were sent to a death camp perhaps. Eichmann's sons and wife cruelly deprived of their father. The secrecy between Avner and his wife regarding the case.
It all goes to great lengths to ensure we ultimately side with Avner and Israel yet if you scratch deeper past the surface and contemplate the bigger picture you can make your own assumptions. The wonder of Israel perhaps becoming similar to the National Socialists they so adamantly despise in their actions.

I especially was enthralled with the film showing Eichmann's past in which he is a key positioned officer and confident of Hitler's Third Reich. Adolf Eichmann a lover of beautiful women; He is a womaniser, an adorer of expensive gifts, rings and a loyal officer to his department. Eichmann shows us signing documents concerning the final solution, concerning the transports for Jewish workers to Concentration camps and it shows him ordering the killing of Jews. It always seems clear that the film is trying so hard to brand this man as a liar and a monster. When we see him shooting a baby in his office because a rich lady companion ushers him to do so, do we think of him as a monster?

Ultimately, Thomas Kretschmann gives a revelation of a performance which is layered and bountiful in it's gradualness; He successfully portrays Eichmann with depth and elegant poise. Eichmann conveys a tragedy and pivotal part of modern history in the guise of smooth, storytelling cinema with a polished feel of professionalism.

''...But they were Jews.''

''She paints her face to hide her face. Her eyes are deep water. It is not for Geisha to want. It is not for geisha to feel. Geisha is an artist of the floating world. She dances, she sings. She entertains you, whatever you want. The rest is shadows, the rest is secret.''

Nitta Sayuri reveals how she transcended her fishing-village roots and became one of Japan's most celebrated geisha.

Ziyi Zhang: Sayuri

Ken Watanabe: Chairman

Memoirs of a Geisha(2005) is the captivating story of a girl becoming a woman, whom in turn becomes the most celebrated Geisha of Japan.
A film adaptation of Arthur Golden's book which is also a favourite book of mine, the screenplay for the film was done by Robin Swicord.
The lavishness and colour come alive in Memoirs in a rich and intricate way, enhanced by Dion Beebe's cinematography. The landscapes and settings are so detailed and breathtaking, as well as the beautiful kimono's worn by all the Geishas and the costumes worn by every characters which reflect the period.
The score has such a haunting and mysterious ambiance, adding to that layer of enigma, which a great Geisha essentially captures.



Otherwise fairly faithful to the book, the plot follows the life of Chiyo, at first a nine-year old Japanese girl whom is sold by her desperate father into slavery along with her older sister Satsu. Because of the unusual gray color of her eyes, Chiyo is sold to an okiya in Kyoto, i.e., a boardinghouse for Geishas, while her sister is sold into prostitution elsewhere. Chiyo uses any means she can to reunite with her sister, but she is constantly defeated and punished by the okiya mother until Mameha, a legendary geisha of the hanamachi (Geisha district) takes an interest in developing Chiyo into a Geisha. Chiyo undergoes a grueling but relatively speedy apprenticeship, and men become bewitched by her poise and subservient manner.
Taking a new name, Sayuri, to symbolize her metamorphosis into a professional geisha, she also gains a vindictive adversary in the beautiful yet spiteful Hatsumomo played magnificently by Gong Li, the okiya's star geisha. In fact, Sayuri later surpasses Hatsumomo in stature, but her victory is short-lived as Japan is in the midst of war and the entire hanamachi is evacuated. Fortunes are lost, but the post-WWII American occupation brings new and not entirely welcome opportunities. This is where both the book and movie involve plot machinations evolving into more of a generic soap opera of compromise and moral ambiguity. Fortunately, Marshall - along with co-screenwriters Robin Swicord and Doug Wright – do not include the book's long denouement of Sayuri moving to New York to run a salon for visiting Japanese businessmen.

The film is dominated by the three female leads, none Japanese, but their individual talents and combined star wattage dismiss any major miscasting grievances. Ziyi Zhang certainly looks the part of Sayuri, pure and innocent yet cunning and seductive; She plays the central role with requisite piety. With her shopworn beauty and throaty voice, Michelle Yeoh fully captures the meditative wisdom of Mameha, as she seems completely credible as the hanamachi's leading geisha. A stunning beauty that threatens to cause an imbalance to the story, Gong Li though is a knockout as Hatsumomo, the main nemesis Sayuri with a gift for conveying jealousy and hate while equaling a performance you love to seethe at anger at.

Because of the decision to have the dialogue almost completely in English (instead of subtitled), Yeoh comes off the smoothest, while both Zhang and Li seem at times to be speaking rather robotized. Ken Watanabe makes a charismatic Chairman; The object of Sayuri's lifelong desires. Other roles are presented in rather broad strokes - Kôji Yakusho is suitably gruff and insensitive as Nobu; Cary-Hiroyuki Tagawa brings a nicely sinister edge to the Baron; Youki Kudoh undergoes the most dramatic transformation as the secondary apprentice geisha, Pumpkin; and Kaori Momoi is coldly effective as the mercenary okiya mother with the forever-propped cigarette.

Rob Marshall and company have brought Arthur Golden's book Memoirs of a Geisha to life with dedicated spirit. Having won 3 Oscars this is truly a Hollywood drenched adaptation which sometimes sacrifices substance for visual style and art. The love story and beauty always make me fall into adoration though for a heart warming, heart felt tale and insight into the enigmatic world of a Geisha.

''We do not become Geisha to pursue our own destines. We become Geisha because we have no other choice.''

''And so I have you... I have you.''

A post-apocalyptic tale of a man and his son trying to survive by any means possible.

Viggo Mortensen: Man

Kodi Smit-McPhee: Boy

The Road(2009) aptly adapted from Cormac McCarthy's Pulitzer Prize novel, Australian Director John Hillcoat, the man behind The Proposition, helms a virtually depressing yet intricate adaptation.
A film capturing McCarthy's elegantly worded and sensuous story that often transcends into bleak swirling repetition.



Audiences are thrown into the film's dark and ash-filtered environment in which the story's protagonist is with his son.
Witness the bleak post-apocalyptic World shown through astounding cinematography and exceptional camera work; An Apocalyptic human graveyard of loneliness. The film raises questions, and moral implications hand in hand: Can our protagonist keep up his hope and optimism? In an apocalyptic world, we can expect humans to sacrifice their humanity in the face of survival.
Spanish Cinematographer Javier Aguirresarobe delivers apocalyptic portraits and mysteriously sombre atmosphere in equal doses which truly equal aspiring.

This is an apocalypse thriller that's so phenomenally slow, so twisted and dark, yet the love and bond, between the father and his son, never cease to deliver the rarity of rekindled hope throughout their retrospective journey.
Indeed, Director Hillgoat has captured a beautiful father-son love story. Wonderfully delivering his lively characterizations duly as the protector and the protected. Essentially keeping each other from the coldness of loneliness and Hillgoat throughout the film keeps the atmosphere aglow with skillfully delivered delicacy.
"We are not gonna quit. We are gonna survive this,"...The Man in the story, indeed, is perpetually faced with his last chance of parenting, teaching, and preparing his son for the worst scenario to come, in a world, so deprived of life, hope and optimism. A scenario without the father in the equation.

One of the more memorable parts involve Robert Duvall's Old Man, whom provides an outlet for the two and a mediator for both man and boy. The Boy connects with his humanity by helping the old man, while his father connects with himself through the old man.
The cruel extreme flip-side of nature is shown in earlier scenes through people relying on cannibalism. Indeed, when a group of people residing at a house have locked people in their basement as their food storage one can only assume this is the extreme extent of them subduing hunger by being cannibals. Dismemberment of feet, arms and a selection of other body parts as meals truly linger in the mind in a macabre sort of cannibalistic holocaust for the unlucky victims.

The film's plot and sub-plots stay very close to McCarthy's novel. The treatment for example by Charlize Theron's character receives approval over the debatable decision to leave she took in the story. Yes, indeed, Charlize Theron's character realizes the lack of food supplies as well as the existence of only two bullets left for the family of three, and like any good mother, she makes the toughest choice in departing.
The film's usage of flashbacks for reminiscent memories shared by the Man and his wife. The Director does mention that the love story, between father and son, should also be based upon the mother's earlier influences, and that good things must always come to an end. The memories and flashbacks greatly help in conveying these points.

The persistence of love between a father and a son against the ugly backdrop of the world is depicted well by the man Viggo Mortensen and boy Kodi Smit-McPhee. More than likely this will garner Mortensen with Nominations and indeed awards in the performance stakes.
The Road is a sometimes long path to endure for it's characters as well as audiences yet the slowness only adds to the superb detail the story and breathtaking scenery has to offer. Also great talents such as Guy Pearce, Robert Duval, Garret Dillahunt, and Charlize Theron all donning appearances down The Road make this a journey and offer you cannot refuse to see.