Reviews by Lexi

''Nothing is over! Nothing! You just don't turn it off! It wasn't my war! You asked me, I didn't ask you! And I did what I had to do to win! But somebody wouldn't let us win! And I come back to the world and I see all those maggots at the airport, protesting me, spitting. Calling me baby killer and all kinds of vile crap! Who are they to protest me? Who are they? Unless they've been me and been there and know what the hell they're yelling about!''


Sylvester Stallone: John J. Rambo

Richard Crenna: Col. Samuel Trautman

A mentally unstable Vietnam war vet, John Rambo, when abused with a small town's police force, begins a one man war with it.

Back in the 80's, a film was released, which i was pleased to get to watch recently that would change the way action movies felt.

The film of course is Rambo:First Blood and it made a small time actor called Sylvester Stallone into an action star.

Based on a novel about a disgraced and out of place Vietnam veteran by David Morrell, First blood tells the story of John J. Rambo who returns to America after a torturous tour of duty in Vietnam. His friends are gone, killed in action and he returns to a world where he is treated like an alien or a criminal by the Police force.

He's an outsider and they really don't likeany outsiders. What follows is a brutal and harassing unprovoked attack on John by them.

Finally something snaps inside him and Rambo becomes a one man army who no-one can control. When it comes to the crunch, Rambo has no mercy. he becomes detached and unstoppable, a collosus...

Relentless in his goal he will destroy anything or anyone who gets in his way.

There is a powerful message in First Blood. Rambo is one of the many Vietnam war Veterans (whether fiction or factual) who returned after slugging their guts out fighting a losing battle that was the Vietnam war.
Only to return unappreciated, unwelcome and unheard even ignored.
The ones who lost their limbs or worse for a war no-one cared about. What hell these people must have gone through. I mean it makes you think, What was the whole point of fighting for a country that never cared?
Why bother risking your life and body on the line only to have your neighbour spit back in your face and not give a damn? I have always felt sorry about these unfortunate people since i learnt about the Vietnam war in History lessons from School, it was a horrifying time. The things they did to people doesn't bear thinking about.
So i was feeling for Rambo from the very start. To go through all that and then get the treatment he got from the Police, he just didn't deserve it. He wasn't even hurting anyone for the first half of the movie, THEY were hurting him. I never felt sorry for the cops at all in this film, as far as i was concerned they deserved everything they got. They didn't deserve my pity, they bought it all on themselves. They really made him a vicious one man army so justice was ultimately dished.

First Blood contains great performances from Richard Crenna as Col. Trautman, Brian Dennehy as Sheriff Will Teasle, David Caruso (who found renoun in NYPD Blue and CSI Miami) as a wet behind the ears deputy and of course Sylvester Stallone as the main character who became a hero to Vietnam vets and the American citizens by playing John J. Rambo. First Blood is easily a film that can be watched again and again and will stand it's ground in the seas of time.

That last scene will stay with me forever, it was so powerful between the Colonel and Rambo i couldn't help but get teary eyed...

''Y'know what you are, what you're made of. War is in your blood. When you're pushed, killing's as easy as breathing.''

John Rambo joins a group of mercenaries to venture into war-torn Burma, and rescue a group of Christian aid workers who were kidnapped by the ruthless local infantry unit.

Sylvester Stallone: John Rambo

Julie Benz: Sarah Miller

This is a pure unstoppable action film right from the word go, hugely violent DO not see if you're squeamish...
One of the things i interesting things about it is the fact that there is minimum dialogue in the film, though there is obviously dialogue but nothing all together noteworthy.
But that's a good thing the Rambo character was never really much of a talker anyway, he doesn't need to say much of anything the content is just read in his physicality and facial expressions, making this film at times feel like a silent movie. You can just easily see even from certain things he says that John Rambo is kind of tired, bored, a bit lonely though it doesn't bother him much, still carries those internal post traumatic war scars, but most of all carries an anger within himself. From the world he doesn't like how things have changed and are going but most of all feels frustrated at himself knowing all of his actions in his former mercenary role throughout the years haven't changed anything. You can just see he's a man just waiting for a chance once more to put things right as well as finally find his sense of inner peace and just a home to come back home to. Well at least that's how I saw it. I'll admit despite Rambo's age he can still kick butt, he may have been out of the game for a while but has came back strong.

One of the other things I like about the film is the gritty realism, it makes this film a bit unsettling at times because everything that happens in it actually feels real, making Rambo feel all the more like a character that can exist. From the cinematography which is shot in documentary style makes the envorment and everything that happens in the film feel palpable. The actions scenes are brutally honest, I've seen a lot of violence in certain movies but this one just about takes the cake, we see it as both grotesque but also at least when the good guys wield it beautiful, love it or hate it or both it's what it is. Like when there are certain gun shots bodies get shredded or blown apart literally just a lot of crazy carnage, so word of warning don't eat or drink anything at those scenes if you can't handle it.

''Live for nothing, or die for something.''

The film relies on suspenseful build up before any action is taken. We at first see some scenes where the evil army is doing a lot of senseless awful things like any real corrupt army would. We hate these guys and that's the point, I just know these guys are just asking for it; it made me just wait at certain moments at the edge of my seat thinking Rambo's coming, he's coming any minute now, and when Rambo comes in at the right moment when the situation cuts real close to the edge, I'll just say it feels great and the bad guys get what they deserve.
I'll just say a few of my favorite scenes, one of course is that memorable moment when Rambo is making a Machete before going into action and then is giving a speech to himself sort of a post modern philosophical mantra: "war is in your blood and when your pushed killing is as easy as breathing."
A suspenseful moment when of course there are some villagers that are forced to run in rice patties and some of those evil army men play a sick game with them buy planting a few land mines in them. When the villagers get through alive, we see the bad guys trying to force them to run again. And at the right moment suddenly Rambo pops out and shoots arrows at the evil solders though the head and other vital places. I sincerely heard a bit of cheering when that happened.

''Maybe you've lost your faith in people. But you must still be faithful to something. You must still care about something. Maybe we can't change what is. But trying to save a life isn't wasting your life, is it?''

But of course my favorite moment is in the last half of the film when it leads to probably one of the longest, bloodiest, battle sequences I've ever seen, it's typically total carnage. When Rambo takes a machine gun turret and is just mowing down each and every evil army man coming his way, and I mean they come from everywhere it's literally a continuous almost never ending action.

Well, I've said enough I'll just say it was great seeing John Rambo once again for the last time fighting defending all that is good in his final war and won. I'm going to miss him but in the end of the film I'll just say he finally comes back home.

''You know what you are. What you're made of. War is in your blood. Don't fight it. You didn't kill for your country. You killed for yourself. God's never gonna make that go away. When you're pushed, killing's as easy as breathing.''

''Come back soon.''

''What a terrible thing to say in a hospital.''

Bertram Pincus, is a man whose people skills leave much to be desired. When Pincus dies unexpectedly, but is miraculously revived after seven minutes, he wakes up to discover that he now has the annoying ability to see ghosts.

Ricky Gervais: Bertram Pincus D.D.S.

Well my expectations weren't high on Ghost Town before seeing it. Sometimes I find it hard to get into certain comedies especially US ones. What I got from GT was a massive pleasant surprise that never stops making you smile, laugh and entertained throughout.

Whats clever about GT is the blend of interesting characters, environment and music all thrown together to give us this film which at first you think it's not to be taken seriously, but under all its multitude of layers, there is a recurring message about life and death.
The other area that comes into play is the fact that the main hero, Pincus, a Dentist, dislikes people, they annoy him and he prefers his own company.

''Ooooh..err...No talking!''

The performances in Ghost Town are a treat to watch. Especially Ricky Gervais & Greg Kinnear who steal the show.
Ricky Gervais as Bertram Pincus D.D.S. has some of the best dialogue in GT and rightly so, he's got charisma, he's got acting capabilities, and he's got a sardonic sarcasm that results in belly rumbling laughter. Whether it be Star Dust, Night At The Museum or his series The Office Ricky is bound and already on the course for greatness.
We see his character, a dentist who's only looking out for himself at first, who undergoes a procedure at Hospital, which results in him being dead for 7 minutes.
However after this altering experience he has the ability to see the deceased. Everywhere and anywhere. Much to his annoyance, Bertram hated living people let alone dead ones too contacting him.
So when he's faced with a mob of Ghost people following him home like some Zombie hordes staggering after him, he meets another pivotal character that will link him to a lady in his apartment building.
Greg Kinnear as Frank Herlihy is this character. He fits the role of a recently deceased guy who's trying to get rid of his wife's new fiancée, with the help of Bertram. Greg always seems to be electric when it comes to these types of films. As Good As It Gets, Little Miss Sunshine instantly come to mind, now Ghost Town shows what a charismatic feel good yet serious in places, actor he really is.
Needless to say as Ghost Town progresses so does the complications and plot details, which have a new perspective and spin on proceedings.
I must also mention Téa Leoni as Gwen, the love interest and lady on the scene. Who ironically plays an Archaeologist, and Gervais & Leoni have a fair few funny scenes including one with a mummy, one with a huge dog and another with the duo and her new fiancée.
GT is ripe with a supporting cast chock-full of recognizable faces, Alan Ruck and Bill Campbell are both fleeting presences, while Kristen Wiig repeats the Knocked Up process.
What I also noticed was Aasif Mandvi as Dr. Prashar, who I recognized from Spider-Man 2, took me a few minutes to realize he's that Pizza guy from the beginning of SM2.

''Sorry you babbling idiot can we talk about my bowels?''

So Ghost Town ultimately results in not just being a comedy or supernatural tale but one of romance and love also. One where it will proceed to make you laugh over and over until your cheeks hurt from too much.

The script and plot is fairly well conceived for this type of genre film, it even elevates further into an evolved state of mind, as plot threads are tied together towards the climax. Pincus becomes more human, Leoni finds inner peace, and the dead pass on to heaven/afterlife just like other Ghost Type flicks The Sixth Sense, Ghost, Hearts & Souls...
Director David Koepp has created a comedy satire that just works for all the right reasons and has a warm heart that also warms us the audience to it's meaningful conclusion. Koepp's last offering Stir Of Echoes was deeply insightful, while Ghost Town does it in a light and breezy fashion, it also shows Koepp has a sense of humour and can do comedy.

So overall Ghost Town is a feel good movie that isn't one to be taken so seriously like a few pro critics have, and just to sit down and appreciate it for what it is. A light refreshing comedy that isn't too serious, thats designed to make you laugh, not designed to be an explanation of what happens when we die. We all have an imagination surely to come to our own conclusions to that effect.

''I've got a very sensitive gag reflex...''

''I grew up in Dublin, and I love Dublin. If I had grown up on a farm, and was retarded, Bruges might impress me. But I didn't, so it doesn't.''

Sent to and staying In Bruges, Belgium after a difficult job, two hit men reconcile with each other after a Job in the past goes wrong. Things get complicated as their boss gives the call for his latest order...

Colin Farrell: Ray

Brendan Gleeson: Ken

Ralph Fiennes: Harry

May I start by saying In Bruges is the best black comedy from the British Isles this year currently, which is like our equivalent of Kiss, Kiss, Bang, Bang except In Brudges mixes that with emotion, shocking events that transpire and a level of Drama that can only be pulled off by English/UK actors.



Ralph Fiennes as Harry doesn't even appear till the 2nd act and before he's even on screen, his letter, his phone call elevate the film into the stratosphere and beyond injecting a demented dark humour thats already present in the mix. His London accent and his teeth! Two things that instantly prove to me what a chameleon Ralph truly is and definitely a talent for playing a villain as well as a hero in films. He's a pleasure to watch in this, his character Harry(Ironic i know) makes his Lord Voldemort in the Potter series seem abit of a pussy.

Colin Farrell as the troubled protagonist Ray who wants to go out drinking and merry making, as the story goes on we found out a terrible revelation that will shock and cause emotion involving a priest and a boy.
His one liner's will crack a smile out of audiences, his Irish tones made me feel at home right away.

Brendan Gleeson as Ken also deserves a mention for his thoughtful depiction of a character who has a love of history, moralistic and also a good sparring partner for Colin cracking jokes that appeal to your dark side.

A Midget, Prostitutes, a fight in a restaurant, Ray annoying Ken with his light turning on antics as he returns home late, Harry having a elevated fit of rage in front of his family, an explosive conclusion of shoot out proportions and piano playing accompaniment that is a refreshing add to all the chaotic happenings...What more could you want to fulfill all that you desire in a film.

In Bruges ends the best way a film heaven doth allow, which is it doesn't really have an end, it leaves it up to your imagination to conclude what happens...

''There's a Christmas tree somewhere in London with a bunch presents underneath it that'll never be opened. And I thought, if I survive all of this, I'd go to that house, apologize to the mother there, and accept whatever punishment she chose for me: prison, death. Didn't matter. Because at least in prison and at least in death, you know, I wouldn't be in fuckin' Bruges. But then, like a flash, it came to me. And I realized, fuck man, maybe that's what hell is: the entire rest of eternity spent in fuckin' Bruges. And I really, really hoped I wouldn't die. I really, really hoped I wouldn't die.''

''First love is alright as far as it goes, last love that's what I'm interested in.''


Two feisty, free-spirited women are connected by the brilliant, charismatic poet who loves them both.

Keira Knightley: Vera Phillips

Sienna Miller: Caitlin MacNamara

The Edge Of Love obviously is a drama set in the mist of World War 2 in London and the beautiful Welsch Countryside. You could say Edge of Love is in the same style of Atonement.
I found it hugely amusing that Keira Kinghtley now has a love interest in the guise of Irish actor Cillian Murphy's William Killick, whereas in Atonement it was Scottish James McAvoy.

Anyway back to Edge of Love and the scenario that comes into light. We have Dylan Thomas played by Matthew Rhys who I don't recollect seeing before, we have his wife Caitlin portrayed by Sienna Miller then we have Keira Knightley who is Vera Phillips a childhood flame from Dylan's past.

Let's face it the plot isn't exactly original we have all seen films which give us a love triangle scenario. But Edge of Love does it in a way that makes the journey compelling to watch. Into this trio's life quite soon emerges William Killick, who is played by Cillian Murphy as I mentioned, who falls for Vera and becomes involved with her having the obvious advantage over Dylan in the fact he is unmarried. What transpires is a drama that involves William going off to war only for Dylan and Vera to have a rekindling of their childhood love. Edge of Love is a WW2 drama piece that shows electrifying performances from all players.

Whether it be Sienna Miller's out going do what she likes Caitlin or Keira's faceted dimensional Vera it's wonderfully depicted.
Edge of Love also shows a friendship between these two and a bond that in essence shows the delicate intricacies of the female and their reaction toward each other.
The chemistry I felt was stronger even than that of Cillian Murphy & Keira especially the last scenes where the two leads totally grasp emotion and flair not just in their words but in their eyes too which to me is and was beautiful.
Dylan was a character who was interesting but I tended to dislike for the movie due to his surprisingly selfish choices and arrogant ways. Misusing his poet skills for a cowardly way out of War and ending up with no money or determination to do the right thing even in a grueling court case in which he should of not done what he did.
Cillian Murphy also has some powerful scenes near the latter part of how the War has effected him and how if pushed, how easy it is to just snap and be forced into violent and retaliative action.

Keira and Sienna also pull off and attempt to muster Welsh accents which was very amusing to hear them do. In my opinion Keira had a more profound performance and beauty due to her stylized, colourful life depicted of her in the Underground singing for the people as the bombs are being dropped above.

The costumes, uses of footage back in the day, locations, the casual, frequent smoking by all the characters and the effective props all help capture the feel and quality of the period.
Edge of Love gives us a story that really shows an array of people and how their lives are ultimately effected by one another, in this regard it succeeds in it's detailed emotional study of love, loss and newfound aspects of life.

Robbie Turner: [voiceover] Dearest Cecilia, the story can resume. The one I had been planning on that evening walk. I can become again the man who once crossed the surrey park at dusk, in my best suit, swaggering on the promise of life. The man who, with the clarity of passion, made love to you in the library. The story can resume. I will return. Find you, love you, marry you and live without shame.


James Mcavoy: Robbie Turner

Keira Knightley: Cecilia Tallis

Saoirse Ronan: Briony Tallis(aged 13)

Romola Garai: Briony(aged 18)

Vanessa Redgrave: Older Briony

Fledgling writer Briony Tallis, as a 13-year-old, irrevocably changes the course of several lives when she accuses her older sister's lover of a crime he did not commit.
Based on the English novel by Ian McEwan.

A typical tragic, turbulent poignant love story that is augmented by a very well thought out story and technical and cinematic expertise in directing, editing and cinematography. Joe Wright captures it's edge.

If the audience did not read the book they might feel it is about a doomed love and how the lovers' would attempt to find each other after being forcefully parted, however, the story evolves, into a tale about the guilt and remorse of the one who disrupted the lovers' love and happiness. Her own naivety, immaturity, fear, and disappointment with her own attempts and wishes for passion, lead her to doom the happiness of the lovers and eventually severely regret her own actions.

There are some breath-taking scenes of grand proportions like the soldiers on the beach, the bustling towns, the gorgeous countryside. Costumes were perfect, as was the whole feel of the film. The soundtrack and piano playing tingling to the senses.

The progressive time-line is not linear. Futures occurrences happen before the past, a flipping back and forth, sometimes with a difference of several years other times only several minutes apart. This gave the movie an interesting perspective and made it more artistically enjoyable yet clear since flipping back and showing what lead up to the crucial occurrence clarified the plot. Also was good to see from firstly the couples viewpoint as well as the little girl.

Being a little slow, epic, and overly sentimental it will arouse romantics and annoy pragmatics.
The ending is heartfelt, heart wrenching and sentimental as she does what she can (incorporating into her life) to atone for her past act of a rippling mistake and indiscretion.

''...I want to play a game. Right now, you are feeling helpless. This is the same helplessness you bestowed onto others. But now, it's unto you. Some would call this karma, I call it justice...''

A detective who seems to be the last person alive to carry on the Jigsaw legacy must now work his way to protect his identity before it is revealed.

Tobin Bell: Jigsaw / John

''Today, five people will become one, with the goal of surviving.''

The SAW franchise starts up again in this fifth installment, what I expected from SAW V was an equation of parts that ultimately offered something fresh and new to all the other chapters. What I actually got from the whole experience wasn't a enlightened twist at it's end like SAW, nor a range of multiple characters all pieced together like SAW II. It wasn't a dysfunctional family man's torment followed by more revelations and trials like SAW III offered. Nor a jumble of inspiring confusion like SAW IV.
What I actually got from the whole affair was that each future installment takes the whole film to explain the previous film, but this is where this installment ultimately fails.

We the Audience aren't treated to more gore, or even better traps, devices and ways that shock us the viewers. In essence SAW is supposed to be psychological also...So where I ask is the thinking material? Where is the twists and belated answers?
What we get is a mess, more questions, more excuses for back tracking and pointless flashbacks which make the whole franchise start to appear faded. It's resulted in a good cop bad cop routine where Jigsaw isn't even in the equation anymore.

''He was supposed to be the hero.''

We are indeed treated to more people we don't have a clue about, trapped in a similar predicament to SAW II's set up. Only problem is we can't actually feel sorry for them when they have no redeeming qualities.

The opening cracker of a trap that sets the ball rolling for SAW V also isn't shocking enough. We expect something to top off the previous film and for me it just doesn't cut it, pardon the pun. Either increased gore or increased puzzlement/twists required, for a film about a anti-hero of sorts called Jigsaw it seems to be missing it's vital pieces. Where the vital piece seems to be the Director's ability to hold his creation together. David Hackl seems to have waltzed onto this project and not actually looked at the other pieces properly, it's meant to be better not gradually declining in quality.

The cast also seems to be detached from each other.
Tobin Bell as Jigsaw is having a ball with his iconic Jigsaw, who must be having a a bellowing chuckle at home with his flashbacks. I mean a character who's been dead for the duration of 2 films already still has the main chunk to do here. It's like Jigsaw is always trying to be explained in each film we see, it's like the makers don't seem to realize, we get it already. So let's get that message across, he doesn't kill people, he sets a trap to test people then if they fail they die, if not then they are rehabilitated. I'm surprised some places haven't adopted Jigsaw's legacy into a law format already, which cannot be denied, there are indeed gaps in the law and loop holes in the system. When Tobin Bell says this as Jigsaw, thanks to his manipulative nature and disposition, you can believe what he's saying. You can even relate to his cause on some levels. Although this has been done in detail through all 5 chapters, how many times does it take?
Scott Patterson as Agent Strahm, is the main character, who opposes the new nemesis in town, but as with all the films the supposed hero never fares well in a SAW film.
Costas Mandylor as Mark Hoffman, seems to have his actions and meeting with Jigsaw explained in detail for all those who wondered why he did what he did in SAW IV. He's a character like Jigsaw we can sympathize with, yet also at the same time condemn his choices and actions.
So we find he's had bad luck with the system of laws and convictions when we find out that his sister was killed and her murderer only sentenced to five years because of a technicality. We already see just from this he's going to have a connection and seduction to Jigsaw's way of seeking justice.
All the other people involved in his game, which apart from a lady getting her head chopped off and a man getting blown apart which amused, didn't really impress me much. The cast ultimately are B Grade more at home at some late night television slot.
Amusingly also five people, five more excuses to have some formulated reason onto how these individuals are connected to each other, and five being the number of SAW films now. They think it's clever doing this...It's not.

''A technicality gave you freedom, but it inhibited you from understanding the impact of taking a life.''

This SAW V results also in the most boring installment of all of them. I felt compelled to yawn repeatedly half way in due to the fact there wasn't enough going on to engage my brain. Long gone is the compelling kills and back stabbing, who's done this and that but more of a festering game of cat and mouse that never achieves substance. Even SAW IV had a lightening pace at times, while SAW III had truck loads of gore and aggression. This one seems to be like a snail on a hot day then suddenly it pours down and the film can't wait to end. The ending is meant to be the highlight yet it is for all the wrong reasons. The resulting climax is a baffling affair that just stops without letting anything sink in or linger but leaving an empty disappointed feeling of regret. I honestly couldn't believe it.

If there is to be a SAW VI which I hope there isn't, unless there is a major change in story development or a new path of conjecture for plot contrivances, there really needs to be a point of stopping. The issue being that each sequel cannot be another explanation of what happened before. Because I'm now at the point I don't care what's in Jigsaw's box, I don't get care if the new guy carries on testing people, and I certainly am past the point of wanting anyone to stop him. But saying that maybe someone needs to or it's going to be a never ending snooze fest of repetition.

So overall SAW V has peaks of interest on a few scenes but overall it's nothing new and nothing to puzzle over. Jigsaw will quite literally be turning in his grave...

''I am the man you call Jigsaw.''

''A boy's best friend is his mother.''

A young woman steals $40,000 from her employer's client, and subsequently encounters a young motel proprietor too long under the domination of his mother.

Anthony Perkins: Norman Bates

Janet Leigh: Marion Crane

Throughout his life, illustrious director Alfred Hitchcock thrilled and captivated audiences everywhere, but never before or since as well as he did with the psychological chiller, Psycho. Introducing the cinematic world to an eccentric loner named Norman Bates.



Fifty years later even in an age of fading, worn out sensibilities, graphic horror and the likes of psychological Silence of the Lambs and American Psycho; Hitchcock's masterpiece Psycho remains, even after repeated viewings, truly frightening and intrinsically disturbing.
For Psycho unlike a cheap blood-and-gore routine, actually has a philosophy of life to go along with all its horrors and dramatics. In the world of film and sin, such as Marion's stealing her employers client's money; will always be followed by repercussions in Karmic cosmic ways.
The long conversation between Norman and Marion over dinner probes some pretty serious psychological depths and ideologies. "We're all caught in our private traps," says Norman, and the movie illustrates how first Marion, then Norman, becomes trapped. What is most shocking about Norman is how pitiable he results in being; especially when compared with the villains of alternative horror movies.

Psycho also undeniably has one of the most famous scenes in the history of cinema, the genius and illusion soaked sequence, yes you've guessed it...''The Shower Scene''.
The shower in question is in the Bates motel, run by Norman Bates, and his mysterious mother. Even in modern times, if someone looks strange, many still make comparisons to the hermit like Norman Bates.
If someone has a clingy or moaning, temper induced mother, many a Norman Bates reference is implied. Psycho has become tattooed and injected into modern culture thus becoming a glowing household name of sorts.
Why?...because the film was and still is a milestone of unmeasured significance, not just of splatter and gore, but of cinematic effects and technique. Psycho is, all at the same time, smooth, mesmerizing yet frightfully terrifying. It is a textbook example of how to captivate an audience, and then shock them right up until and during it's climax.

''A hobby should pass the time, not fill it.''

Psycho in effect was essentially a totally new way of writing a plot, and manipulating threads of a story. The supposed lead heroine is killed early on in a bizarre shocking twist of fate and events, a replacement protagonist suffers a similar twist of fate, and all the audience are then left with are the utterly desperate and confused Lila Crane(sister) and Sam Loomis(boyfriend), who have only their fears and assumptions to propel them to the damning answers they seek. We the audience connect to them if only for a glimmer of a moment, because we know that Norman's mother murdered Marion Crane.....or so Hitchcock leads us to believe.



Psycho only runs for around an hour and a half, but that is all that is required for one of the greatest psychological horror/thrillers to be born. Not one scene is wasted on being a space to fill in, every scene serves a purpose, remains powerful, and in effect, extremely economical.
Even though Psycho was made on a relatively low budget, having Hitchcock behind the camera makes for lots of subtly effective shots, images, motifs, etc. He orchestrates two frightening death scenes, a suspenseful beginning that fools you into thinking that Marion is the protagonist, and a quietly chilling conclusion. Bernard Herrmann's score really is as good as everyone says; and not only the shrieking violins during the famous shower scene or title sequence. In particular the scene where Marion is debating whether to steal the money; thus the music mirrors her indecisiveness.
Pace is startlingly quick when required, yet at times also slow and hypnotic when emotion and fear need to be emphasized.
The long scene as Norman Bates cleans up the murder scene serves as a haunting reminder to what just occurred, letting us the audience soak it up like a sponge.
The script is well conceived and written obviously, with some flourishing dialogue that even overshadows some wooden acting from John Gavin.
Cinematography is brilliant, with great use of lighting and shadows. And, of course, the directing is just simply cutting edge, even for today. Anthony Perkins does a perfectly chilling job as the psychotic Norman Bates, and Martin Balsam is a completely natural private eye. Famously, to complement these ground-breaking plot twists, are the chilling and perfectly executed murder scenes.

Two things overall in Psycho as mentioned prior. One is that harsh, driving Bernard Herrmann score which fits the mood of the film so well. The other is Hitchcock's direction and his use of black-and-white photography to convey a threatening mood. He said that he used black-and-white to make the film less gory, in fact, it seems far more eerie and frightening than a colour version ever could.
It's easy to take Psycho for granted now, it has been imitated so many times in so many ways by far lesser talents. Indeed, it's one negative is that it inspired so many pale imitations, including its own three sequels and a very bad remake. Yet even so, Psycho remains a one and only original carbon print. Its iconic status can't be denied or criticized; Psycho redefined the concepts of what a Hitchcock film was and what a horror film could be.

''You know what I think? I think that we're all in our private traps, clamped in them, and none of us can ever get out. We scratch and we claw, but only at the air, only at each other, and for all of it, we never budge an inch.''

''Disobey, and you die.''

Jerry and Rachel are two strangers thrown together by a mysterious phone call from a woman they have never met. Threatening their lives and family, she pushes Jerry and Rachel into a series of increasingly dangerous situations, using the technology of everyday life to track and control their every move.

Shia LaBeouf: Jerry Shaw

Michelle Monaghan: Rachel Holloman

Let's start my review by saying Eagle Eye isn't that original, it's been done before and it's got one of those plots you can predict and guess before events transpire. I know I certainly could determine what in fact was going to happen.

Does this stop Eagle Eye from being thrilling, action-packed, tense and a thrill ride of mass proportions that never slows down? You bet your socks it doesn't stop one thing, and Eagle Eye results in one of the sleeper hits of 2008. It's a film that could be ripped apart by critics if looked upon negatively, but I'd say to them that they may have missed the tantalizing action and chases which for me make the film.
Eagle Eye is the best form of entertainment and the one thing this type of film excels in cinema viewing. The blaring sound, fast pacing and crazy shoot outs and action all equal a tour de force in the blockbuster stakes.

''We are everywhere.''

Granted the plot of Eagle Eye resembles Matrix mixed with I,Robot then throw in Terminator or anything A.I.related and that pretty much sums up the originality and predictability of the equation. I also like the way the film aims and hits certain points on how loop holes can exist in constitutions or laws, and that the advancement and use of A.I. combined with technology and control can result in our downfall as a species. Which begs the question do we learn from all these books and films that warn us of this impending doom? The answer I like to come up with is it does and it doesn't. Like trying to solve global warming or a financial depression, or even fuel inflation prices, the only way these problems like the first one, get resolved are when the actual problem becomes so close to destruction, that people have to notice. Which is often the crucial point where it's hard to cure the said problem.

Eagle Eye shows us an Enemy of the State kind of world, one in which we are living in here and now. The problem is that whether it be corrupt people with their own agendas or a computer intelligence hell bent on correcting us, it's one issue of Control...

''If you're staring at me, it better be because I'm the suspect. If not, get back to work or I swear you're all demoted to something that involves touching shit with your hands!''

The casting of Eagle Eye is a pretty tight ship.
We have likable young Shia LaBeouf as Jerry Shaw, the troubled and seemingly every day man who's the unlikely Hero of the story. We have Michelle Monaghan as Rachel Holloman as the female heroine, who also excels alongside Shia.
Then we have veterans and class Actors like Rosario Dawson, Michael Chiklis and Billy Bob Thornton as a Agent Thomas Morgan. Never would of thought of Billy Bob as a Special Agent but he seems to pull off the role with an array of positive results.

We have a thrilling soundtrack, clever camera work and you actually feel like you're on the run with the heroes thanks to CCTV footage, monitoring Cameras and surveillance Technology, which makes proceedings even more thrilling and heart ravishingly intoxicating.

A chase involving a plane through a tunnel, a huge orb room and a beginning which puts a whole new perspective on terrorism, cultures and religions and ways of the Eastern World clashing with Western values. Showing that not all decisions the US Army, US Air force or the US Government make are correct. All of this assert and cement Eagle Eye as not being a thriller chase movie but one with an underlining deeper message about our world we live in and the growing factors that need addressing.

Overall Eagle Eye is like Enemy Of the State 2 with a Terminator Sky-Net plot thrown in for good measure. A plot that you can work out easily as mentioned and tense thrilling chases that never stop until you finish the film's formula 1 game of cat and mouse.

''Do you think she can derail a train?''
She got hundreds of fire arms into my apartment, she added $750,000 to my bank account, she helped me escape from a high security holding in the FBI in a way I'm not even going to try to explain because it sounds so crazy, and she called the phone of a stranger sitting next to me on a bus, I'd never even seen the guy before in my life. Yeah, I'm pretty sure she can derail a train. She could turn a train into a talking duck if she wanted to.''

''Curve the bullet...Shoot the target!''

"Wanted" tells the tale of one apathetic nobody's transformation into an unparalleled enforcer of justice...

James McAvoy: Wesley Gibson

Morgan Freeman: Sloan

Angelina Jolie: Fox

''Welcome... to the Fraternity. This gun you're holding belonged to your father; he could conduct a symphony orchestra with it.''

Well what can I say about Wanted? I can start by saying it's one of the most adult, graphic novel adaptation's of brutal execution that is bordering, seaming even, with fast paced drool worthy action sequences and over the top violence.



Think Matrix or a kick ass shoot out film like Shoot em Up or Equilibrium but with a hell of alot more guns, even more tantalizing possibilities and skillfully defined plot twists.
Mark Millar's graphic novel is brought to life by visionary Director Timur Bekmambetov, who did Night Watch and Day Watch.
Might I say the music also on this, which is very important to me in a film, was sheer perfection that really made the scenes totally seeped in adrenaline.
I don't know why but Danny Elfman musical tastes always appeal to me, he does a more unorthodox approach with Wanted which pays off in spades.
The theme of Wanted is all about taking charge of your life and making your own choices, something that the very premise of the first hour of the film both adheres to and contradicts. Rather than analyze it here (and waste time arguing the pleasantly mad logic of a movie where bullets bend stylishly), I'll leave that to the people who inevitably will, assuming the bullet-fu and gore don't completely captivate them (and they should). Wanted IS violent, truly, and yet it doesn't strive to turn every frame into a gory, action-packed orgasm. The film handles it with grace and a style I sorely wish more action movies took into consideration.

''Kill one, maybe save a thousand.''

The three main stars James McAvoy, Angelina Jolie who is strangely gaunt but beautiful still, and Morgan Freeman shine bright in this, giving professional believable performances as skilled assassins. The former McAvoy who plays Wesley is the perfect transition from a nervous medication taking accountant unaware of his destiny, to a honed, skillful bullet curving assassin. A particular scene where he stands up to a fat bitchy woman at work and his so called friend who's sleeping with his Girlfriend is a total pleasure to watch.
Also pleased to see Thomas Kretschmann as Cross who has more to him than meets the eye, and Terence Stamp as Pekwarsky shows some older class.
Wanted utilizes incredible special effects, a cast of very talented actors, and a storyline that keeps the audience interested just enough, without detracting from a constant pace of spectacular action. Wanted will not win any Oscars, but it accomplished what it set out to do: entertain and be fun. You might need to be in the right mood, or even with the right crowd, to enjoy this the way it was intended to be.

Wesley: [yelling to Janice] Shut the fuck up!
[the office grows quiet]
Wesley: [to co-workers] She has one single iota of tenuous power. She thinks she can push everyone around.
[grabs Janice's stapler]
Wesley: You don't need this.
[throws stapler into the wall of his cubicle]
Wesley: I understand. Junior high must've been kind of tough, but it doesn't give you the right to treat your workers like horseshit, Janice. I know we laugh at you, Janice. We all know you keep a stash of jelly donuts in the top drawer of your desk.
[crouches down]
Wesley: But I want you to know, if you weren't such a bitch, we'd feel sorry for you. I do feel sorry for you. But as it stands, the way you behave - I feel I can speak for the entire office when I tell you... go fuck yourself.

This Wanted is exactly what you are looking for. It requires a minor suspension of belief(curving bullets around objects to hit targets on the other side), but if you enjoyed titles like Fight Club(which is far more intellectually stimulating, but nonetheless an action flick), Shoot 'Em Up, Crank, and Smokin' Aces(which Common was in, too) then there is no foreseeable reason why you should not enjoy this delightful action-fest that can slap a smirk on your face in even the most violent moments. I imagine it is an incredibly difficult task to construct a scene where everyone in the audience can gleefully smile as they witness people getting their brains blown out. What's more, I got the vibe that the audience did not feel sadistic while witnessing such scenes, instead many therein chuckling under their breath, if not laughing.

''My father was wrong about one thing. Everything they told me wasn't a lie. They taught me how to kill, how to feel no pain, and most importantly, that every job has a perfect weapon. Well *I'm* the perfect weapon. And I'm supposed to run? I've been doing that my entire life. So I say no. I say kill them all and let fate sort out the mess.''

Be it the amazing car chase or epic battle on a fast moving train or that last showdown with an array of rats blowing up and substantial killing by Wesley as he tries to shoot his way to Sloan.
You think you know who the villains are or that it will consist of a simple plot, you don't have a clue, Wanted turns us upside down along side it.

Wanted appeals to the dark side of my humour and the ending and conclusion had me smiling and feeling inspired. Wanted may use decoys pardon the pun but it ends up being a full blown tour de force in it's own right.
Wanted stands up as an action packed Blockbusting Shoot out masterpiece.

Wesley: [narrating] Six weeks ago I was ordinary and pathetic, just like you. Who am I now? Account manager? Assassin? Just another tool who was mind-fucked into killing his father. I am all of these. I am none of these. Who am I now? This is not me fulfilling my destiny. This is not me following in my father's footsteps. This is definitely not me saving the world.
Sloan: Still trying to figure out who you are?
Wesley: [narrating] This is not me... this is just a motherfucking decoy.
Sloan: [guy in cubicle turns and looks down; Sloan, realizing his error, looks down to an X made of post-it notes on the floor] Oh, fuck.
Wesley: [narrating] This *is* me taking control; from Sloan, from the fraternity, from Janice, billing reports, ergonomic keyboards, from cheating girlfriends and sack of shit best friends. This is me taking back control of my life.

''What the fuck have you done lately?''