Reviews by Lexi

''You don't care about me, all you ever wanted was my sister!''

Based on Evelyn Waugh's 1945 classic British novel, Brideshead Revisited is a poignant story of forbidden love and the loss of innocence set in England prior to the Second World War.

Matthew Goode: Charles Ryder

Brideshead Revisited is another period drama offering, this time from Director Julian Jarrold. Having never watched or experienced the series I came into the film from the trailers with a heightened interest of wonderment.
Was expecting to be either really disappointed or really impressed. Thankfully with Brideshead Revisited it results in the latter of the two.

Wonderfully it begins where it ends and we experience this wonderful life of a certain man, Charles Ryder and his entanglement with the Flyte Family.
The times and era is displayed perfectively throughout the film and it provides bedazzlement and awe throughout.

''I want to look back and say that I didn't turn my back, that I was happy.''

There are some beautiful locations and costumes on offer in Brideshead, not to mention stunning locations which include Morocco and Venice. In fact the only thing that matches the quality of the scenery is the music and respective array of casting.

We have some fine performances on offer here.
Matthew Goode is Charles Ryder, and he's a handsome, artistic, talented young man who wants to become a painter. Goode's acting is a bold effort that succeeds in being both believable and effective. With more power comes the lust for more and this is conveyed wonderfully as the drama unfolds.
Hayley Atwell as Julia Flyte again shows a penchant for Period films since her recent Duchess days and shows us a new and intriguing period.
Ben Whishaw as Sebastian Flyte also shows he's got a knack for Period dramas, I loved him in Perfume and he was reasonably good in Layer Cake etc...
Whishaw single-handedly kills two birds in one stone, acting as a fresh character who's both homosexual and an alcoholic. A very impressive feat, yet he's not the biggest chain of the story just a vital part of it to begin with.
Other old hands like Emma Thompson & Michael Gambon give quality solid acting performances as you'd expect from these veterans of the screen.

''You banish me from your house, you poison my friendship with both your children...''

There's some nice twists and turns here on offer and some fine complex relationship triangles on display. Ryder's lust for more and what he wants inevitably always ends up backfiring thus leaving us enthralled by the nature of his ambitions and greed.
From an artists opinion there's alot of eye candy here that's equally jaw dropping. Ranging from statues, windows to mosaics and church implements that beg to be drawn and studied.

Overall, Brideshead Revisited is one of those films you may ask at the end of it what the point is, So I will ask that. What was the point? Well to me the point is this, and thats the wonderful journey and experience we the audience have just witnessed. It's a blessing to see such characters being brought to life, and it gives me an incentive to read Evelyn Waugh's 1945 Novel.

''What does Charles Ryder really want?''

''We're navigators, we're aviators, eatin' taters, masturbatin' alligators, bombardiers, we got no fears, won't shed no tears, we're pushin' the frontiers of transcendental perception.''

The music of the Beatles and the Vietnam War form the backdrop for the romance between an upper-class American girl and a poor Liverpudlian artist.

Evan Rachel Wood: Lucy

Jim Sturgess: Jude

''All you need is love,
All you need is love!
Love is all you need!''

The musical surreal wonder that is Across the Universe is truly a vision to behold. I don't think I've seen anything this artistic, visual, and musically vibrant in a long time. The Beatles songs used to knit the Movie together really give Across the Universe an edge and power that retains it's glow long after it finishes.
There's some jaw dropping sequences ranging from an underwater love scene of sorts, a stab at the army in another, and a bizarre Circus ordeal.



The imagery really does the film justice and the imagination at work here is limitless inspiration. This is a visionary piece of work which I've noticed has recieved mixed opinions on. People that didn't like it say it's musical film is hard to grasp or it's jumbled up, if the term boring old fart summarizes these people then I give it with all due respect. Across the Universe is not just a resolute tale of love but one of ideals, Wartime and its effects, friendships, sexuality, and the wonders of youth.

''Music's the only thing that makes sense anymore, man. Play it loud enough, it keeps the demons away.''

Performances really are a mixture of singing and acting, a mixture of talent and choreographed dancing and synchronized harmonic groups of extras.
Jim Sturgess and Evan Rachel Wood are simply amazing as the young lovers who become separated by the threads of fate.
Joe Anderson as Max Carrigan also does an amazing job at providing a detailed friend of Judes and a guy who has to go off to war in Vietnam.
Two really awesome people provide two of the weirdest yet funky characters within Across the Universe. The two in the light are Bono as Dr Robert & Eddie Izzard as Mr Kite. Their respective parts and scenes are surreal as well as deep coursing with subliminal messages and visual treats.

I could go on and on with characters, but will quickly mention a few others who were memorable and effective. T.V Carpio as Prudence was fascinating, as was Dana Fuchs as the singer Sadie. All the characters, not just the main two are studied and their equations, aspects and views on love are explored.

''I would lay in front of a tank if it would bring Max back and end this war.''

''Yeah, it wouldn't.''

So great music, a historical impact, and an alternative musical which results in an artistic concoction not just musically but visually.
Poor boy meets rich girl, it's an old story which never gets boring or less fascinating the more times it's done and Across the Universe even does it in a unique new way of its own.

Director Julie Taymor succeeds in making a hit from my vantage point. Also showing me that a few more female Directors may actually result in some better films being made, due to a level of detail and a different view that comes across resulting in a glorified masterpiece of sorts thats like watching a flower bloom in the first rays of dawn.

In conclusion, Across the Universe manages to capture the feel of the 1960s, succeeds in telling a love story, achieves a different mode of story telling that really should be tried and emulated more often. An artistic musical vision that I definitely will watch over and over, and a sure thing is I can be inspired by from the very word go.

''All you need is love.''

''I did a stupid, stupid thing. But it was only because I thought spoiling your day was better than ruining your life. Does that make any sense? ''

Five years after jilting his pregnant fiancée on their wedding day, out-of-shape Dennis decides to run a marathon to win her back.

Simon Pegg: Dennis Doyle

Director David Swhimmer emphasizes the fact that Run, Fat boy Run is a great British Comedy and proceeds to capitalize on all the factors that make a successful one. Granted it's got what counts in the laugh stakes, plot is a totally different spin for a change yet has that sparkle of main Hero, failing at the beginning. Said failure involving him leaving pregnant partner at the alter, then the movie progresses he has to redeem himself. Run, Fatboy, Run cleverly regurgitates a hit formula and hits a dazzling strike in the right direction.

Granted Run, Fatboy, Run isn't quite in the same league as Edgar Wright's Hot Fuzz & Shaun of the Dead but it's almost there. For a change Simon Pegg goes rogue working with a different blend of comedy writers, and he shows he still has what it takes.

''Go on then, run!''

''Isn't there some kind of like... special technique?''

''Well... yeah... you put one leg in front of the other over and over again really really fast.''

One of the great things about Run, Fatboy, Run is the comical performances and characters.
Thandie Newton as Elizabeth Olivia 'Libby' Odell shows a light and breezy woman, who seems to be picking some great English movies to be in, like RocknRolla recently. Her Elizabeth is sweet and motherly, kind and resolute, Thandie displays these qualities well.
Hank Azaria as Whit, the American new man in Elizabeth's life and a new rival for her affections, putting Dennis to the task of winning her back.
Dylan Moran as Gordon, reunites with Pegg after their collaboration performances on Shaun of the Dead. Their chemistry on screen as usual shines bright and theres even a comical fight scene between them accompanied by a Kaiser Chiefs song.
Harish Patel as Mr. Goshdashtidar is a priceless character too, who gives some funny lines and delivers laughs aplenty.
Even David Walliams pops up in the Bun Shop, giving some memories of Little Britain into the sketch.

''The only serious relationship I've been in ended in a broken collarbone and a dead meerkat.''

The soundtrack is absolutely addictive and the structuring of Run, Fatboy, Run's plot speeds along at a quick yet leisurely pace.
When we actually get to the Marathon Race we are having a ball of a time. The laughs keep coming in thick and thin, also supplying to an extent electric Drama and moderate acting. Run, Fatboy, Run succeeds in being a feel good comedic film thats not to be taken to seriously and just to be enjoyed, experienced and washed along with the flow.

''I can lose weight... but you'll always be an arsehole!''

In retrospective and in conclusion with such a colourful story line, Run, Fat Boy, relying on Pegg's reputation to pull in audiences and viewers. I suspect that many devotees may be occasional Comedy lovers who simply demand something light and relatively untaxing. Pegg has the natural ability to make a futile chase after stolen women's underwear funny. When he seems to be rubbing himself off against a shop mannequin it could be a pathetic or a blunt sketch in any other hands, but his wide-eyed bemusing expression and fast pacing move us from one joke to the next before we have time to analyse.
I love the British nature of this, the good guy and his basic life, it's not flashy or self indulged, or Hollywood-ised.
It's just a simple story with comedy stars doing silly things and making us laugh, a perfect equation that results in a positive result.

''Oh, yeah! Yes, I like it! Run, fatboy, run!''

''He not only gets inside me, he worms his way into my heart like a snake. Deeper. All the way in. I take him in like a slave. I play my part faithfully so I, too, can get to his heart...''

An espionage thriller set in WWII-era Shanghai, in which a young woman, Wang Jiazhi, gets swept up in a dangerous game of emotional intrigue with a powerful political figure, Mr. Yee.

Tony Leung Chiu Wai: Mr. Yee

Wei Tang: Wong Chia Chi / Mak Tai Tai

Ang Lee once again proves what a visionary Director he is, showing attention to detail in every shred of material examined. Lust, Caution is another offering from the masterful Lee which dazzles, entrance's, shocks and has you glued to the screen, every step of the way. To me it has similarities to the perfect German slice of Black Book, on the espionage and Period Drama stakes.



The cinematography, costumes and locations (which range from Shanghai to Hong Kong) ooze authenticity and luscious unrivaled quality. The amount of extras used really is breath taking and the feel of 1930s 1940s Occupied China is captured in every way. Ang Lee is clever in the way he can capture the feel of a particular era, whether it be Crouching Tiger, Hidden Dragon or Brokeback Mountain he always seems to master the environment and feel of the time. Lust, Caution he does it yet again, with spectacular results.

To kill the enemy, she would have to capture his heart....and break her own.

Moving onto performances, well the entire cast are on top form, not just the main characters either.
Tony Leung as Mr Yee is untouchable in his execution of his character. Previous films have confirmed his high level of acting yet Lust, Caution definitely again like 2046 cements the fact he's got a passion in his craft. Mr Yee is a faceted character, who's collaborating with the Japanese. At times you can sympathize with him, others you want to ring his neck. He's a typical man who we see a glimpse of weakness in his affections for Mak Tai Tai.
Wei Tang really steals the show with her performance as the leading lady. She's beautiful and sometimes without even the need for words, her eyes convey more language and soul than anything else. You begin to experience the journey by her side, with her as Lust, Caution progresses.

The sex Scenes aren't to me, that graphic. Obviously there's some scenes which may be classed as violent and aggressive, but the evolution of the act requires a variation. I love how Tai Tai becomes so caught up in her involvement with Yee she begins to develop feelings for him. The passionate love making is charged and heated, often depicting the emotional battle going on between the two as they wrestle with their respective consciences.

There was one occurrence of relatively violent proportions which was well shot. Reminded me of Julius Cesar dying for some reason. If you know the Scene I mean then tell me I'm not crazy, otherwise yes it's confirmed. Other than that theres not much examples of action and gore, which is good. It's not necessary.

Lust, Caution also emphasizes the ideologies and routines of the times. Also the merging of Japanese culture in China as they occupy the Country. Of course the Chinese being a proud people are divided in opinion against their over sea rivals. Ang Lee manages to make a point of this without having to make it too obvious, so while he gives us a stealthy heated love story he also cleverly slips us a history lesson. All the things I've stated mixed into an equation spells a master stroke of greatness from the maestro of movie making.

With Lust, Caution Ang Lee's piece will have you loving the music, the period and may even compel you to do more research of the times back then. Cleverly Lee also leaves an after taste in your mind, of History repeating itself and a poignant reflection of what it is to love and be someone else.

''I can't help what I do! I can't help it, I can't... ''


When the police in a German city are unable to catch a child-murderer, other criminals join in the manhunt.

Peter Lorre: Hans Beckert

''I... I can't help myself! I have no control over this, this evil thing inside of me, the fire, the voices, the torment!''

In the world of film, there is certain subject matter that is just too taboo to be explored by mainstream filmmakers. Even now, with Hollywood's shameless predilection for blood, sex, and drugs, some topics are still just too incredulous to address. Movies that contain serious portrayals of homosexual romance, scenes of rape, or strong anti-governmental themes are certainly unusual in Hollywood; but the biggest way to guarantee a permanent shun from most film studios is to make a film regarding child murder. Better yet, why not make the child murderer a sympathetic character whom has no memory of his killing?





This is exactly what Fritz Lang did in his phenomenal 1931 feature, M. M was truly ahead of its time, and not simply because of its early use of synchronized sound or the use of voice-over narration which was a groundbreaking new technique at that time. What amazed me most about M was that it featured a character whom when introduced, is utterly despicable. The audience quickly learns of his unforgivable crimes, and although none of the murders are actually shown, they are talked about in grim detail, with the camera often focusing; unbearably on the reactions of the distraught parents as they speak of their children's demise. As the film progresses, however, our perceptions begin to change, and we start to take pity on this man, all the while coming to the realization that the vigilant mob who wants to beat this man to death is no better than the murderer himself. After all, is mercilessly pummeling a defenseless man to death somehow more civil than killing a child? To some, the answer may be yes; but to me, murder cannot be divided into degrees of acceptability like that; it is wrong, no matter who does it or who it is done to, just as the concepts of freedom are extreme resolutes; one cannot be half free or half dead, only one or the other.

''Just you wait, it won't be long. The man in black will soon be here. With his cleaver's blade so true. He'll make mincemeat out of YOU!''

But it goes much deeper than that. Aside from just feeling sympathy for the murderer simply because an entire town wants his head on a stick, you can't help but be affected by his genuinely sorrowful personality. After all, he honestly cannot control what he is doing, and he is just as horrified learning about his crimes, as the parents of the children he kills; perhaps even more so, since the shock of discovering that you are the one responsible for such evil is enough to want to die. His speech at the end, is not only heartfelt and pitiful, but it's thought-provoking as well. A speech comprising of substance rather than length, it provides a great deal of insight into the relatively simple mindset most people have regarding issues like these.

Another fascinating quality about M was its constant, almost overwhelming references to angry mobs and vigilante forms of justice. Even before the final chase segment, there are many scenes wherein a dominant force bullies an innocent person or group of people with little or no justification. The scene that sticks out most in my mind is one where a man is beaten down by some nearby pedestrians, simply because he asked a child if she knew the time. The main purpose behind this particular scene is obvious: it serves as a harrowingly realistic portrayal of the dangerous type of hysteria that can infect a highly emotional group of people. But the more I think about it, the more I realize that these types of scenes were probably meant to be sly referendums to the recent existence of the Nazi party in Germany, at the time. Lang seems to be commenting not only on the steadily growing support of the party, but also his disdain for their violent and often extreme dictatorial methods of government and international relations.
Obviously, Lang succeeds in hitting a nerve central to the heart of Germany, unsurprisingly the Nazis banned the movie in July 1934.
Other reasons crediting to the ban was matters of nationality; the main actor Peter Lorre was Jewish and fled Germany in fear of Nazi persecution shortly after the movie's release. Fritz Lang, who was half Jewish, fled two years later.
Contrary to popular rumour, Fritz Lang did not change the title from The Murderers are Among Us to M due to fear of persecution, by the Nazis. He actually changed the title during filming, influenced by the scene where one of the criminals writes the letter on his hand. Lang thought M was a more interesting, more mysterious title.

M is a movie that not only forces you to think, but to feel as well. Peter Lorre's portrayal of the murderous antagonist (or is he indeed, the protagonist?) is both frightening and heart-rending, and Fritz Lang's script and direction are both exceptional in execution, it's no wonder Lang has claimed that M was his favourite film of all those he had directed, presumably for it's controversial nature and success in causing timeless debate.M's cinematography marvelous, not only helping to tell its story in a fluid, stylish manner, but also causing the film to have an ominous, unsettling vibe.
Fritz Lang's M retains its ability to shock almost 70 years after its conception. Some of the images are unforgettable, the sounds echoes of brilliance, and Lorre gives the performance of his career. Do not be allowed to be swayed or put off by the use of subtitles because you will miss out, this film, this story, is a first rate character study and one of the most profoundly disturbing psycho thrillers ever created.

''This won't bring back our children. We, too, should keep a closer watch on our children.''

''You need more than guts to be a good gangster, you need ideas.''

Two boys growing up in a violent neighbourhood of Rio de Janeiro take different paths: one becomes a photographer, the other a drug dealer.

Alexandre Rodrigues: Buscapé - Rocket

Leandro Firmino: Zé Pequeno - Li'l Zé

Guns, drugs, ambitious youths, gangs, killing...What's not more enticing and shocking than City Of God? It has all those serious issues in a potent mix unafraid to tell it's tale of brutal truthful storytelling.
Brilliant narration that whole heartedly pulls you in. All characters in the story solidify similarly to a spider web newly spun. Detail is not enough to describe City Of God as a word alone.



Feast your eyes upon one of the greatest films directed by acclaimed Director Fernando Merielles.
Katia Lund assists as co-director and the Writers: Paulo Lins, the writer of the novel and Braulio Mantovani whom worked on the screenplay.

City Of God known in it's original language consisting of Portuguese Cidade de Deus is a way of life that unfortunately exists in parts of the world. As bad and evil as it may be to people, I oddly felt a strange satisfaction and compelling allure mixed with awe upon the power of wielding a gun and it's granting of godly superiority upon it's wielder. When shooting and killing is as easy as breathing, problems in your life pale in comparison, they are nothing in comparison to City Of God.
''If you run you're dead...if you stay, you're dead.'' The words resound in our ears. This sums up the hopeless plight of the characters trapped within this chaotic, violent place. A place extremely hard to escape or survive.

Based on the Writer Paulo Lins' eyewitness testimony surrounding the bloody turf war, that for years raged in Rio De Janeiro's most notorious slum, City Of God contains enough indelible characters and unforgettable stories to fill several stories or individual films. After some five years of preparation, director Meirelles marshals the wealth of material into a dizzying visionary variety of vivacious ways, finding (even after two hours of gun battles) new ways to shoot and edit a sequence.

However, if City Of God was noted chiefly for inventive editing, then it would be merely a remarkable technical testament; The film's real ace is the kids. Through an exhaustive series of open auditions and workshops, Meirelles and co-director Lund not only unearthed dozens of non-professionals right out of the favelas, but also encouraged them to improvise large sections of the script.
The scene in which two young kids must decide whether they want to be shot in the hand or the foot contains some of the most powerful acting ever committed to film with devastating consequences.
The multiple stories told are simply beautiful; In truth you feel more than merely a spectator, you feel part of their world. Rocket, Ze, Bene, Thiago and Sandro...Their ordeals and transgressions are ones we share by their side. The photography also in this was fascinating showing there's more than one way of shooting and shows the genius behind the camera and in front of it in essential proportions.
The shot where we see a lot of dead bodies lying on huge blocks of concrete was recreated from an award-winning photograph taken during the drug war portrayed in the movie. An example of photography; in essence becoming more than just simply a process but a means of showing the World what is happening in parts we are ignorant of.

A masterpiece, a true story...my review, my words, a small tribute in return for the greatness that is City Of God.

It ends how it begins..
With no Winners...

''You and your plans. You know what my grandmother used to say? If you want to make God laugh... tell Him your plans. ''


A horrific car accident connects three stories, each involving characters dealing with loss, regret, and life's harsh realities, all in the name of love.

Emilio Echevarría: El Chivo

Gael García Bernal: Octavio

Goya Toledo: Valeria

Amores Perros tells the stories of El Chivo, of Octavio, of the relationship between Valeria and Daniel, each starting before the crash and ending soon after it. First, Octavio is introduced to the audience as young man who desires to be with and runaway with his sister-in-law. As luck would have it, Octavio has the opportunity to earn large sums of money with the help of his dog, Cofi, in order to do so. Cofi then wins more than fifteen dogfights for Octavio until he is shot by a jealous rival of his owner. After this, Octavio tries to save his dogs life and speeds away in the condemned car. During this story, we are introduced to Daniel. An advertiser, Daniel plans to leave his wife in order to pursue a relationship with an up-and-coming model, Valeria. In the process, we learn that Daniel has given up everything for the romantic affair. Later, El Chivo is introduced to us, an ex-Zapatista revolutionary and supporter, who is now nothing more than a poverty-stricken man in the company of dogs. More so, we quickly learn that El Chivo is now a hit-man who was once a husband and father. All of these stories progress until the moment of the crash.

After the violent crash, we learn of the faced perdition of the three lives. Octavio's sister-in-law betrays him and escapes with his earnings from the dog fights, effectively ending the sordid affair. The accident cuts off one of Valeria's legs and causes insufferable tension between her and Daniel. Additionally, as a witness to the crash, El Chivo saves the life of Cofi, who later kills his only company as a poor man, his dogs. Finally, the three become stranded and alone. Octavio, embarrassed, leaves his house due to his betrayal of his sister-in-law. Valeria dies due to complications associated with the loss of her leg, and Daniel loses his family and his lover. Also, El Chivo loses his substitute family in the street dogs. The three are entwined as the ultimate victims of life and love.

This film receives many merits, not simply due to the three unique stories, but due to the collaboration of artistic and cinematic elements.
Inarritu, with many others, creates a unique original atmosphere surrounding the three stories. A chosen blend of rap, jazz, alternative rock, and instrumentals compose the soundtrack.
This masterful mix allows the audience to understand the pace of such a city, as Mexico City, the velocity of violent and dramatic actions, as well as the spectrum of emotions amongst each of the characters.

As with the cinematography has a similar effect for showing the diversity of the situations and actions.
Inarritu makes use of various lenses for creating the atmosphere of distinct areas of the city, in order to explain the different tensions and stresses. Many of the scenes where we see Octavio and El Chivo, the atmosphere is dirty, gritty, and void of colour. In scenes with Valeria, all appears clear and clinical. The city appears modern and cleansed and the sky full of smog, showing us the differences between society's created classes.

These elements blend with the story and the performances to create the film. The story is central to the masterpiece. It deals with the theme of a crash as the only means able to touch the life of another in a large city. Through the crash, Inarritu uses the presence of dogs to connect the lives and to accentuate the phrase love's a bitch. In the end, all of the story's aspects depend on the performances and appearances of the characters. We feel their suffering and struggle when we see each person lose their happiness.
Octavio loses his dog and money because he was preoccupied with a woman who betrayed him.Valeria understands that her career is ended as a model because she no longer appears beautiful, and El Chivo realizes that his former company of street dogs had been serving as his lost family. Characters are terraformed into memories conveyed of themselves, lost and alone in their world.

I recommend this film to all who would want to see a piece of genius that combines varied strokes of style, of art.

''When you decide to be something, you can be it. That's what they don't tell you in the church. When I was your age they would say we can become cops, or criminals. Today, what I'm saying to you is this: when you're facing a loaded gun, what's the difference?''

Two men from opposite sides of the law are undercover within the Massachusetts State Police and the Irish mafia, but violence and bloodshed boil when discoveries are made, and the moles are dispatched to find out their enemy's identities.

Leonardo DiCaprio: Ofcr. William M. 'Billy' Costigan Jr.

Matt Damon: Det. SSgt. Colin Sullivan

Jack Nicholson: Francis 'Frank' Costello

Martin Scorsese a skilled director is an understatement. The Departed is Scorsese at long last back to what he does best. A mob gangster style film in the same vein as Goodfellas and Casino.There are problems with the film though. On the one hand its not very original being instantly recognizable of an unmistakable remake of Infernal Affairs. Martin Scorsese has fallen into the Hollywood trap of stealing from the East and glorifying it for himself.
On the other hand though he has with The Departed injected his own style, his own brand of uniqueness.



''No one gives it to you. You have to take it.''

Right from the beginning you instantly realize The Departed is a film that will have some classy story telling and Martin Scorsese magic.
You realize Jack Nicholson, Leonardo and Matt Damon's presence are not random acts of divine intervention, and if they are, Scorsese is the God and master whom directs his talented puppets.
The cast's performances are unsurpassed, unrivalled and mesmerizing to witness.
Scorsese even throws in the adult cinema scene a glance back to his days and the classic Taxi Driver. Jack Nicholson shines though as the mob boss who has humour even in serious moments.
Also of note the whole Irish Boston thing also reflects Martin Scorsese's heritage, his roots and that shines. Gangs Of New York emphasized this as does all his films, including this one.

Set in Boston, The Departed takes us in this ancestry squalor atmosphere. Beautifully shot scenes of the Massachusetts Golden Dome State Capital building is just one part of the landscape. The Dropkick Murphy's song I'm Shipping up to Boston is simply poetic, mixing the vibe to the visual lushness. Scorsese usually works music into his films really well and The Departed is no exception.
"Cops or Criminals. When you're facing a loaded gun what's the difference?" This quote really represents the film.
Matt Damon plays a state officer in the Police, working for the crime boss of the area, Frank Costello (Nicholson). While Damon's character can be described as a "bad guy," he is really a product of his environment. As a kid, he is sort of mentored into crime business by Costello while Costello becomes the father figure Damon's character never had. Leonardo DiCaprio plays a young guy, coming from a bad, crime ridden family. He decides to become a police officer to get away from the crime life he's been surrounded by. Taking all this into account, Captain Queenen (Sheen) and Seargent Dignam (Wahlberg) decide to send DiCaprio's character undercover to find out more about the criminal underworld and Costello. With his family's crime record, he fit's perfectly into the situation. Now you have a highly ranked officer working for bad guy, and an undercover cop in the criminal underworld working for the State Police. From here it's an all out suspenseful thrill ride. Who's who? Who's working for who? Who can you trust? Paranoia threatens everyone. Lies. Betrayal. Sacrifice. How far will you take it?

When you have greats like Taxi Driver & Raging Bull its obvious the Oscars were having a sympathy vote for poor Scorsese who did deserve to reap the rewards for his efforts, but The Departed not his best work.
On the whole it has some amazing dialogue (Just look at the Alec Baldwin and Mark Wahlberg banter ''How's your motha?''!), some detailed intriguing scenes and violence and a conclusion that had me open jawed in shock.
A worthy adaptation based on Infernal Affairs glamorized by Hollywood class, from the master Maestro Scorsese.

''When everyone is a rat who is left to rat out too?''

''You don't get it do you? You're my job. You're what I'm paid to do. You're about as mysterious to me as a blocked toilet is to a fucking plumber. Reasons for doing what you did? Who gives a fuck?''

Two Los Angeles homicide detectives are dispatched to a northern town where the sun doesn't set to investigate the methodical murder of a local teen. Sleep is a distant memory, a game of wits...

Al Pacino: Detective Will Dormer

Robin Williams: Walter Finch

Insomnia(2002) is director Christopher Nolan's film after his masterful Memento. In this remake of a Norwegian film made in 1998 by Erik Skjoldbjaerg, Nolan has cast three Oscar winning knock outs - Al Pacino and Hillary Swank play police officers chasing down a dangerous psychopathic pedophilia killer played by Robin Williams.



Nolan sets the film in Alaska, and makes good use of the location, particularly in the opening credit sequence as the camera follows a two-engine prop plane across the unforgiving jagged ice ridges. A foot chase on moving logs provides excitement, but the best thrills here are of a psychological nature true to Nolan. This is a story for adults and deep thinkers.
Insomnia is a serious thriller that relies not merely upon action, but on issues addressing guilt, morality and consequence to mediate the storytelling to dizzying heights via an uncompromising truth. To do the right thing, or in this case, not to lose yourself but to find yourself again.
Al Pacino hands in his best performance not seen for what seems an age.
Robin Williams impresses, playing the homicidal Walter Finch with a chilling intensity that should forever mark his talents as not only a comedian but as a versatile acting talent. The Oscar win was well earned for Robin in Good Will Hunting for the Best Supporting Actor category.
Hilary Swank as the smart small-town cop delivers a multi-layered performance that is completely believable.

''You and I share a secret. We know how easy it is to kill someone. That ultimate taboo. It doesn't exist outside our own minds.''

The whole film is disorienting and confounding to the senses. If anyone knows what it's like to actually have insomnia, you will very much appreciate the hallucinations, the sudden flashes or the foreboding feel of time standing still. It really is clever how well it depicts what happens to an individual when they can't sleep; People's voices merge, sight alters as colours seem to become disorientated, light hurts the eyes, and fatigue so torturous that reality starts to become the dream. When in the film Al Pacino has to run around chasing a corrupted killer whom subtly is victorious upon controlling him and being looked at as the victim; you feel his pain. And as the movie goes on, you feel his need to succeed in sleeping.
We the audience begin to feel like Pacino's main protagonist, sleep deprived, sleep starved and desperately in need of it's touch. A drug always beyond reach, a savoury food or mouth watering drink always looming in the distance to the starved victim.
To watch a Nolan film, is to be swept away by the ambient sounds, and score; In this case David Julyan haunts us with droning indifference and then switches to emotionally charged energies. Insomnia is no exception from this equation. The misty town accompanied by the mysterious music offer a milestone of an achievement in helping show the isolation and the constant sunlight, which all aid the believability of insomnia.

The issues of guilt, remorse and vengeance are all studied and analysed in Insomnia, two years after Memento and Nolan literally carries on from where he left off; Utilizing an in-depth study of a range of characters played by an Award winning cast. The raw power of emotion, the shrouded mystery regarding confusion and deception breathing from their very pores.
In retrospective, Insomnia's pace is a mixture of acceleration and wallowing stillness complimenting the slows and fasts of the intricate thriller. Tragedy laced with a psychological struggle, where upon Cop and killer are pitted against each other. The killer having the advantage of a tormented, sleep deprived, guilt ridden nemesis to feed upon. Nolan's Insomnia is one to watch over and over and especially one to experience if you cannot find the urge to sleep. This is one psychological thriller you won't forget...Most importantly it shows you, compels you not to lose your way. Eternal peace can be found; Dormire.

''Let me sleep...Just let me sleep.''

''Most people respect the badge. Everyone respects the gun.''

Two veteran New York City detectives work to identify the possible connection between a recent murder and a case they believe they solved years ago; is there a serial killer on the loose, and did they perhaps put the wrong person behind bars?

Robert De Niro: Turk

Al Pacino: Rooster

Two Cops. One Serial Killer. Which could be one of their own, a cop with a poetic streak.
Righteous Kill I was looking forward to seeing for a while . Featuring two legends, two respective seasoned Actors. Yes Al Pacino and Robert De Niro, who were good but I couldn't help but notice the aging. Sorry boys, but hey I sure wouldn't complain if they were both my grandads from both sides. Now boy there's a thought.

But anyway straying from the topic at hand. Righteous Kill begins a promising start with hotly paced creds and music to die for. We also get De Niro & Pacino popping some bullets at the shooting practice range, this had me hyped up for a start.
Righteous Kill proceeds to give us a plot that I wasn't expecting, one consisting of a cop who's a killer, who's taking the law into his own hands. The twist is that it's De Niro's Turk. But what concludes really bites the bullet and I won't spoil the proceedings my telling. It's a fascinating journey albeit a sometimes slow paced one. Granted there's some good male, female relationships between characters on show which ups factors in Righteous Kill.

''Nothing wrong with a little shooting, as long as the right people get shot.''

As well as the Two main attractions, the pairing of the Two Oldies, we have some fresh players in the form of Carla Gugino, Donnie Wahlberg, John Leguiezamo, Brian Denneley and smiley 50 Cent/Curtis Jackson giving an assorted cast.
Curtis manages to not do badly at acting, rather he smiles and stands around.
Carla Gugino shows a relationship that would be reminiscent of her dating grandad, her and De Niro cranks up the cringe factor.

''He's gonna kill again. You know it, and I know it.''

There wasn't as much action as anticipated, plus the plot wasn't what I expected. Righteous Kill's twist isn't easily guessed and the build up ends up being worth it mainly. The chemistry of Robert De Niro & Al Pacino is brilliant yet isn't as powerful as classic Heat but then again you cant replicate greatness they shared in that.

To conclude Righteous Kill doesn't offer anything relatively new but does deliver in giving a solid Cop study, action thriller of sorts.
Was also amazing to see on my Birthday, with friends Martin, Kiri and my sis Andre, aided by random commentary by me on certain parts. Amusing parts where we all laughed I liked alot also.
I would definitely watch again, with the added ability to fast forward areas. Director Jon Avnet aims for right between the eyes but manages to miss the mark by a tad. Overall Righteous Kill ends up being a righteous effort.

''You don't become a cop because you want to serve and protect. You join the force because they let you carry a gun and a badge. You do it because you get respect.''