Reviews by Lexi

''I want you to listen to me very carefully, Harry. You're not a bad person. You're a very good person, who bad things have happened to. Besides, the world isn't split into good people and Death Eaters. We've all got both light and dark inside us. What matters is the part we choose to act on. That's who we really are.''

With their warning about Lord Voldemort's return frowned and discarded by many, Harry and Dumbledore are targeted by the Wizard authorities as an authoritarian bureaucrat in the shape of Umbridge slowly seizes power at Hogwarts.

Daniel Radcliffe: Harry Potter

I thoroughly enjoyed the Phoenix installment of the Harry Potter films. I followed Harry Potter's story through JK Rowlings books but my fondness for the material extended to its interpretations on film. All directors, for the most part, have done well (special mention for Alfonso Cuaron's Prisoner of Azkaban). But I must say, David Yates has taken the translation and interpretation of Harry's story in this installment to a whole new level of perfect entertainment and fantasy proportions, elaborating a great sense of wonderment for the two remaining films to follow.



There is so much I obtained from Order of the Phoenix, the performances were outstanding and it features three of my fave acting counterparts. Ralph Fiennes, Gary Oldman & Helen Bonham Carter together is a heavenly miracle on film.
Ralph Fiennes as Lord Voldemort really excels even more so this time than he had in his one scene in Goblet of Fire. His rasping tones and slippery snake-like ways, even his evil laughter and menacing hairless eye brow raise is perfect. This man truly asserts himself as a pure talent and for that reason I love any film Ralph does. Ralph Fiennes has played a villain or hero with equal magnificence, and here he plays the Darkest fantasy bad ass since Rings or even Sci-Fi's Sith in Star Wars.
Helena Bonham Carter as Bellatrix also excels even though shes not in it too much, she leaves a burning impression for these wonderous roles she participates in. Like Sweeney Todd her fantasy/Period films are delicious and dark.
Gary Oldman as Sirius Black, also after Prisoner of Azkaban, is settled in his role and his chemistry with Daniel Radcliffe is effortlessly believable. Was also particularly pleased Oldman & Fiennes have a scene together, plus Helena & Oldman in that fast paced climactic wand duel was fantastic.

Ok going on to Dan Radcliffe as the lead, the fabled Harry Potter, is maturing, and his emulation of Harry's internal trauma and outward frustration is a marvel, he really does the character of Harry justice.
Imelda Stuanton is a treasure as Dolores Umbrige. Her plastic smiles and giggles have to be seen to be believed. Imelda displays incredible range as an actress and captures the character of Dolores to a 't', pardon the pun.
Also, one of my favourite female character from the book, Luna Lovegood - is a treat to behold!
Evanna Lynch, an avid fan of the books and Luna, made her touch my heart on the screen!
Emma Watson and Rupert Grint give their performances some great heart, and it is easy to see the sweet romance in Hermoine and Ron's future.
Alan Rickman has captured the character of Severus Snape yet again.
Any fan of the books knows how important his character becomes to the conclusion of the Harry Potter story, but quite honestly, Snape has been a continually pleasure to watch in all the Harry Potter films. He barely speaks in this and is sidelined but leaves an impression regardless, it's obvious he's being saved for the next film where his big break comes.

There were funny moments scattered amidst the dark ones, and they felt very natural,well-timed with excellent editing. Many of the adult characters stay in the background, and the focus is kept on Harry and his friends fighting Voldemort (Including Umbrige at one point) in their own extra-special way.
Harry starts to teach defensive spells to any and every student that believes his story, and it's very exciting seeing many seemingly background characters (looking at Neville Longbottom in particular considering the prophecy) suddenly grow in depth and importance.

The Order of the Phoenix is introduced briefly, then kept hidden for much of the film, making a dramatic entrance in the film's final scenes, a thrilling face-off that occurs when Lord Voldemort finally decides to come out and wreak havoc!

David Yates' direction really gives the film a sense of momentum and gloomy dread. Watching intently you begin to realize the Potter story is about to get very very adult, and very dark.

Was inspired from the tension I felt watching the film, as several adult characters would quietly confess to Harry "it feels like it did before..." Yates grabs hold of that feeling and doesn't let it go for the entire duration of Phoenix.

Even after the jaw-dropping climax of Order of the Phoenix vs. Voldemort's Death Eaters, then the epic battle of Dumbledore vs. Voldemort, you feel that this is not the end of troubles to come for Harry, Dumbledore and company...not by far.

The war between good and evil has officially kicked off in Phoenix, and even though it has one pivotal sad occurrence by its end, the ending still cleverly retains a positive and vibrant glow that has you aching for the next film, Half Blood Prince will be highly sought after by me, and Phoenix one of the best of the series so far.

''Revenge is not good. Once you're done. Believe me.''

Professional assassin Leon reluctantly takes care of 12-year-old Mathilda, a neighbor whose parents are killed, and teaches her his trade.

Jean Reno: Léon

From the opening musical score, which is phenomenal throughout the entire piece, Luc Besson gives us one of the most stylish Character introductions seen to date. The Cinematography is outstanding as the camera focuses on Leon (Jean Reno) and his Italian Mob friend (Danny Aiello), with subtle shots that pan onto his dark sunglasses or the glass of milk he's drinking (which actually becomes a running theme for the film).



Almost as soon as we are introduced to the seemingly cold, calculating Leon, the heat is on and we discover that he is unstoppable, untouchable and lethal as a professional hitman. The way in which he displays his expertise, is visually spectacular as he picks off targets like flies one by one, appealing to all fans of action, gore and suspense. It is also gripping to see Leon hunt down the last remaining 'client', making the vulnerable man sweat with fear and me be riveted to my seat in anticipation.
As the gloriously original plot continues, Leon rescues a 12 year old girl named Mathilda (Natalie Portman) from imminent death, which begins an awe inspiring relationship between the two. It's very rare to see such impressive characterization, and Besson manages to reveal the warmer, caring side to Leon, without clouding the believability of a ruthless and fearless killer. Without sounding too sentimental, it has to be said that their relationship and love for each other is beautifully realized, and is always accompanied by the captivating score.

''I haven't got time for this Mickey Mouse bullshit.''

Apart from the skilled and apparent capability of Reno, Portman's portrayal of Mathilda really is astonishingly authentic, albeit the stars of Leon: The Professional are obvious but without Gary Oldman's performance, the film would have lacked the depth and tension that is so essential to the story. Oldman plays a crooked, psychopathic Drug Enforcement Agent named Stansfield, with a penchant and liking for classical composers such as Beethoven and Mozart.
Stansfield is significantly agitated by Leon's diligent trail of death and destruction. The scenes in which his anxiety pushes to the extreme, commands your attention, this is a crazed villain who wants blood at any cost, and he wants this problem in the guise of Leon to disappear.

It is a meritorious accomplishment for a film of this genre to have such a rich plot and character development. The transition of Leon, devoid of any feelings, to him embracing Mathilda's affections is a paramount example. There is a strong universal appeal to all movie-lovers for this extraordinary film and it is totally justified.
I personally found it a delight to watch and I'm sure a classic for repeated viewings.

Leon: Revenge is not a good thing, it's better to forget.
Mathilda: Forget? After I've seen the outline of my brother's body on the floor, you expect me to forget? I wanna kill those sons of bitches, and blow their fucking heads off!

In "The making of The Professional", Besson says "If I imagine somebody in the street try to knock on my daughter, I kill the guy, in five seconds. I kill him, and I think "It's in me, I'm a beast!". On this part we can't forget that a part of us, the genetic things inside are much, much older than The Ten Commandments". He certainly uses visceral scenes to create very strong emotion in the movie - the blood running from Mathilda's nose or Stansfield's unforgettable "EVERYONE!" are just a couple of examples. The music and the sound are excellent and are used in a masterly fashion - you can hear Fatman's heart beating desperately or a low claustrophobic sound when Stansfield turns to look at Mathilda's father.

This stark portrayal of humanity and inhumanity is produced with the style and finesse that one expects from Luc Besson. In addition, the combined talents of Jean Reno, Natalie Portman and Gary Oldman provide not only an unmatched on-screen chemistry, but also three perfectly created characters, the like of which are rarely seen in today's cinema. This film has my personal recommendation of being one of the best practitioners of action and platonic examples of love, of the day. I have not seen anything that matches it in terms of intensity or emotion for a story of it's type, it really succeeds in being unique and indulging. I found myself caring for the characters involved, an unique experience in itself. This is not the type of film for an uncaring, boisterous audience, but nevertheless, it is an unforgettable piece of cinematic history.

[after the building explodes]
''Hey, what the fuck is going on up there? I said take the guy out, not the whole fucking building!''

''It smells of... farts, my mother's farts.''

After her death, a mother returns to her home town in order to fix the situations she couldn't resolve during her life.

Penélope Cruz: Raimunda

Director of Volver, Pedro Almodovar has captured the essence of female beauty with Volver, which in turn should probably be considered his greatest tribute to the female spirit.
Volver is a tad vulgar at times in its determination to capture it's leading star Cruz's shining charisma and power, with camera angles shooting down necklines, revealing alot for our imagination's to run away.

However, Penelope Cruz's powerful, touching performance anchors the film with profoundness and subtlety that overpowers any crude camera angle Almodovar can conjure.
A sometimes limited actress in Hollywood films, Penelope Cruz offers a stunning turn at last in Volver, in which her emotions are displayed in her full yet mysteriously dark eyes, the passion she feels ablaze.

Cruz plays Raimunda, a young mother who has left the village she grew up in in favor of the city. Both Raimunda and her sister Sole (Lola Dueñas) return home at the beginning to visit the village they grew up within, hearing rumors that their dead mother's ghost has returned to care for their dying aunt.
As time goes by, the women discover that this rumor might in fact be rooted in some truth. When their mother (Carmen Maura) appears to her children, secrets from the past are uncovered, that will unmask enigmas on what makes these women who they are.
The acting between the cast is a joy to watch, yet Cruz remains front and center in a star-revitalizing performance fully deserving all the critical and award attention she has received that year.

The title translates quite plainly as "to return" or ''Coming Back'', which takes various different meanings in Volver, whether it's the past, the dead, old unrevealed feelings or misunderstood relationships. Cruz won the best actress award at Cannes non surprisingly.

It works as a whole and even includes Cruz vamping it up as a Sophia Loren look alike. We even get to hear her sing in one segment which was pleasant, spirited yet passionate.

If you have never watched one of Almodovar's movies previously then Volveris a good starting point, featuring an untouchable Spanish cast, vibrant story-plot threads and a real, living, believable environment in which we are sucked into, and not thrown out of until it ends.

''I can't remember to forget you.''

A man, suffering from short-term memory loss, uses notes and tattoos to hunt for the man he thinks killed his wife.

Guy Pearce: Leonard

Carrie-Anne Moss: Natalie

Joe Pantoliano: Teddy Gammell

Memento is a 2000 American psychological thriller film written and directed by Christopher Nolan, adapted from his younger brother Jonathan's short story Memento Mori. It stars Guy Pearce as Leonard Shelby, a man with anterograde amnesia which renders his brain unable to store new memories. During the opening credits, (which portrays the end of the story) it is shown that Leonard kills Teddy (Joe Pantoliano) for the rape and murder of his wife based on information provided by Natalie (Carrie-Anne Moss).



Memento is often used to show the distinction between plot and story. The film's events unfold in two separate, alternating narratives — one in colour, and the other in black and white. The black and white sections are told in chronological order, showing Leonard conversing with an anonymous phone caller in a motel room. Leonard's investigation is depicted in colour sequences that are in reverse chronological order. As each sequence begins, the audience is unaware of the preceding events, just like Leonard, thereby giving the viewer a sense of his confusion. By the film's end when the two narratives converge we understand the investigation and the events that lead up to Teddy's death.
The film's fabula and sujet are very important with regards to understanding the story's narrative. The sujet or the presentation of the film is structured with two timelines: one in colour and one in black-and-white. The colour sequences are alternated with black-and-white sequences. The black-and-white sequences are put together in the chronological order. The colour ones, though shown forward (except for the very first one, which is shown in reverse) are ordered in reverse chronological order.
As each sequence begins, the audience is unaware of the preceding events, just like Leonard, thereby giving the viewer a sense of his confusion.

Jonathan Nolan's short story, titled Memento Mori, is radically different from Christopher's film, although it maintains the same essential elements. In Jonathan's version, Leonard is instead named Earl and is a patient at a mental institution. As in the film, his wife was killed by an anonymous man, and during the attack on his wife, Earl lost his short-term memory. Like Leonard, Earl leaves notes to himself and has tattoos with information about the killer. However, in the short story, Earl convinces himself through his own written notes to escape the mental institution and murder his wife's killer. Unlike the film, there is no ambiguity that Earl finds and kills the anonymous man.
David Julyan composed the film's synthesized score. Julyan acknowledges several synthesized soundtracks that inspired him, such as Vangelis' Blade Runner and Hans Zimmer's The Thin Red Line.
While composing the score, Julyan created different, distinct sounds to differentiate between the colour and black-and-white scenes: "brooding and classical" themes in the former, and "oppressive and rumbly noise" in the latter.
Since he describes the entire score as Leonard's theme, Julyan says, "The emotion I was aiming at with my music was yearning and loss. But a sense of loss you feel but at the same time you don't know what it is you have lost, a sense of being adrift." Initially, Nolan wanted to use Radiohead's "Paranoid Android" during the end credits, but he was unable to secure the rights.
Instead, David Bowie's "Something in the Air" is used, although another of Radiohead's songs, an extended version of "Treefingers", is included on the film's soundtrack.

The main role went to Guy Pearce, whom impressed Christopher Nolan the most. Pearce was chosen partly for his "lack of celebrity" (after Brad Pitt passed on the film, the budget could not afford A-list stars), and his enthusiasm for the role, evidenced by a personal phone call Pearce made to Nolan to discuss the part.
After being impressed by Carrie-Anne Moss' performance as Trinity in the 1999 science fiction film The Matrix, Jennifer Todd suggested her for the part of Natalie. While Mary McCormack lobbied for the role, Nolan decided to cast Moss as Natalie, saying, "She added an enormous amount to the role of Natalie that wasn't on the page". For the corrupt police officer Teddy, Moss suggested her co-star from The Matrix, Joe Pantoliano. Although there was a concern that Pantoliano might be too villainous for the part, he was still cast, and Nolan said he was pleasantly surprised by the actor's subtlety in his performance.
The rest of the film's characters were quickly cast after the three main leads were established. Stephen Tobolowsky and Harriet Sansom Harris play Sammy Jankis and his wife, respectively. Mark Boone Junior landed the role of Burt, the motel clerk, because Jennifer Todd liked his "look and attitude" for the part (as a result he has re-appeared in minor roles in other productions by Nolan). Larry Holden plays Jimmy Grantz, a drug dealer and Natalie's boyfriend, while Callum Keith Rennie performs the part of Dodd, a thug to whom Jimmy owes money. Rounding out the cast is Jorja Fox as Leonard's wife and Kimberly Campbell as a prostitute.

''I have to believe in a world outside my own mind. I have to believe that my actions still have meaning, even if I can't remember them.''

So what exactly is Memento? It consists of an emotional shock that results in unhinged revenge, Leonard Shelby is now piecing back the bits of remembered past... Or is he? Is he alive? If we agree that a person doesn't exist as an entity without memory, in an uncanny state of limbo, and that this frozen Leonard is watching his life flash by. It is a ponderous question invented for all us deep thinkers, allowing us to theorize our own conclusions and interpretations.
As all the pieces start to come together in this jigsaw, at the climax yet in the narrative's ascending beginning, Leonard is denied all the usual action of a hero's benefits and indeed rewards reaped: Increased self-knowledge, knowledge of the world and the plots' occurrences.
He is given the answers at the start yet only remembers the questions. Leonard at the end is indeed a more richly coherent character than he was at the beginning, when we first see him.
What really makes this a stunning movie is the way it is constructed and the narrative structure. The scenes are presented in reverse chronological order, then black and white scenes, which are told in a forward order, so that we know the latest action first, and at the end of the movie find out the earlier action. This seems an extraordinary way to tell a story, but it works. Incidentally, there's a Seinfeld episode told this way, the one where they go to India for a wedding; and to some extent this technique was employed in Quentin Tarantino's Reservoir Dogs in 1992. What makes it particularly effective here is the material. Leonard, as Teddy points out, is not the same person he was before his wife's death and his injury. The direction of time has lost its meaning only for him.

''I don't even know how long she's been gone.
It's like I've woken up in bed and she's not here...
because she's gone to the bathroom or something.

But somehow, I know she's never gonna come back to bed.
If I could just... reach over and touch... her side of the bed,
I would know that it was cold, but I can't. I know I can't have her back...

But I don't want to wake up in the morning, thinking she's still here. I lie here not knowing... how long I've been alone. So how... how can I heal? How am I supposed to heal if I can't... feel time?''

Viewing this the second time some of the lines that were not funny initially become very funny. The voice-over in the chase scene with Dodd is an example. Leonard finds himself running and he says, "So what am I doing?...I'm chasing him....No, he's chasing me!" Or when Teddy asks about the gun, Leonard says, "Must be his. I don't think they'd let somebody like me carry a gun." Or Teddy's line to Leonard, "I've had more rewarding friendships than this, but I get to keep telling the same jokes."
The key to the powerful psychological ending of the film, where we realize what will eventually happen, occurs when Natalie tells Leonard that revenge is useless because he won't remember it. He replies, "It doesn't matter whether I remember or not..." Indeed we see that he really doesn't remember his revenge after carrying it out. Thus revenge is a temporary asphyxiation until the point where it is carried out rendered obsolete; The ideology regarding lack of memory shows the never ending cycle regarding a puzzle Leonard can never solve but ultimately he doesn't want to solve. He wants to forget.
On another level this is a film questioning what criterias make us human. What would life be like if we lived in an eternal present without preference or knowledge regarding past prior memories? We could be easily exploited by those with knowledge of the past, as Leonard is, but there is a deeper question being asked. Does life have any real meaning for a person without memory?
Is this due to the fact we've given a mass of information by then and think we know Leonard and his situation better? Or is he, as his narrative progresses, getting vaguer, moving towards inertia, the catatonia that finally swamped his altar-ego Sammy Jankis. Our problem is that the film comprises not one plot, but four, all fragmented, full of gaping black holes, all mediated by this character who knows nothing. One is Leonard's narrative as he sees it, as he tries to avenge his wife's murder. The second is told in monochrome flashback (or whatever this is called in a film that runs backward), mostly told in mysterious phone calls, and seem to flesh out the gaps missing in the first plot, but actually creates more. The third is the real plot that may have something to do with the police, betrayers, false companions, or indeed hallucinated, misremembered by Leonard, or simply placed there as a smokescreen for another plot that is a paradox. The fourth thread is the story of Sammy, whom supposedly suffered the same condition as Leonard. ''Remember Sammy Jankis...'' is what Leonard has tattooed on his hand; It's meaning? Sammy Jankis is symbolizing Leonard's tragic past.
All four unique strains are obviously connected with each other to create a discordant vision, but each undermines the other.
In a relative sense, hell is here, and Leonard is in a never-ending hell. We can only take the opening sequence, where Leonard stands holding a fading photograph over a dead man's bloody body as the only reliable image, and in this image, it is slowly slipping away, untouchable, like Leonard's memory, like the film, like Memento. The ending is the beginning.

''My wife deserves revenge, whether I know about it or not.''

''The beast looked upon the face of beauty. Beauty stayed his hand, and from that moment he was as one dead.''

In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.

Naomi Watts: Ann Darrow

If it had been made public that a remake of the 1933 King Kong was being created without Peter Jackson attached to it, there is no shred of doubt that viewers would have been enraged.



After the huge success of the Lord of the Rings trilogy, it would seem that the public has rightly learned to put their faith in director Peter Jackson, an affirmed favourite director.
After watching his version of King Kong at the Cinema in December all that time ago, I would have to say that their trust was well placed.

Jackson now firmly cements his name as a masterful film-maker, the kind that all aspiring directors want to become. The attention he pays to the smallest details, the sheer class he shows in terms of production and scale, the amount of skill he has in controlling our fragile emotions.
Jackson certainly brings his considerable skill and flair to show here in Kong. While a different director likely would have sped up the story to the crew's arrival on Skull Island, Jackson takes his time with a nice, leisurely build up to their arrival, giving us lots of time to really get to know these characters, and also providing time for a slow and genuine romance building between the characters of Anne and Jack. This romance does lead to the very few and seldom weaknesses of Kong. Throw in a rather dire Brontosaurus chase that really doesn't work, resulting in the effects in this sequence looking shoddy and choppy, that let the film down to a degree,which is frustrating for fans.

But going back to the good qualities of King Kong, in essence be it a lush jungle and tropical rain forest with giant reptile dinosaurs. Be it the giant, parasitic, warm-like maggot larvae or scary insects. Be it the bond between Kong and Ann Darow, that retains detail rivalling even it's original 1933 version, that shows us the love and connection between the two. A loving protector of Ann, Kong really does fall in love with her. That last dance on an icy lake really sets the emotions going, preceding the events to follow, it warms the heart while preparing it for what we know will inevitably happen.

Whether it's sneaky ambitious obsessed Carl Denham played by Jack Black, or beaky nosed, supposedly heroic writer Adrien Brody as Jack Driscoll, it shows performances from the human casting to be impressive.
Also fave of mine Thomas Kretschmann as Captain Englehorn is in there or a Jamie Bell playing Jimmy on the ship.
Andy Serkis also deserves a mention for his movements involving Kong and not only that, a chef who ends up with a horrifying demise was memorable.

Worth getting the extended King Kong which offers more tantalizing material and scenes that really add to a masterpiece of a remake. That fight with the dinosaurs that kong has, flapping it's jaw when he is victorious, is totally memorable and a tribute to the original, as is the last scene that will induce tears and emotions for Kong and will have you overwhelmed.

A Magical Journey emotionally,ladies and gentlemen, I give you KONG!.

''Oh no, it wasn't the airplanes. It was beauty killed the beast.''


A film crew goes to a tropical island for an exotic location shoot and discovers a colossal giant gorilla who takes a shine to their female blonde star.

Fay Wray: Ann Darrow

King Kong is the story of Carl Denham played by Robert Armstrong, a filmmaker known for his films being set in exotic locations, who has a new mysterious project but finds himself without a star for the film.

On the street he meets Ann Darrow wonderfully played by beautiful Fay Wray, a young woman who has been driven to poverty by the Depression. Denham convinces Darrow to join his crew, offering her a starring role in his new project. They then sail aboard the freighter Venture and head off to Denham's secret location. As the ship gets closer to their destination, Denham reveals them that the place they are looking for is a secret island where a legendary monster named Kong is supposed to live. It is only after Ann Darrow gets kidnapped by the island's inhabitants when the director discovers what he has come to find that being Kong, the giant gorilla and now that he has Darrow in his hand, the crew will have to venture into the dangerous jungle to save her.

The story is a mixture of horror, fantasy and adventure.
Put together by famous crime writer Edgar Wallace and Merian C. Cooper himself, but the actual script was completed by James Ashmore Creelman and Ruth Rose actually Schoedsack's wife, who developed the story and in the process created one of the most memorable and ahead of its time film in history.

While the plot is certainly simple, it's filled with a constant series of thrilling scenes that propel it forward and literally reinvented the adventure genre.

Also, there is a good deal of character development despite some clichéd, even for the time period, dialogs. The fact that Rose and the directors were notorious adventurers on their own account, gives the plot a strong sense of realism despite its fantastic plot, as the adventure mirrors the group's real exploits.

Director Ernest B. Schoedsack was definitely the best man for the job of making Cooper's ideas a reality, as his great eye for visuals and remarkable technical proficiency were instrumental in the making of this, the duo's greatest challenge. For it's time the effects granted look dated now but miraculously grand for 1933, the acting and performances are effortless and faultless. The breath taking finale also that lasts 6 minutes really shows off aerial photography and the tragedy of Kong.

King Kong will remain a classic for hundreds of years, which unsurprisingly inspired admirer Peter Jackson to remake this colossus.

''There are aspects of my personality that I can't control. And when I lose control, it's very dangerous to be around me.''


Fugitive Dr. Bruce Banner portrayed by Norton must utilize the genetic accident that transforms him into a giant, rampaging hulk to stop a former soldier played by Tim Roth, that purposely becomes an even more dangerous version.

Edward Norton: Bruce Banner

Liv Tyler: Betty Ross

Tim Roth: Emil Blonsky

Hulk has the cast, the plot and the look to reboot a previously squandered job on one popular character's from Marvel. So doe's Hulk please and thrill and add another fine strong notch to Marvel's belt? I'd say yes thanks to a number of reasons.



The director Louis Leterrier who was also behind Transporter crafts a superhero chase movie that is pure blockbuster material and a comic book fanboy feast. I never saw Ang Lee's Hulk which to me looked awful and on seeing this reboot, this makes me pleased i did not.

Effect wise I was worried, granted in places there not perfect but in others they are pretty damn detailed. I find metal effects are far more easier like Iron Man to pull off, to do fleshy muscle effects is a real challenge and in creating the Hulk I can see how hard it must have been. Some of the rain parts with Liv and Hulk were pretty damn pure indulgence on the realism stakes.

Action wise The Incredible Hulk is like a roller-coaster Fugitive mixed with Kill Bill and Sith. I mean the music is blaring, guns and sonic emitting weapons not to mention camera angles that make use of the open spaces and cram in the level of destruction when Banner is unleashed in Hulk form every time.

Edward Norton as Bruce Banner/Hulk is a very interesting choice for Hulk and one of the main reasons for me wanting to see the film plus the excellent cast. This actor is like choosing a win-win situation, his attention to detail and focus is apparent in every little gesture and word he performs. Whether it be a magician, a Neo-Nazi or now The Hulk Edward Norton proves what being an Actor is about and one of those aspects is the ability to change. Bruce Banner ultimately has a beacon on him with Norton's representation.
Liv Tyler as Betty Ross shows that Liv isn't just a beautiful face but a talented actress. The love story between Betty & Bruce shows that there is more to this film than explosions and carnage, formulating romance and poise.
Tim Roth who plays Emil Blonsky is the crazed nemesis of the piece. Found it hard to believe such a short man with tattoos and a gruff posture could be of military personnel. But I overlooked this as he was pretty damn funny in his bold audacity and his sheer audacity. As usual American casting an English Actor as a bad ass bad guy is typical.
William Hurt as the General was a fine addition. The cigar smoking, no nonsense military man showing his penchant for using things for weapons such as Bruce for his own gain and then Blonsky. He ultimately becomes redeemable which came as a sudden surprise at a point.

The Incredible Hulk is a top notch chase movie combined with a Comic Book Character who isn't a typical hero but one with a troubled affliction, like a modern telling of Dr Jekyll & Mr Hyde, which shows him fight his inner demons and become a reluctant Hero. Hulk also surprises us with cameos from Stan Lee, The original Hulk and Robert Downey Jr's Iron Man/Tony Stark giving us a hint of maybe a movie featuring all the Marvel Hero's together in a film, like the comics Justice League. Not sure how they would do that but that would be amazing.

Fans of Edward Norton should see this, Fans of the Hulk or Comic Book flicks will not be disappointed.

You wouldn't like it when I'm...hungry! :P''

''The truth is...I am Iron Man!''


When wealthy industrialist Tony Stark is forced to build an armored suit after a life-threatening incident, he ultimately decides to use its technology to fight against evil.

Robert Downey Jr.: Tony Stark / Iron Man

Terrence Howard: Jim Rhodes

Jeff Bridges: Obadiah Stane / Iron Monger

Gwyneth Paltrow: Pepper Potts

I love how Comic book movie take half the picture duration to set up their hero, to see them finally become.
Iron Man is a mixed bag for me. On one hand it's got humour, amazing effects and mindless fun, on the other hand it's got terrible acting, Gwyneth Paltrow and Terrance Howard, yes I'm looking at you two, it's over far too quickly and it's not very adult.

Iron Man left me wanting more despite it's one of my fave hero's and Robert Downey Jr is one of my highly respected and loved actor to me.

Fan boys, children, geeks MALES!, comic-book appreciative audiences will lap this up!
Transformers does what Iron Man attempts and also adds that human element, a humour that doesn't push, that both genders can get something from.

Gwyneth Paltrow seriously needs acting lessons and Terrence Howard just didn't click to me as a pilot with his weedy voice. But ultimately Robert Downey Jr steals the show as Tony Stark AKA Iron Man.

Iron Man is going to make big money i have no doubt of that, it's a blockbuster cashing in on audiences like moths to a flame. In a world of Spiderman, Batman, Fantastic Four, Superman this IM is another fine addition to superhero flicks and to Marvel's belt

Again Robert Downey Jr as Tony Stark AKA Iron Man carries the film displaying the best performance alone, while Jeff Bridges as Stane shows us a villain. Effects wise, action sequences it surpasses it's wet dream, and provides laughs galore in places. Terrorists getting smacked away by this giant colossus is breath taking to watch, while a final Mech battle is obviously going to happen.
And Tony hitting that hammer there's a whiff of Rambo in there too, i mean come on, I don't moan about Original ideas but someone's got to draw the line. Hell it's got class anyhow.

I'm afraid Hollywood scripts are so predictable i actually guessed what would happen one third in although this didn't decrease my enjoyment.

Iron Man is colourful, bold and fast blazoned with action and kiddish. I'm left optimistically thrilled, craving a certain sequel and a Dark Knight not to mention Hulk to carry on IM trend.

A Comic Book Blockbuster!

''Directive?''

[Wall-E gathers up some trash, compacts it and spits it out.]

''Ta-da! ''

In the distant future, a small waste collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.

Ben Burtt: WALL-E / M-O (voice)

Elissa Knight: EVE (voice)

WALL-E is without a doubt one of the most accomplished, most well concieved animated films over flowing with story, emotion and will leave you wanting more and more.

It begins even with a short film of a magician and his Bunny Alex which provides plenty of laughs, then it gets onto the film itself. When we are first introduced to Wall-e, you instantly know in your heart you won't be able to resist his cuteness and lovableness. He collects interesting things from the debris and puts them in his home while watching old musicals classics and recording them on his box. What's also fascinating is that he is solar powered and can also recede into box form, so cute.

Earth has become an inhospitable dump, bristling with rubbish and junk. Wall-e's main function is to recycle materials to rebuild the crumbling remnants of humanities cities. Only problem is Wall-e seems to be on his own, last of his kind. Apart from his friend in the form of a cockroach who provides company.

When a space craft lands on this planet Wall-e gets to meet EVA a white robot sent to find something vital on Earth. What we get is some lovely sequences of her following her directive, WALL-E isn't just an animated film, its one of substance and story, and a love story at that.

When later in WALL-E he ends up on a huge spaceship and is swept alongside hundreds of other robots you just have to marvel at the sheer amount of time that has gone into creating this gorgeous animated film. Not only that but references to 2001 and a robot that even looks like Hal and similar behavior marks as one of the best homages an animated film has ever done. Not only that Casablanca also gets a nod with an iconic song.

It will make you laugh, make you cry in places especially near the end, and make you melt from sheer overload of a masterpiece that surely deserves to win an Oscar for Best Animated film.
WALL-E is perfect and a cheery alternative for this summer, that all the family can appreciate.

The credits I loved which I must mention, and Peter Gabriel's song at the end really added to what was already in my mind perfection. WALL-E concludes like it begins, making you feel good and leaving you breathless.

''It is said that the Dragon Warrior can go for months without eating, surviving on the dew of a single ginko leaf and the energy of the universe.''

''Then I guess my body doesn't know I'm the Dragon Warrior yet. It's gonna take a lot more than dew, and, uh, universe juice.''

Po the Panda is the laziest animals in all of the Valley of Peace, but unwittingly becomes the chosen one when enemies threaten their way of life.

Jack Black: Po (voice)

Kung Fu Panda unsurprisingly was birthed by the wondrous Dreamwork people, for a start the animation and story are untouchable in quality executed to the highest standard.
In recent years Dreamworks animation has been a sort of hit and miss production company. Some of their films have been nearly as good as the Pixar films (Shreks, Over the Hedge), but others have been close to complete crap (Shark Tale, Madagascar, Bee Movie). With Kung Fu Panda Dreamworks strikes gold.

The film is great because of how simple it is. Simple story, simple morals, simple comedy, and simplistic style. The movie is just good to watch. You could go and see it with your family, or your girlfriend, its a gloriously animated sort of film.

We are told the story of a slightly overweight Panda whom has duties with his father in a Noodle restaurant. Panda dreams of becoming a great Kung Fu master while at the same time trying to please his father by saying his dream is comprised of taking over the Noodle heritage of his father. Yes you may have noticed ''his'' father per say, lacks resemblance or species to Panda funnily enough. When a choosing of the Dragon Master comes about. Panda rushes to see this tournament. What transpires next is him unwittingly getting chosen by Oogway, the Old Turtle Master.

Kung Fu Panda has such effortlessly smooth paced animation that fluidly speeds along at all times we the audience, scarcely get to notice the amount of work thats gone into every frame. Especially the action scenes which seem to thunder along in a dazzling array of splendor.
I think Kung Fu Panda perfectly gets together several important Chinese cultural elements: traditional Chinese Kung Fu Tactics, traditional Chinese fighting story, traditional Chinese jokes, traditional Chinese scenes, traditional Chinese music, even traditional Chinese legends! I also like the ending song.

''There are no accidents.

The voices are incredibly done and some I didn't even recognise. Notably Dustin Hoffman voicing Shifu, was superb, his voice instantly recognizable.
Jack Black as Panda excellent providing laughs, charm and charisma throughout as the main star of the film.
Other iconic voices are from a dazzling selection of actors and actresses such as Angelina Jolie voicing Tigress, Ian McShane as Tai Lung, Jackie Chan as Monkey, Seth Rogen as Mantis, Lucy Liu as Viper and even Michael Clarke Duncan as Commander Vachir pops up.
James Hong voicing Mr. Ping was instantly recognisable by ear, the actor from Golden Child & Big Trouble In Little China. Amusing how they made that of the bird character he plays to match a certain element of him from real life in the animation.
The characters fit so well with their voices, especially my all time favorite character Master Shifu voiced by Dustin Hoffman. True, Jackie Chan and the furious five didn't have too many lines, but this does not stop the upbeat trhill and flow of the movie. The battle scenes are superb. The storyline is very original, and bright, but within all the humour there is a soul, and other emotions,such as sadness. One of my favorite scenes is the one in which the Brave Master Shifu battles with his former pupil, the vicious Tai Lung.

Speaking of animation, the cinematography, character design and backgrounds are all done very, very well. Whether it's flying through the air alongside a leaping character, the painting-like backgrounds, or the wonderful opening sequence (reminiscent of Samurai Jack), they're all beautiful. Snap zooms, slow-motion, and flying cameras are also used with great skill to further the experience.

Even the music and sound is outstanding. Asian drums rumble in the background of intense fights... stones shatter and crumble away... fight sequences rise and fall with each of the music cues, or is that the other way around? Beautiful.

Loved how Kung Fu Panda begins with the drawing styled animation, then all the way through I was amazed how detailed Panda is on the whole capturing action, suspense and excitement mixed with comical fun and laughs galore.
What it lacks in originality, it makes up for in style and humour. Relatively new directors, Mark Osborne and John Stevenson have created a multi-hued ancient China that moves with stealth precision between enchantment and explosive energy. Its inhabitants are geese and rabbits that live their lives in the shadow of lore. As long as all is peaceful, then they can blissfully enjoy their noodle soups in the town square and if anything should happen to collapse that peace, then they have the kung fu specialized Furious Five, a tiger, a monkey, a crane, a snake and oddly enough, a mantis, to protect them from whatever evil lurks. No one member of the community has more faith in these five than Po. His idolatry of these heroes extends to numerous posters on his walls and action figures by his bed. Black plays Po as the hardcore geek that hides his enthusiasm and secret desire to be a part of it all in fear of being ridiculed for wanting the impossible. Po is that unfortunate fat kid from school that wants to hang with all the cool kids, hates that he's stuck working at the local fast food establishment after school and knows that there's nothing he can do about it.

Kung Fu Panda is great wisdom wrapped in even greater fun and often breathtaking animation. Sometimes the simplest of lessons are the ones that are hardest to learn.
Perhaps the subtlest lesson the film passes on is to relinquish your control over the destiny of your own life. Po never thought he would find himself surrounded by his heroes, getting the chance to realize his life long dream of becoming a kung fu master but here he is suddenly. Master Shifu never thought he would be training such a useless lump but here his is as well. It is only when each character let go of their egos and expectations that they saw how to make their situation work. Shedding your own expectation for Kung Fu Panda to be something more than what it really is will allow for the good times intended to be had and an unexpected tranquility to seep into your mind.
Along with the masterpiece that is Pixar's WALL-E, this offering from Dreamworks Kung Fu Panda shows that Pixar aren't the only ones with talent. A story with heart, of wonderment and of humour, Kung Fu Panda comes recommended to any lover of animated films.

''Yesterday is history, tomorrow is a mystery, but today is a gift. That is why it is called the present.''