Reviews by Lexi

''Yes... No... I don't know. I don't know what I want.''

A bureaucrat in a retro-future world tries to correct an administrative error and himself becomes an enemy of the state.

Jonathan Pryce: Sam Lowry

One of the truest statements about originality in art comes from T.S. Eliot: "Immature poets imitate; mature poets steal." Terry Gilliam is one of cinema's mature poets. His Brazil features homages to numerous other films, ranging from Modern Times to The Empire Strikes Back, and its plot is broadly similar to Nineteen Eighty-Four. Yet the result is intriguingly fresh, creative and visionary.



It's the type of sci-fi film with an almost childlike fascination using strange sights and happenings. Rarely has a film so pessimistic been this much fun. Many sci-fi films since Brazil have attempted a similar approach, usually with little success. The chief problem with most such films (e.g. "The Fifth Element") is that they get bogged down in plot at the expense of emotional resonance. Brazil avoids this fate: while the movie possesses psychological and thematic complexity, its plot is fairly simple, and the humour, quirky as it is, never relies on throwaway gags. Even the oddest moments have a certain poignancy.

The story seems to take place in a fascist alternative world. It isn't the future exactly. The technology is weird-looking but hardly superior to anything in our world. Money transactions are sent through pipes similar to the ones they use at retail places. (One of the film's several nods to silent movies occurs after a character tries to stuff one of these pipes with wads of paper.) The pop culture references are positively retro; from the title song to scenes from the film Casablanca.

''Mistakes? We don't make mistakes.''

The evil of the government in this film is driven not so much by cruelty but also by bureaucratic incompetence; much of which is utilized for laughs. But some of the scenes look eerie today; in our post-9/11 world, and are great fare for conspiracy theorists. Pay particular attention to the scene where the official boasts that the government is winning its war against the terrorists. The movie is ambiguous as to whether there are any real terrorists, and we have a sneaking suspicion that the explosions are caused by the government itself. The plot is set in motion by a typographical error leading an innocent man to be arrested instead of a suspected terrorist. The movie is not about this man but about a meek government worker, Sam Lowry (Jonathan Pryce), whom is observing from the sidelines.
Robert De Niro has a cameo as the wanted terrorist whose crime, from what we see, consists of doing home repairs without the necessary paperwork.

I have noticed that most of the classic dystopian tales are fundamentally similar to one another in terms of style and story. Yet Brazil approaches the genre in a uniquely psychological way. Sam Lowry is different from the standard protagonist whom rebels against the government due to noble intentions. He doesn't seem to have any larger goals than his own personal ones. He isn't trying to make the world a better place. He's only longing for a better life for himself; one more exciting and romantic than the humdrum existence he currently occupies, where he's beset by an overbearing mother, a pitiful boss, and a dull job. In the midst of this bureaucratic nightmare state, he cares only about such matters as getting his air conditioning fixed and stalking a female stranger who physically resembles his fantasy woman--or so he perceives. The woman, as played by Kim Greist, appears in his fantasies as a helpless damsel with long, flowing hair and a silky dress who sits in a cage while he battles a giant Samurai warrior. The real-life woman he pursues, also played by Greist, sports a butch haircut, drives a large truck, and has a cigarette dangling from the corner of her mouth.

It's a testament to Pryce's performance that he commands our total sympathy the whole time (Yet at times I felt annoyed with his choices/behaviour...). We feel for him and go along with the romantic adventure he attempts to create for himself. His nervous, stammering personality is one that would have been easy to overdo, yet Pryce strikes just the right note, especially as we begin questioning the character's sanity. At one point, another character tells him that "You're paranoid; you've got no sense of reality." But who wouldn't be paranoid in such a setting? The scene brings to mind the old joke that goes "You're not paranoid. Everyone really is out to get you." The movie inhabits such a whacky, surreal world full of strange people and sights that Sam Lowry almost seems sensible by comparison. Creating a character like this was a fresh, innovative twist on a genre that normally loses sight of its own humanity.

''Care for a little necrophilia? Hmmm?''

''April the 4th, 1984. To the past, or to the future. To an age when thought is free. From the Age of Big Brother, from the Age of the Thought Police, from a dead man... greetings.''

George Orwell's novel of a totalitarian future society in which a man whose daily work is rewriting history tries to rebel by falling in love.

John Hurt: Winston Smith

Richard Burton: O'Brien

There's something peculiar about the film adaptations of George Orwell's celebrated dystopian novel, Nineteen Eighty-Four.
Since I read the book a while ago, I have enjoyed two film renditions of the story, Michael Anderson's 1984(1956) and now Michael Radford's very timely kept Nineteen Eighty-Four(1984).



In terms of cinematics, there is little in the ways of uniqueness. When it boils down to ideology; Both rather uninspired pieces of film-making, really lacking anything that would make them border or lower based on significant terms. However, the piece of literature upon which they are are based is so incredibly powerful that the remarkable story overshadows the films' in some ways. Indeed, considering the near-perfection of Orwell's 1949 novel, it would be detrimental and immoral to make any major changes to the plot. Thus, Michael Radford's film sort of floats through the story of Winston Smith and his rebellion against Big Brother; more out of duty rather than raw inspiration. However despite of this, it does do a decent job of it, treating Orwell's story with the respect it deserves, and so praise must be awarded to this adaptation and the former.

For years, Winston Smith (John Hurt) has endured a sordid existence in London, the capital of Airstrip One in the nation of Oceania. The year is 1984, and all citizens now operate under the strict guidelines of the Party, under the constant surveillance of the Thought Police. Day by day, it is Winston's duty, as an Outer Party member in the Ministry of Truth, to revise history in accordance with Big Brother's most recent requirements. Once a person has been erased from the official documents, he ceases to exist; indeed, he never existed. When the Party decides to cut chocolate rations from thirty grams to a mere twenty-five, it is Winston's responsibility to alter the facts: in actuality, the chocolate rations were never at thirty grams. They were at twenty, and now Big Brother has chosen to increase the rations to twenty-five grams. The enthusiastic response of Party-devoted neighbour Parsons (Gregor Fisher) to this announcement is a testament to the lethal efficiency of these continual revisions. The human memory cannot seemingly be relied upon to recall such information, and so the Party is the only trustworthy source.

Yet Winston Smith is not alone in his misgivings about the Party. He eventually strikes up a romantic relationship with a mysterious young woman named Julia (Suzanna Hamilton), and the two meet regularly to satisfy their desires for each other, in doing so rebelling against the strict rules enforced by the Thought Police. Smith decides to place his trust in an Inner-Party member named O'Brien (Richard Burton in his last screen role), but this turns out to be a sting operation, and both Smith and Julia are subsequently arrested and taken to the Ministry of Love to be rehabilitated. Via numerous grueling means of torture, O'Brien sets about destroying every last hint of Smith's rebellion, delaying his inevitable execution until he not only obeys Big Brother but also loves him. The treatment doesn't allow for rebels to make martyrs of themselves, since dissenters are only murdered once they have been twisted back into perfect citizens; until they will wholeheartedly agree that, if the Party says so, then 2 + 2 = 5.

Though there are a few images that will surely stay in my memory for a long time (those shots with the rats in the contraption will certainly cause alarm), Nineteen Eighty-Four curiously lacks the unique visual style of many of the decade's other dystopian sci-fi classics; such as Ridley Scott's Blade Runner(1982) and Terry Gilliam's Brazil(1985) {which is probably the greatest Orwell-inspired film you're ever likely to see}.
The film was shot in London around the precise time in which the original novel is set, but the setting seemed to recall Britain in the early 1940s, a historic city that has been torn apart by the constant onslaught of the enemy's aerial attacks. Though he had initially toyed about with the idea of filming in black-and-white, cinematographer Roger Deakins used a film processing technique called Bleach bypass to create the film's washed-out colour visuals. The most engaging sequences undoubtedly involve Burton and Hurt during the torture sessions, which are almost painful to watch. Winston Smith is reduced to such a horrific mess of a man that you really do despair when O'Brien declares him to be the final person of his kind. I also liked the idea of Smith regularly slipping into his hallucination of the flowing green fields, and that gutting moment when even this sanctuary is infiltrated by Big Brother and his all-powerful totalitarian regime.

''If you want a vision of the future, Winston, imagine a boot stamping on a human face forever.''

''I've always wanted to meet a painter.''

''Why?''

''I think it might have something to do with their ability to see beauty in everything.''


After a painful breakup, Ben develops insomnia. To kill time, he starts working the late night shift at the local supermarket, where his artistic imagination runs wild.

Sean Biggerstaff: Ben Willis

Emilia Fox: Sharon Pintey

Cashback is an artistic film, like its main character Ben, that I have seen recently. It has qualities that blend together and result in unrivaled beauty and imagination.



The Director Sean Ellis usually delivers comedic romances, something which I'm relatively unphased by, but Cashback right from the off showed me something deeper, something bordering on a lesson in life, in love and the failed attempt only to be re-blossomed anew with a new chance. Sequences can be dreamy and surreal and as Ben suffers from insomnia from his heartbreak we see that in his new found job he can stop time to study one thing that he loves above all else. That thing in perspective being the female anatomy, not for it's lustful qualities to any typical man but for its proportionate shapely perfection form that is defined above all else.

Some useful flashback sequences of Ben as a boy help explain why he loves the female body so much, the scene when he sees the beautiful body of a Swedish Student naked on her way back to her room. Then as a curious mesmerized young boy would knocks on her door to return her left behind underwear, then he see's all, his view complete. The supple ripely formed breasts and perfect bottom effortlessly displayed that hell even makes me appreciate a goddess of a woman in all her splendor. To capture that on paper or in any sense, to possess that even, is nothing short of perfection.

Other things we get from Cashback is an array of characters doing some comical stuff in the work place, such as a salami BJ or a maddened race between Barry Brickman and Matt Stevens. Even the addition of a Kung fu Brian or the block headed manager was amusing. This really does make you feel like you're in Sainsburys.

Sean Biggerstaff who I recall in Philosophers Stone really shines as the lead being dreamy and suffering from insomnia.
Emilia Fox who works on the Checkouts, also impresses proving she does pick some very interesting choices in her films.
Michelle Ryan as the volatile Ex was very good also even though her part was a fine example of how obsessed we can be or how hard it is to let go after you have had a break up.

Ellis has crafted and created a film of such grandeur and creativeness that ends up being artistic, stylish and untouchable, the fact that he has made Cashback that is both perfect Art-House material and universal is a beacon to his talent and maturity funneled into vision.

Love can beunpredictable like a snowflake and in this sense Cashback throws an unusual tale of love lost and love found again, that really does indeed show love does let you keep the change.

Are you game?

''Tell me that you love me first because I'm afraid that if I tell you first you'll think that i'm playing the game.''

A story of two best friends, Julien and Sophie who we see journey through life. Starts of in their childhood and their seemingly playful game in which they dare each other with a rustic tin. The game continues throughout their adult life and begins to spiral out of control, and a hidden love undeclared.



Marion Cotillard who plays Sophie; I last saw her in ''La Vie en Rose'' and this film also proves what a versatile actress she is.
Guillaume Canet who plays Julien is equally impressive and displays dazzling emotion and fiery temperance.
Thibault Verhaeghe and
Joséphine Lebas-Joly also deserve a mention who play Julien and Sophie as children.

Such vast imagination and an obssessive daring game. Wonderfully surreal and some of the scenes will shock.
Visually it's shot excellently and some very clever effects jumbled together that tell the story well.

It's a long story and how far the two go to outdo each other is compelling. When you get to it's ultimate conclusion, ''The Dare of Dares'' the film cleverly let's your mind decide what conclusion to make.
A classic example of how dangerous a game can be and the complicated entanglement that is love.

'' Are you game? , well the answer has to be without a doubt YES!

''Be Italian...Live today as if it may... become... your last.''

Famous film director Guido Contini struggles to find harmony in his professional and personal lives, as he engages in dramatic relationships throughout his life.

Daniel Day-Lewis: Guido Contini

Nine(2009); A grand, illustrious, costume laden extravaganza musical telling the story of arrogant, self-centered movie director Guido Contini, given life by Daniel Day Lewis.
He finds himself struggling to find meaning, purpose, and a script for his latest film endeavor Italia. With only a week left before shooting begins, he desperately searches for answers and inspiration from his wife, his mistress, his muse, and his mother. As his chaotic profession steadily unravels his personal life, Guido must find a balance between creating art and succumbing to its obsessive demands.



It must be put forth, the writers of Nine: Michael Tolkin and the late Anthony Minghella were behind the elaborate screenplay. Arthur Kopit, Maury Yeston (Broadway musical Nine) and Mario Fratti(Broadway musical "Nine" Italian original). Without any of these writers or writers behind the musical the film project Nine surely would of remained only on paper and in the musical arena rather than retold upon the cinematic screen. A further heart felt praise must also go to Anthony Minghella whom sadly is no longer with us yet still manages to touch us with his creative works and screenplays which he subsequently left behind; A mighty bow and deep sign of respect goes out to Minghella; the man behind emotional piece The English Patient(1996).
Writer Anthony Minghella has been nominated twice for other adaptations: The English Patient for which he also won Best Director, and later for The Talented Mr. Ripley(1999).
Nine similarly oozes his stylistic talent for writing and flair for romance. We will miss you.

The cast, the costumes and the songs all are so extensive in Nine it would take a vast amount of time to fit all into an explanatory review. Although I will try my best to mention the relevant and allow you to witness the piece for yourself in all it's glory.
Obviously the story's protagonist comes in the guise of wonderful acting talent Daniel Day Lewis, portraying Italian Maestro director Guido Contini. Nine shows he hasn't lost his edge since Oscar turn out performance There Will Be Blood. His presence on screen and performing talents include a dabbling of dance and singing; conveying acting with entertaining hand in hand. Every scene you can guarantee he will have a cigarette in hand which reminds us this is a master at work doing what it takes to portray a deeply faceted man from the past.
The leading ladies behind the man all perform outstandingly; Kate Hudson (An American Journalist) and Fergie surprise with song renditions and sexual poise. Perhaps Penelope Cruz being the sexiest of all, as the mistreated mistress of Guido; for me having her busty, lucrative costumes. Rivaled by the scarily curvy Fergie whom plays a temptress from Guidos childhood.
Nicole Kidman positively radiant in grandeur tones while Judi Dench adds a royal imprint of suave class elevating the piece into heavenly realms.
Marion Cotiilard as the troubled wife; sparks emotion and flamboyance. She is the casualty of Guido loving his work more than her. He neglects to treat her in a special regard different from any of his future actresses he works with.
The icing and cream on the Italian based musical has to be the dazzling, sparking, romanticized Sophia Loren as Mamma. This Lady retains all her magical charisma; In essence she is a timeless depiction of Italy itself. The woman behind the man; the Goddess behind the spirit of a nation.
Only the second movie musical for Sophia Loren, the first being Man of La Mancha(1972), even though she is a capable singer, as can be heard on many novelty and soundtrack recordings.

The original Broadway musical opened May 9, 1982 at the 46th Street Theater and ran for 729 performances with Raul Julia as Guido. It won five Tony awards, including Best Musical and Best Featured Actress. The latest Broadway production, starring Antonio Banderas as Guido, opened on Apr 10, 2003 at the Eugene O'Neill Theatre and ran for 283 performances. It won two Tonys: Best Revival of a Musical and Best Featured Actress. Banderas unfortunately turned down the chance to reprise his role as Guido in the film version. Fortunately Daniel Day Lewis took up the part.

Overall, Nine is an under-rated whirl of art and life blurring together from Director Rob Marshal. Everything has a urge of energy and flair about it that makes for a great musical, as well as being a film.
The songs A Call From The Vatican, Be Italian, Guido's Song, Take It All were a few as well as being best favourites for me. Emotion, at times humour, and a certain truthfulness is conveyed by every lyric and word. Whether it be sexy Penelope, tempting Fergie, or the tear inducing pixie Marion...Nine is a beautiful swirling fanfare of pleasure and one man's descent into despair as his work takes over his personal affairs.
If you love musicals, costumes, elaborate set-pieces and quality top-notch acting then Nine should be witnessed by you immediately. Breath-taking.

''You have to invite me in.''

Oskar; a shy bullied boy, finds love and revenge through Eli; a beautiful yet mysterious girl whom turns out to be a vampire.

Kåre Hedebrant: Oskar

Lina Leandersson: Eli

Lat den ratte komma in(2008) or in English Let the Right one in; Lets start by explaining the title of the film (as well as the novel upon which it was based) refers to the Morrissey song Let the Right One Slip In.
Also referring and according to vampire myths; vampires must be invited in before they can enter someone's home (this point is also expertly shown in the film).



Directed by the talented Tomas Alfredson, based upon the book by John Ajvide Lindqvist whom subsequently worked on the screenplay for the film. The material upon which Let the right one in is based was pure gold in terms of imagination; The film adaptation; equally magnificent in it's scope and capture of Vampire lore, at the same time putting a unique spin on the legendary subject matter. The story tells us a unique perspective from a child's eyes and a mysterious girl he becomes entwined with.
Let the right one in is in Swedish; sometimes the subtitles aren't even necessary as the characters use all sorts of methods and gestures that say more than mere words. Anyone whom complains about the subtitles should not watch; it is wasted on you. An unappreciative audience is an insult to this Let the right one in; because it is a magnificent masterpiece which lingers in the memory using clever circumstances and horrific happenings in equal doses. It rivals any horror movie in the span of the last 40 years in terms of effectiveness and creativeness.
Also tackling bullying from schoolmates, parenting skills from estranged parents and the imagination of a boy whom is innocent, graceful and shy.

The cast relatively unknown to me before; effectively portray believability and magnetism especially the two leads: Oskar and Eli. The acting is so real that I actually did not doubt for a second their growing love and chemistry throughout the story.
Another memorable character Yvonne played by Karin Bergquist turns out a surprising role as one whom becomes infected by the vampiric gene. Imaginative scenes including her falling down a stairs with cats covering her body or her burning in intense flames as a blind is opened in a Hospital defies belief yet captivates and enthralls at the same instant. Hats off for such clever techniques and acting.

Though the film takes place on location at Blackeberg, a suburb of Stockholm, the film principal photography was shot in Lulea in the north of Sweden; to ensure enough snow and cold weather.
Up to several tricks were used to create the right sound effects for a few gorier scenes used. Biting into sausages replicates the sound of biting into skin and flesh, drinking types of yogurt also were used to sound like drinking blood. The sound of the children blinking was made by the skin of a grape rubbing against each other in an almost blinking motion.
Also rightly voted movie of the year by Empire magazine, whom are sometimes compromised in terms of opinions and reviews(Surprisingly the first time a foreign language film topped their list since the mind blowing Cidade de Deus(2002) in 2003).

Overall, Let the Right one in is a visual, imaginative treat. A horror of renowned highness, a bloody tour de force and certainly one to be watched by any film appreciator.
Guillermo Del Toro director of the fantastical, realistic Pan's Labyrinth; said in his words of Let the right one in, '' As delicate, haunting and a poetic a film as you're ever bound to see''. That only barely begins to sum up the majestic, awesome quality this blood sucker piece is. This IS is the vampire movie of the decade, the swan song and testament to an old legend. It certainly beats Twilight on all counts having more romance, creativity, respect for Vampire lore and horror in Let the right one in's little finger alone.
Just do not pass up this opportunity, as the title suggests: Let the right one in. If you don't you will be the one missing out and that certainly sucks. A bloody dreamed up masterpiece adaptation.

''Are you a vampire?''

''Take the best orgasm you've ever had... multiply it by a thousand, and you're still nowhere near it.''

Renton, deeply immersed in the Edinburgh drug scene, tries to clean up and get out, despite the allure of the drugs and influence of friends.

Ewan McGregor: Renton

Danny Boyle's Trainspotting is a film in which it all clicks and comes together in a dizzying array of drugs and characters. The film starts off startlingly realistically with Renton chastising that he wouldn't do drugs if he didn't enjoy it. With this, we learn in a headlong rush that the world of drug abuse that we've been taught about and steered away from is like any other addiction and that to an extent, we the audience, are no better than the people on screen.



Very light-hearted and fantasy is the first quarter of the film, common sense seems to evapourate and it's not made entirely open why drugs are considered bad in society. But the enjoyable scenario that you settle comfortably into doesn't last for long and soon it's apparent that director Danny Boyle is showing the good and the bad, the two extremes, the black and white. Whilst viewing Trainspotting you're in junkie paradoxical limbo.

Not many movies are lucky enough to be made at the right time and place then continue to steal the world by storm as Trainspotting did, but the ultimate proof of this film's mastery is that if you watched it alone or in a mass, in the far future or back in 1996, it still has the same effect of absolute hold over you in it's depiction of what it is to be a drug addict. Trainspotting is nothing short of being among the most effective, the most perfectly executed artistic works ever committed to film.

I mean Renton going fully into a toilet and swimming around before re-emerging is a perfect example of how warped and deliciously disgusting to watch this film is. Or his fantastical visions of a baby on a ceiling with Dale Winton on TV really is bizaare as if you are experiencing the drugged up state that hes in alongside him.
Ewan McGregor does a fantastic job in the role of Renton and quite easily makes us believe he is quite simply, a druggie.
The appearance of a young Kelly Macdonald as Diane was fun. So was the fact in finding out Diane is still at school, which had my mouth ajar, and the fact that Renton finds this out after. Highly amusing.
Jonny Lee Miller as Sick Boy shows us another Brit film part he pulls of nicely.
But Robert Carlyle as the maddened Begbie with his terrible temper was a compelling character to see with an uncontrollable rage. He really made the part his own and gave a performance that remains for me memorable.

The soundtrack is a perfect blend with some catchy and songs everyone with British origin knows. Accompanied with the narration by Ewan and it becomes hypnotic.
From a technical standpoint, the camera-work and cinematography are fluid, inventive and original.
The story itself is nothing new but is written and executed in such a wild energized fashion that everything seems to have a fresh feel.

For a film ironically called Trainspotting Danny Boyle gives us something that shows what a talent he truly is. He shows us a serious yet comical drug movie which doesn't glamorize the use of drugs nor does it dismiss or damn them.

Trainspotting is a film for anyone who wants to take a trip to the dark world of Heroin but also see the spark and rush that keeps people there.
For anyone who's not scared to cross the border on morals and what's right.
Trainspotting is for anyone who chooses life, and unlike Requiem for a Dream it gives us an ending of positiveness, and of hope.

''You've never complained about my methods before.''

Detective Sherlock Holmes and his stalwart partner Watson engage in a battle of wits and brawn with a nemesis whose plot is a threat to all of England.

Robert Downey Jr.: Sherlock Holmes

I love Robert Downey Jr.; witty, funny and entertaining in his roles he takes on. Unfortunately, his character, though named after the Sherlock Homes invented by Arthur Conan Doyle, has almost nothing in common with his literary ancestor. This film's Holmes is a hyper-kinetic pugilist who excels at swinging hand to hand weaponry/guns/sticks, swan-diving into the Thames from the commons, and leaping about city buildings in a manner reminiscent of Prince of Persia.



Robert Downey Jr. read many Sherlock Holmes stories and watched The Adventures of Sherlock Holmes(1984) by Granada Television (starring Jeremy Brett) in order to learn more about the character. I do believe he should of given it more attention considering the end result.
The hyper-real Victorian London of the film's exterior shots has a very similar CGI feel to it; one amplified when it vividly depicts the Tower of London on the wrong side of the Thames, among other gaffes.
The set for Sherlock Holmes's home in this film was previously used as Sirius Black's home in Harry Potter and the Order of the Phoenix(2007).
Also while filming a fight scene, Robert Maillet accidentally knocked out Robert Downey Jr.

Where is the cerebral intensity in Sherlock Holmes?, Where is the vibrant emotion?; Essential qualities to Holmes as an intelligent gentleman detective are sadly missing. A pipe appears precisely three times (Although this isn't the pipe Holmes smokes in the book), and a cigar but unsmoked. Jude Law's Doctor Watson shows little affection for or understanding of his friend Holmes and their little segments of stage business evoke nothing of the bond and chemistry essential between the two companions.
Other cast members include Rachel McAdams, Mark Strong ( who would of made a better Holmes), and Eddie Marsan.

Having said this; If a steam-punk action-adventure film that's built around three or four elaborate chase sequences appeals, Sherlock Holmes may be a fun way to spend an afternoon.
It's certainly a decent popcorn flick. Although if anyone who knows anything about, or cares very much for, Sir Arthur Conan Doyle's immortal character they would be better off staying home and reading the book instead of this satirical screen incarnation.

So Guy Ritchie next time you make a film either cast an English hero for an English literary hero. Mark Strong being relegated to the villain here in itself is a crime, as is Jude Law as Watson. Next time make the sequel to Rocknrolla and leave Sherlock Holmes alone; The damage is extensive enough after this.
This is not elementary my dear Guy Ritchie...more Guy Fawkes abashment, disaster and flames for Sir Arthur Conan Doyle whom is crying in heaven no doubt.

''I'm gonna pull the whole thing down. I'm gonna bring the whole fuckin' diseased, corrupt temple down on your head. It's gonna be biblical.''

A frustrated man decides to take justice into his own hands after a plea bargain sets one of his family's killers free. He targets not only the killer but also the district attorney and others involved in the deal.

Jamie Foxx: Nick Rice

Gerard Butler: Clyde Shelton

Law Abiding Citizen could have been this years Inside Man in terms of thrillers and puzzling treats in cinema. It could of capitalized on making a clear point which aims carefully placed stabs and results at the Justice system. What we do get from this Law Abiding Citizen, is something which is a mixed bag of predictable tricks. One moment it's doing antics similar to Saw then Silence of the Lambs before finishing with a confusing, predictable twist which undermines everything we have just seen. What was the point? The answer is open to interpretation. Clearly whatever the message or point it's diluted somewhere.

However, still the fact that until one point (leaving aside some Hollywood scenes and the acting of robotic Foxx; which was inexplicably poor compared to the recent The Soloist) you could agree that it was somewhat of a breakthrough idea, deserves some credits.
First of all, I would like to say that i expected to see more of the main events that formed the character of Clyde Shelton(Gerard Butler): the slaughter of his family and his revenge on the killer. Maybe I ask too much from a Hollywood movie in general but if you were exposed to images more shocking than the ones you actually see in the movie, you would be able to understand the feelings that the protagonist experiences; receiving no help from the corrupt Justice system.

Interesting facts about Law Abiding Citizen: At one point Frank Darabont was attached to direct. If only he did.
Catherine Zeta-Jones was attached to the project in early development but dropped out due to changes with the scripting.
Darby's ring tone in the film ironically is Bloodline by Slayer.
Michael Nutter also cameos in the scene where the Mayor (Viola Davis) is swearing in Nick as the new District Attorney, the man holding the bible is the actual mayor of Philadelphia at the time of filming.
Director Cameo from F. Gary Gray; The detective who hands Garza the evidence bag after the execution scene.
Director F. Gary Gray also decided to use Del Frisco's Double Eagle Steakhouse as the restaurant that caters Clyde's lunch after dining there several times during filming. The restaurant was also the location of the film's after-party following its screening at the Philadelphia Film Festival.

The second and biggest problems in Law Abiding Citizen were the holes in the scenario which appeared incrementally; leading up to a disappointing (and rather unrealistic) ending. I'm not going to get too much into details concerning the acts of Clyde during his plan but I would like to comment on the fact that although the writers had in mind the whole time that Clyde was fighting not only for his family but very much more against the surprisingly justice-free judicial system; they inevitably abandoned this main idea and turned their focus too much into the characters and how Clyde could influence Nick (Jamie Foxx). I was really intrigued when the writers were making remarks about how the effort to make the judicial system perfect and caring for all had turned it into a seemingly unfair and naive system; but I was finally let down by the conclusion which didn't try to tackle the notion of a dead end in our dysfunctional society to viewers in an understandable way.

Just to mention my idea of an ending I would like to experience the well expected catharsis which would come through the death of the Mayor and the upcoming upheaval of the society; followed by a judicial system punishing the murderer, serving the rights and the safety of the majority once again. As they used to say in Rome ''Give the people what they want!'', unfortunately Law Abiding Citizen didn't. It fizzled out like a wet drizzly fart.

''To think people like you once ruled our country...''

In 1984 East Berlin, an agent of the secret police, conducting surveillance on a writer and his lover, finds himself becoming increasingly absorbed by their lives.

Martina Gedeck: Christa-Maria Sieland

Ulrich Mühe: Hauptmann Gerd Wiesler

Sebastian Koch: Georg Dreyman

The Lives of Others is greatness, it is captivating to behold. Every tuneful composite, rich and diverse. Every shot detailed and clean. This is based on true events, coming across the Ultimate ''Enemy Of the State''.



How lives can be watched, every little detail recorded, dissected and analyzed.
A man who's detached from those lives who watches yet has no part in them but then it begins to unravel, Wiesler begins to connect.
Cold, unemotional and impassive as he listens in more and more he begins to formulate an understanding to the essence and grasp on life that his Government so poorly lacks and has lost.
This evolution in character has rarely been depicted in a film, so well fortunately and miraculously The Lives Of Others succeeds in being a masterpiece that deserves nothing less than five stars in it's depiction.

Jokes, passion, love, laughter are all but frowned upon. Where one thing said out of place against the Socialist Order could be enough to destroy your life. The freedom of speech confined to a long forgotten memory.
Others isn't just a film that shows ideology but a lesson of humanity and compassion, a fierce analysis of it's characters.
As Wiesler sheds a tear listening to the beautiful piano playing of Dreyman he's starting to wake from a nightmare of his own isolation. Followed by a scene with a boy and Wiesler in an elevator, where the boy tells of his father's fear and indifference towards the Government's ways.
Wiesler begins to ask the boy for his fathers name, but alas he falters and fails as he begins to ask. A glimmer of hope for a dying fragile humanity fighting from the deepest recesses of his soul.

The Lives Of Others made me think of so many higher thoughts. If anyone had the audacity to touch my woman in any way i wouldn't hesitate to track them down and destroy them. When a film makes you think of that you know it's powerful in many ways.
It hits all the right buttons and makes me see the constant imperfection looming over the world, yet a faint but improbable tunnelled view of hope remains shining a light into the mirrored complexity of the soul.

Interesting the issue of Suicides classed as ''self Murders'' in Germany in 1977. A selfish yet painful form of the worst depravity: Escape...
Idea's can be powerful motivations and ripples but also highly dangerous, ''Others'' cannot stress this enough.
When we come to the conclusion, it's beautiful, poignant, tragic and heart wrenchingly real, a swan song that echoes and lingers within the very fabric of your being...
Yes the wall has come down, but look deeper...It's not just a physical wall that has broken but one that cannot be seen or touched, but is up here in your head and down here in your heart, and to put a wall on the two constants that drive you is to deny your humanity...