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All reviews - Movies (436) - Books (11) - Games (1)

Whatever happens tomorrow...I'm happy now.

Posted : 15 years, 7 months ago on 26 August 2008 09:33 (A review of Groundhog Day)

''Whatever happens tomorrow, or for the rest of my life, I'm happy now... because I love you.''

An obnoxious weatherman finds himself living the same day over and over again.

Bill Murray: Phil Connors

Andie MacDowell: Rita

This along with Lost in Translation is the ultimate Bill Murray film. It has everything needed to make it a cult film with it's charm and moral lessons. It has a highly innovative story, excellent acting and something else which cannot be described but you feel it.
Directed by Harold Ramis, Danny Rubin and again Harold Ramis concoct a gorgeously sumptuous screenplay from a story written by Danny Rubin.



Bill Murray becomes a household name with Groundhog Day, the film and story is about a man who relives the same day over and over and over.
The storyline is perfect for character development and great sketches involving what to do with unlimited time. Without saying too much I can say that the main character, who is the only one who can actually remember the day before, and utilizes his special gift or if you will, this curse.
The writers originally wanted the audience to join the main character as he had already been trapped in this time loop for many years (he doesn't age, how can he when the day before never happened?) and he knows everything about everyone. This approach was thankfully abandoned because watching Bill Murray react to his predicament is nothing short of being priceless. He is initially intrigued by the concept and abuses his situation but eventually there is a change in the character for the best. What changes I will leave to future viewers to find out for themselves. The film graces a few philosophical questions but nothing more than that because the objective of the film is entertainment and it succeeds brilliantly in its goals.

The cast is wonderfully assembled. Bill Murray, one of our time's greatest actors both comedy wise and dramatically, does an excellent job. His comic timing is flawless and his underplayed and sometimes quite dark humour works brilliantly on screen. Also he portrays the changes in his character with great skill. Pure movie magic. Andie MacDowell, whom in my opinion is a very underrated actress, does a fine performance as well. She is instantly likeable and the audience relates to her character immediately because of this. Her reactions are highly believable and this of course adds to the overall credibility of the film. Chris Elliot gracefully under-acts his part which is a good thing because the emphasis is on Murray's character but he serves his purpose to great effect. Stephen Tobolowsky steals every scene he is in and contrary to Chris Elliot he overacts every scene he is in but he stays within the confines of believable so his character too works magnificently and creates a lot of laughs. Other than the actors mentioned the supporting cast is excellent. What few scenes Brian Doyle-Murray, Bill Murray's brother, is in he makes his own.

Overall the film's cinematography and sets work pretty well but as the emphasis is on the characters its not really worth mentioning. The music is another thing which is very good. The score by George Fenton is excellent and fresh. It doesn't sound like something we've heard before and therefore adds to the originality of the film which is already substantial.
The whole concept of the film might sound a bit pretentious but it doesn't feel that way. In fact it feels very down to earth because of the characters' believable reactions and seemingly genuine emotions.
Though this film has a serious message, it is still quintessentially a comedy. But it's a comedy that uses psychological exploration regarding a fascinating character to make its point. After the laughter has worn down, Groundhog Day turns out to be one of the richest and deepest films I've ever seen.


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The force is with you but you are not a Jedi yet..

Posted : 15 years, 7 months ago on 26 August 2008 09:28 (A review of Star Wars: Episode V - The Empire Strikes Back)

''The force is with you, young Skywalker, but you are not a Jedi yet.''

While Luke takes advanced Jedi training from Yoda, his friends are relentlessly pursued by Darth Vader as part of his plan to capture Luke.

Mark Hamill: Luke Skywalker

After the success regarding the original Star Wars now titled A New Hope, one would have assumed a regression in quality thanks to the whip lash that George Lucas appears to have in making films.
Thankfully veteran Director Irvin Kershner expertly assists by directing and gracing George's storytelling with skilful poise regarding film making. Mix this with screenplay that sizzles and succeeds from Leigh Brackett and
Lawrence Kasdan, and you have a sequel victory assured.



The Empire Strikes Back brings back the incredible original heroes, coats them and grants them depth and story, still finding time to bring in new timeless characters that become legends in their own assurity.
With the new director leading proceedings, Irvin Kershner, brings even more life and vitality to the story and the world that made the first Star Wars so incredible.
The only problem really with the first Star Wars is it felt like only a beginning, in the regard that it was, and also a film which could stand alone but audiences are left wanting more. Like there were layers of detail that we didn't get and The Empire Strikes Back burst into those layers and put us deep into the world and the story never to turn back. On top of that the film delivers the first and most infamous twist in film history...family connections so to speak. I won't give it away if you have existed under a rock for the last three decades. The fights are epic, the new characters are amazing, and even Hamill as Skywalker starts to really shine and receive some real depth to his character.

Mark Hamill's performance matures and really comes full circle in relation to Luke Skywalker, whom he embodies this time round. His naivety and boyish charm changes for the better as he trains to become a Jedi and an adult.
Harrison Ford's Han Solo is probably the character that changes the least and probably just a case of "don't change a good thing." Solo is still a kick arse hero and his story is a focal point for the sequel.
Carrie Fisher slips back into her role as the feisty Princess flawlessly. This time the banter and romantic tension between Fisher and Ford heats up and really gives the story a timeless romance. Anthony Daniels, Kenny Baker, and Peter Mayhew return in full form as C3P0, R2D2 and Chewbacca and they are better than ever. David Prowse with James Earl Jones providing the voice continues to make Darth Vader the most evil, intensely bad villain in the history of films. Vader's character really turns up the heat and gives a terrifying turn as the leader of the Empire. Billy Dee Williams is a newcomer to the cast and a welcome addition. He plays gambler, scoundrel Lando Calrissian. He doesn't get a lot of background or depth to his character and yet he is a great addition to the cast. And saving the best for last...the master of the Star Wars Universe. Frank Oz brings Master Yoda to life. The entire sequence with Luke and Yoda meeting for the first time and training is brilliant. Yoda is a timeless character, a pop culture idol and yet his part in this is touching, funny, and brilliant. This is one character whom becomes much more than merely a puppet, he becomes a being we can relate to and listen to.

The Empire Strikes Back is simply the adventurous and funniest sci-fi sequels to grace us ever. The film picks up where the first left off and takes the viewer on a thrill roller-coaster ride that never slows down. This is ultimately all about the evil Empire and Vader getting his revenge, essentially succeeding. Starting from the opening moment, the brilliantly crafted ice world called Hoth, and continuing on to a show down between Skywalker and Vader himself and the revealing of the infamous secret, this film is pure brilliance. The direction, the creation, the writing, the characters and the special effects are jaw droppingly amazing. There is simply no way you can watch just one Star Wars movie because the story is so important but after watching the first one and thinking... this is fun and additively entrancing, The Empire Strikes Back will take it up a notch, up into the heavenly stars and realms of a perfect film.
Simply among the greatest sequels of all time.

''Life creates it, makes it grow. Its energy surrounds us and binds us. Luminous beings are we, not this crude matter. You must feel the Force around you; here, between you, me, the tree, the rock, everywhere, yes. Even between the land and the ship.''


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Are you watching closely?

Posted : 15 years, 7 months ago on 26 August 2008 09:27 (A review of The Prestige)

''Never show anyone. They'll beg you and they'll flatter you for the secret, but as soon as you give it up... you'll be nothing to them. The secret impresses no one. The trick you use it for is everything.''

Having been firm friends, a friendship turns into a deadly rivalry. When Alfred performs the ultimate magic trick, Robert tries desperately to find out the secret to the trick and to use it for his own means. Obsession turns the two men and begins to unravel their lives...

Hugh Jackman: Robert Angier

Christian Bale: Alfred Borden

The Prestige(2006) is the film adaptation from Director Christopher Nolan based upon the book by Christopher Priest. The story is simply, diversely about two entertaining magicians whom become friends then later rivals; a friendship that turns to rivalry, a rivalry that turns deadly. Friendly rivalry becomes an obsession. They start to spiral into complexities as their obsessions eclipse and destroy their lives.



The story is in a word mesmerizing. You cannot help but stay focused throughout the film as you want to know how it will conclude. There are many twists and turns within the snake labyrinthine plot, There is a quote in the film used throughout, "Are you watching closely?"...You need to be paying close attention with the The Prestige and every viewing is as if one is deciphering a Rubix cube.

Beside the twists, the turns, the shocks and surprises, the performances and casting are truly phenomenal.
Hugh Jackman was a big surprise success as Rupert Angier, whom chooses deep films like the layered project from Darren Aronofsky The Fountain. The Prestige again shows Hugh Jackman as a man whom chooses his scripts wisely.
Christian Bale again always on top form in any Nolan collaboration; He gives life, depth and vitality to his character Alfred Borden.
Michael Cane as Cutter shows us a veteran hand, Nolan, Bale & Nolan in a Batman successful partnership once again.
Scarlett Johansson also very good as Olivia Wenscombe. Piper Perabo makes a short appearance but very effective and memorable.
Even Legend David Bowie and Andy Serkis popped up as Nikola Tesla and Alley.

''You never understood, why we did this. The audience knows the truth: the world is simple. It's miserable, solid all the way through. But if you could fool them, even for a second, then you can make them wonder, and then you... then you got to see something really special... you really don't know?... it was... it was the look on their faces...''

Christopher Nolan's The Prestige achieves in bringing to life a dark tale of dueling magicians, cunning betrayals laced with rivalry, magical trickery, all resulting in high quality dazzling entertainment and drenched with darkness and mystery; True to Nolan's style and nature. The Prestige isn't just a battle of words, but one fused of actions and wit. The film is full of mirroring and doubling, so it's not surprising that the magicians' feud is indeed mirrored by Nikola Tesla's equally dangerous rivalry with Thomas Edison over electricity and science.
Magic, Science and Mystery all merge into a perfect equation for both stories and film-making, in the way the spectacle could almost be an allegory about why we do the things we do to feel complete. Each protagonist is in search of his destiny and achieving aspiring greatness in his craft. Bale has the genius but not the ability to sell his illusions to an audience. Jackman has the showmanship but not the originality to create a truly great trick. In the middle is Michael Caine's engine, the backstage genius with the surprisingly shaky cockney accent, caught somewhere between director and ghost writer within the scheme of things.

Ultimately, it's a film that could be about everything or absolutely nothing, one that is either led entirely by plot differentiation or one where the themes and storytelling dictate the characters' actions far more than credibility...where the biggest trick is that ultimately there is no trick. All interpretations seem equally valid, which is part of the fun and puzzlement. The Prestige is a period film with a modern, unique feel that will leave you contemplating, leave you wondering, leave you breathless.

''Now you're looking for the secret. But you won’t find it because of course, you're not really looking. You don't really want to work it out. You want to be fooled.''


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Some lovely Philadelphia, say Cheese!

Posted : 15 years, 7 months ago on 25 August 2008 05:00 (A review of The Philadelphia Story)

''The time to make up your mind about people is never.''

When a rich woman's ex-husband and a tabloid-type reporter turn up just before her planned remarriage, she begins to learn the truth about herself.

Cary Grant: C.K. Dexter Haven

Katharine Hepburn: Tracy Lord

James Stewart: Macaulay Connor

Philadelphia Story is a hilarious comedy, starring Cary Grant, Katharine Hepburn, and James Stewart. With that cast, along with a great script and inspired direction, make this movie a treat to watch.
The three stars are obviously the Story at work here, but minor characters also play an influential part. To the extent in which the older adult members of Hepburn's family have no clue as to what is transpiring, while the child clearly does, is most amusing. It ought to be said that Philadelphia Story is far from all that humourous. The sense of humour is more of the clever and fleeting kind of variation. Most of it arises either from Grant's splendid persona, with his wry, charismatic tones, or Hepburn's flighty, beguiling, enchanting mannerisms. I would say that Grant is to a degree under used in his role, as there are very large stretches of the picture where he is not on screen. Stewart is however excellent, playing a sensitive, artistic type who understandably is somewhat taken by Hepburn's Tracy Lord. All three stars are much in their element and they bask in it's glory, with accents as remembered by all, and a fitting social setting.

As has been said by some other film scribe, "a strong case is being made as to the sheer irresistibility of the film's female star". Katharine Hepburn is shown at her most statuesque and in a beautiful disposition. Her character has an impressive array of fine lines to deliver also, and is treated with dignity and understanding by the effective script. It is in some ways a voyage of self discovery for Hepburn's Miss Lord. Ranging from a rejection of her anointed goddess status, a rejection of marriage for mere hierarchical gain and a deeper understanding of the meaning of love.

The film's about-face ending is quite charming really, mixing the conservative with the progressive. Conservative in that marriage is seen to have to take place, and in the characters returning to earlier relationships. It could indeed be argued that not enough had been made of Stewart's relations with Ruth Hussey's character. Progressive it could be said, in that events have been very quickly turned upside down, and love over society is championed. Also, perhaps most tellingly, the drunken indiscretion of Hepburn is not just forgiven, but seen as part of her self-discovery. This film in its treatment of a liberated woman such as Hepburn, must be praised for its sensitivity and liberal understanding. All too often, Hollywood allowed the reactionary and the puritanically conservative to lazily dominate its films.

We are presented with an upper-middle class milieu, with contrasts provided by Grant's hard-bitten aristocratic dandy and John Howard's dullard "man of the people" politician. There is nothing staggering about the film's assertion that the upper classes can be perfectly charming and noble, whilst those of the lower classes, like Howard, can be lacking charm and appear materialistic. It seems merely to be making a point of its very balance, and is almost a fig leaf to those who would have expected a simplistic socialist line.

Need it be mentioned that Cukor's direction is excellent? Making an art form of the unobtrusive, he lets the camera just take in the performances and the script, without distraction. He captures Hepburn in a radiant and sensitive light that I suppose slightly overshadows the male leads. There are artistic shots at times, that evoke occasional counterpoint to the usual images of the starts. One lingering shot of the precocious child watching from out of her window the night's events, is a good example of this working to great effect. An effect of establishing a wider, but still near-motionless canvass to the story.

Philadelphia Story is cleverly and entertainingly written, and delightfully well acted by all involved. It's hard to imagine anyone finding it dull or beneath them, but apparently some people can find anything beneath them. Indeed their defeat. If you haven't seen this, please do. If you haven't seen it in a while, give it another viewing. You won't be disappointed. It's standards and assumptions are a bit dated, but the humour, wit, and heart are certainly not.


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27 Reasons to see this Lovely film

Posted : 15 years, 7 months ago on 24 August 2008 10:54 (A review of 27 Dresses)

''Love is patient, love is kind, love is slowly going out of your mind''

After serving as a bridesmaid 27 times, a young woman wrestles with the idea of standing by her sister's side as her sibling marries the man she's secretly in love with.

Katherine Heigl: Jane

27 Dresses sees Katherine Heigl plays Jane, a woman who just loves going to weddings, being a bridesmaid for her friends and in most instances being the person to go to when it comes to making wedding arrangements. We find out quickly that Jane's fascination and penchant for helping with weddings came about soon after her mother died when as a very young child she helped her sister find a bathroom, fix her hair, and used a bow in her sister's hair to repair the bride's wedding dress. When we catch up with Jane as an adult, it turns out that she is a bridesmaid at two different weddings on the same night, requiring her to hire a taxi for the evening and to shuttle back and forth between the two receptions changing in and out of the different bridesmaid dresses while riding in the back seat.


27 Dresses presents many dilemmas and interesting scenarios, not to mention burning questions that need answering like will George and Tess get married? Or will George realize that Jane is the girl for him? Will Kevin be the one to actually fall for Tess? Or does he only have eyes for Jane? Will Kevin write the story about Jane's 27 appearances as a bridesmaid? And will it be published about the time his cynicism might be turning to love? Will George discover that Tess isn't all she is cracked up to be and turn to Jane for comfort? Will Jane finally tire of being a bridesmaid and wedding planner all rolled into one? There is absolutely no doubt in my mind that you'll be able to answer all of those above questions by the time 27 Dresses has completed about a fourth of its 107 minutes of running time. But chances are it won't matter to you one bit that the film is so obviously predictable, just as most of the films in the romance genre usually are. You'll enjoy it anyway thanks to another strong performance by Katherine Heigl.

It's one thing to star in a film of this sort and to get a few laughs with some well written snappy dialog, but Heigl manages to go beyond that. She has this wonderful ability to draw the audience into her character. You can readily identify with her, laugh with her, cry for her, be embarrassed for her, and to feel as sad and lonely as she seems to be in the early part of this movie. We cheer her when she finally does take a stance, but we feel her remorse for having done so when it backfires to some extent. There are only a handful of actresses who can manage all of that, and do it all in one film.

The supporting cast in this film aren't exactly bad either. Malin Akerman does a great job of making Tess the evil obnoxious sister that you'll love to hate. James Marsden manages to somehow make his character believable as someone who is suppose to be a jerk on the outside, but yet gives indications that there is more to Kevin than meets the eye. But best of the supporting players is Judy Greer as Jane's best friend Casey. She has at least three of the films funniest including doing her best to literally knock some sense into Jane at one point.

The defining aspect to 27 Dresses is that most romantic comedies are on a predictable wave length. They are only successful when they have a good but novel strain of topic to make topic interesting and when the script has enough witty dialogue and is able to touch your heart it makes it worth our while. (Got to watch that Bar Scene again, Benny and the jets) But most importantly, the actors have to make you care about them and their romantic dilemma, and to feel the same ranges of emotions that they are feeling on the screen. And thanks in large doses to another fine performance by Katherine Heigl, 27 dresses certainly succeeds and shines.


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Check Mate!

Posted : 15 years, 7 months ago on 23 August 2008 01:38 (A review of The Seventh Seal (1957))

''I met Death today. We are playing chess.''

A man seeks answers about life, death, and the existence of God as he plays chess against the Grim Reaper during the Black Plague.

Max von Sydow: Antonius Block

The Seventh Seal is dark, beautiful, meaningful, and indeed explores the most serious themes regarding faith and search for the Divine; Known by many as a defining masterpiece from the Swedish film-maker Ingmar Bergman. One of the film's inspirations was a painting that Bergman saw as a young boy and was awed by: "There was everything that one's imagination could desire. Angels, saints, dragons, prophets, devils, humans. There were very frightening animals: serpents in paradise, Balaam's ass, Jonah's whale, the eagle of Revelation. All this was surrounded by heavenly, earthly and subterranean landscapes of strange yet familiar beauty. I remember Death playing chess with a Crusader, Death sawing at a tree to a branch of which clung a naked man with staring eyes, and across a gentle hill Death leading the final dance towards the dark lands''.



Det sjunde inseglet, which translates as The Seventh Seal, refers to a passage concerning the end of the world from the Book of Revelation, used both at the very start of the film, and again towards the end, beginning with the words "...And when the Lamb had opened the seventh seal, there was silence in heaven about the space of half an hour..." (Revelation 8:1).
The concept of the "Silence of God" in the face of evil, or the pleas of believers or would-be-believers, may be influenced by the punishments of silence, upon which the film attempts to explain and analyse with great detail and poise.
Interestingly, in Bergman's original radio play, sometimes translated as A Painting on Wood, the figure of Death in a Dance of Death is represented not by an actor, but by silence, "mere nothingness, mere absence...terrifying...the void."

The film follows the journey of a knight Antonius Block (Sydow) returning from the Crusades, through Sweden ravaged by plague. The knight has lost his faith in the blood and horrors of the battlefield, his faith has been tarnished due to no recognition from God and the horrors he has seen,"Faith is a torment. It is like loving someone who is out there in the darkness but never appears, no matter how loudly you call".
On his way home, he encounters people dying from starvation and disease, being burnt as witches, and encounters with Death(Bengt Ekerot) himself who challenges him to play a game of chess. We then have the story of the family; a happy juggler, his wife, and their infant son. This family is happy because they love each other. They represent the simple joys and hopes of ordinary life in human proportions.
The Seventh Seal is not entirely heavy upon significance though. It has an incredible story with believable characters, wonderful performances, lots of comic relief and moves easily from drama to comedy as executed in the great Shakespearean plays. We meet an actor named Jof (Nils Poppe), his wife Mia (Bibi Andersson), and their infant son Mikael. Block looks with envy on the simple love of this family for their child. Both Jof and Block see visions of the spiritual world but Jof's visions are life affirming whereas Block sees only reflections of darkness. The film has unforgettable images such as a hawk floating in a cloudless sky, two horses standing in the surf, Jof's vision of the Virgin Mary caring for her child, and a frightening procession of plague-infected flagellants.

''I want to confess as best I can, but my heart is void. The void is a mirror. I see my face and feel loathing and horror. My indifference to men has shut me out. I live now in a world of ghosts, a prisoner in my dreams.''

In one of the most intense scenes, Block enters a church and confides in a cloaked man he believes to be a priest (but is actually Death). He asks Death many questions about God, but receives no answers. This is the first time we see Block have some kind of weakness; he almost breaks down and relents thus says ''I call out to Him in the darkness, but it's as if no-one was there...'', and ''I want God to stretch out His hand, uncover His face and speak to me.'' What answer does he receive? Not even Death knows if God exists. At the end of this scene, Block points out that we should make an idol of our fear, and that idol we should call God. This profound statement is reflected throughout the rest of the film, as we realize that the communities across Sweden do not simply believe in God, but they also live in fear of him. They see the plague as a punishment directly from Him, cue a casual performance with a sinister march, where the damned whip themselves and monks sing the Dies Irae, whilst townspeople sombrely state 'Judgement day looms' in the local tavern.
Later, Block encounters a witch, whom is being prepared to be burnt at the stake. The first time he sees her, he casually asks her if she has ''seen the Devil?'', but is given no reply. He sees her once more as she is about to be burnt and gives his reason: 'I want to ask him about God.' What comes next is one of the most powerful images of the film. The witch asks Block what he sees in her eyes? Thus apart from fear, he sees nothing. No Devil. No God.

In the end, Block does his good deed before his death. Seeing his looming checkmate and defeat at hand, he purposely knocks the pieces of the chessboard to momentarily stop the game whilst the young couple, Jof (Nils Poppe) and Mia (Bibi Andersson) escape. Death asks him 'Did you profit from your respite?', and he replies 'Yes, I did.' With this selfless act he has saved other lives disregarding his own. Thus actually saving his own soul.
On to the young couple, they have been interpreted as many different things, what their role is in the film and if they are simply a device. Many believe they symbolize the Virgin Mary and Joseph, however I believe not. Bergman clearly says that they do not represent Mary and Joseph, the evidence being, why would Jof have a vision of the Virgin Mary if she was his wife? Jof provides much of the comic relief, the film, although short, his intense and challenges entice you to think. Jof, who appears innocent, clumsy and somewhat stupid, allows us to take a moment from the film and simply laugh. He provides more than this however. He, his wife, and their baby all appear to be innocent and good. They represent the purity in people, and even through the plague, a corrupt society and man's doubt in God and religion, there still are pure people.

Much of the film's imagery is derived from medieval art. For example, Bergman has stated that the image of a man playing chess with a skeletal Death was inspired by a medieval church painting from the 1480s in Täby kyrka, Täby, north of Stockholm, painted by Albertus Pictor.
However, the medieval Sweden portrayed in this film includes creative anachronisms. The last crusade (the Ninth) ended in 1271, and the Black Death hit Europe in 1348. In addition, the flagellant movement was foreign to Sweden; large-scale witch persecutions only began in the 1400s.
Generally speaking, historians Johan Huizinga and Friedrich Heer and Barbara Tuchman have all argued that the late Middle Ages of the 14th century was a period of "doom and gloom" similar to what is reflected in this film, characterized by a feeling of pessimism, an increase in a penitential style of piety that was slightly masochistic, all aggravated by various disasters such as the Black Plague, famine, the Hundred Years' War between France and England, and papal schism. This is sometimes called the crisis of the Late Middle Ages and Barbara Tuchman regards the 14th century as "a distant mirror" of the 20th century in a way that echoes Bergman's sensibilities.
It is a modern poem presented with medieval material that has been very freely handled; The script in particular, embodies a 20th century existentialist angst upon it's lucrative frame and indulgences.
For audiences to fully grasp the film's questions and answers, they must allow Bergman, his artistic license, and the script's modernisms may be justified as giving the story's medieval theme a compelling and urgent contemporary relevance.
The film succeeds to a large degree because it is set in the Middle Ages, a time that can seem both very remote and very immediate to us living in the modern world....Ultimately The Seventh Seal should be judged as a historical film by how well it combines the medieval and the modern. It should also be judged for it's deeper aspects that blossom from the fundamental foundations, the story and characters offer.

In conclusion, I can say that The Seventh Seal is certainly one of the greatest films ever crafted or conceived from the 21st Century.
A masterpiece of cinematography, an unfathomably well-made script, the wonderful photography (shot by one of Bergman's regulars, Gunnar Fischer), the haunting score, the incredible acting and the powerful message all make The Seventh Seal one of the few stunning films ever to be created back in the 50s and even to present Modern day.
What is the answer to the ever asked question though? Does God exist? Is the idea of a supreme entity a reality? The answer is not black and white, its quite simple...we will never know, not until our time comes. Thus begins the circle again for another generation; Ultimately it is the journey and our fulfilment of life that reaps the most glory, not the questions concerning what happens afterwards.

''I shall remember this moment: the silence, the twilight, the bowl of strawberries, the bowl of milk. Your faces in the evening light. Mikael asleep, Jof with his lyre. I shall try to remember our talk. I shall carry this memory carefully in my hands as if it were a bowl brimful of fresh milk. It will be a sign to me, and a great sufficiency.''


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Egg-static

Posted : 15 years, 7 months ago on 22 August 2008 10:25 (A review of Hitman)

''Because that suitcase perfectly holds my Blazer Sniper Rifle, two .45s and a gag for irritating, talkative little girls like yourself. You want me to stop and get it out?

''I don't know - you think we have time for foreplay?

A genetically made egghead assassin based on the computer game.

Timothy Olyphant looks the part, saw him in Die Hard 4.0 first and this looked like a good move by his agent (47) and is. (Bad joke i know!).



Hitman is perhaps style over substance. Especially its action sequences are well directed and great looking, making this simply a fine action-flick to watch. The movie gets really carried by those sequences and are what is making "Hitman" still a seriously fine and enjoyable flick to watch. You don't have to be a fan of the video games to enjoy this movie.

Because the story doesn't really work out, the character of agent 47 also doesn't really. They try to give him a more humane face and he wants to start a normal life on his own. The movie builds up and hints to this constantly but in the end it doesn't wrap it up properly, which makes it look like as if all those moments within the movie are pointless and don't serve a significant enough purpose for the main character. Same goes for the love interest played by former model Olga Kurylenko. In the long run you're only wondering; 'Now what was exactly the purpose of this character in the movie?'.

Perhaps it's also Timothy Olyphant fault, who plays the movie its main character. At times he's acting too much, rather than being agent 47 enough. Agent 47 is cool and to the point, who never looses his focus on things. In this movie he's constantly struggling with himself and the world and by default he also has way too many lines, in my personal opinion. I think that the character would had worked out way better if he had been an almost complete mute. It would had made the character cooler and more mysterious and would had given the other actors, mainly Olga Kurylenko and Dougray Scott, to do their thing and become the more 'human' face of the movie.

For Olga Kurylenko is especially a real discovery. She had starred in movies before but mostly in small unknown small French flicks. But main thing is that she can really act and she of course also has the looks, which helps her a lot. Because of those two reasons she also got cast as Bond-girl in the new Bond movie "Quantum of Solace", which will be released later this year.

All in all, "Hitman" is a movie, with superior action sequences, that I enjoyed watching but its story and main approach of things prevent this from being an absolute genre must-see.

Action packed and a tense thrill ride. Lots of twists and clever assassin ploys, snipering and is so much like the game that it feels like your playing it.

Loved the scenes with the sword fight on the train and the other part where the kids are actually playing Hitman when he bursts through a window into their room.

Olga Kurylenko as the female lead does very well and her chemistry is above par with Timothy. Some awkward scenes but mostly great.

A very good film.


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I simply am not there.

Posted : 15 years, 7 months ago on 22 August 2008 12:09 (A review of American Psycho)

''I have all the characteristics of a human being: blood, flesh, skin, hair; but not a single, clear, identifiable emotion, except for greed and disgust. Something horrible is happening inside of me and I don't know why. My nightly bloodlust has overflown into my days. I feel lethal, on the verge of frenzy. I think my mask of sanity is about to slip.''

A wealthy New York investment banking executive hides his alternate psychopathic ego from his co-workers and friends as he escalates deeper into his illogical, gratuitous fantasies.

Christian Bale: Patrick Bateman

Bret Easton Ellis' original novel contains possibly the most graphic depictions of sex and violence in any novel I have ever read. I read it a while ago from my Library. Appropriately, director Mary Harron places much of the novel's explicit content off-screen, similar to how the book simply lets the reader imagine the vivid nature of the content.



For this reason, American Psycho is faithful to its source, and for a novel which includes such terminal violence there is still a huge amount of wit and charm. This owes to the book's satirical disposition, with its brazen accuracy and jagged humour. It is in many respects an absurdist's take on an already surreal culture; This borrows the questionable theme of subjective reality to the protagonist's actions and experiences.
Mary Harron utilizes the satirical facets of the novel, and essentially uses satire as a device of ridiculing yuppie culture. Nevertheless, the component which is best suited is that this image of an alpha-male dominated society, directed from a female standpoint, but not an overtly feminist one. More than anything, American Psycho is a critique of ignorance, materialism and self-infatuation.

The cast play it cool, professional, even capturing pomposity and sarcastic tones. Throughout the feature they show how two dimensional society can be; The bitter irony regarding cultural stereotypes.
For those of you who might be dismayed by the sardonic title, don't be. This is a twisted and intelligent take on cultural archetypes, with much prominence being placed on whether the viewer deems Patrick Bateman's sociopath alter-ego a manifestation of sub-conscious monotony or that he is genuinely committing the murderous, masochistic acts shown on screen.
Whichever way you look at it, there is no definitive answer, but one aspect is for sure, that this cinematic assertion is a strong sentiment of yuppie narcissism. As dark as it may seem, there is no denying the indisputable entertaining quality of a film crammed with meaningful malevolence. This is a film which unsympathetically attacks the business world, implying that dumb people from wealthy backgrounds are groomed for slacker success. These white collar machines are not savvy, nor do they even so much as turn a blind-eye to anyone other than their materialistic statements of self-worth. In a way, this is their only means of clinging onto reality, for they hide behind their denial, with a reputable image of self-worth.

American Psycho for all it's violence and sadism is rife with black, dark humour in the form of Bale's ritualistic business card scene to shooting an old lady after trying to feed a cat to an ATM.
Phil Collins, Genesis, Robert Palmer, Huey and the News, Tina Turner, Petshop Boys...All add to what is a definitive ado-lade for capturing the 1980s.
You can imagine Reagan dancing with Thatcher after their day out on the Golf Course, talking about American Psycho and the glory of capitialism always sucking the marrow out of the other people.
The ending left me thinking which was also of note, it lingers, it resides in your mind, thus my review should be doing the same function. American Psycho is a marvellous adaptation and of course, will not be to everyone's taste. Who cares though? I love it. I'd recommend the experience especially when you can scratch past the surface to reveal an array of aspects which successfully embody the primitive subhuman depths of our being.

''There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there.''


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The Rose of Edith

Posted : 15 years, 7 months ago on 22 August 2008 12:04 (A review of La Vie en Rose)

''A diamond in the rough ''



''Performing is an art!''



The hard life of singer Edith Piaf. Against all odds rises into a star with her sensational voice.

A biopic that has ups and downs, the bitter taste of reality and then the sweet taste of success and a multi faceted life. Emotional, brilliant the musical passion is a marvel, such a natural talent.

Love how the story flashes from the present in her life(success and fame) to her murky past(being in a brothel and circus as a girl, discovering her electric voice). A technique that gives the story richness and diversity. Was slow to get into it but turns out to be a deck of cards swept away in a turbulent hurricane. A tour de force.


Brilliant casting
Marion Cotillard ... Edith Piaf
Sylvie Testud ... Mômone
Pascal Greggory ... Louis Barrier
Emmanuelle Seigner ... Titine
Jean-Paul Rouve ... Louis Gassion
Gérard Depardieu ... Louis Leplée
Clotilde Courau ... Anetta
Jean-Pierre Martins ... Marcel Cerdan
Catherine Allégret ... Louise
Marc Barbé ... Raymond Asso
Caroline Sihol ... Marlene Dietrich (as Caroline Silhol)
Manon Chevallier ... Edith - 5 years old
Pauline Burlet ... Edith - 10 years old
Elisabeth Commelin ... Danielle Bonel
Marc Gannot ... Marc Bonel

Marion Cotillard as Edith Piaf portrays her wonderfully.

One of the best french films ive seen recently.

Its not the destination it's the journey that counts. A masterpiece.

Like little Edith seeing again and everything coming into focus, it's magical yet tragic and remorseful but laced with genius and passionate fiery temperate emotion.

A singer who spoke and sang volumes, not just with her voice but with her spirit and determination.


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It's a perfect moment.

Posted : 15 years, 7 months ago on 21 August 2008 11:47 (A review of Amélie)

''Amélie has a strange feeling of absolute harmony. It's a perfect moment. A soft light, a scent in the air, the quiet murmur of the city. A surge of love, an urge to help mankind overcomes her.''

One person can change your life forever. Amélie is one of these people, and this is her story...

Audrey Tautou: Amélie Poulain

Amélie is the best French film since Love me if you Dare that I have ever had the pleasure of watching.
Artistic, imaginative, visual and extremely clever are but a few ways to describe Amélie.



So what's is Amélie? What is it about I hear you cry?!
Well the answer is simple, it's the gorgeous tale of Amélie Poulain and her dreamy wondrous life. I could certainly relate to her magical, colourful imagination.
Audrey Tautou as Amélie makes the role her own while film maker Jean-Pierre Jeunet hits the nail on the head spinning and weaving one of the best films to come from France I've ever had to have the luxury of seeing and beholding.

I mean the music blends with the colourful imagery much like Amélie's old friend Raymond's artwork. Which brings me to the characters in the film wonderfully fleshed out while we are treated also to some breath taking sequences.

As a director, Jean-Pierre Jeunet has a unique perspective. He seems to make great use of colour, some would assume then to be unnecessary extremes, but for myself it gives Amélie a glossy visual look, whatever the weather's like in the film.
Also he tends to to zoom about with his cameras but again this adds to the way the film sucks you into its own little bizarre world, just as Amelie draws Nico into her heart without them actually meeting.

A few nice special effects polish it off, and there are a few little details that you probably won't see the first couple of times.

It's hard to translate into words how much I loved Amélie .
Like being next to a Monet, or a Da Vinci, watching as he effortlessly splashes vibrant colours and shades across his canvas.
I had this strange but fantastic feeling of being inside the mind of Amélie, seeing so much in the dazzling imagination she viewed life with, and wanting to stay with her much longer than the two hour duration of Amélie.

It was just so refreshing to watch a movie where your fantasy realms are realized in fantastic detail.

Amélie is simply a story of imagination, of love, of dreams, of life.
What other movie offers a gnome on holiday, a photo booth mystery, a bizarre childhood, a clever trail to reclaim an album...none I tell you! This Amélie truly is a masterpiece and I cannot stress it enough.

And what's most wonderful of all, I'm still smiling from the experience.

''Without you, today's emotions would be the scurf of yesterday's.''


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