You pretty much said everything about the new Muppet movie that i felt, except with more charisma than myself haha. I still have no idea why they chose Ricky Gervais though, is he more popular in the US? oh and i agree that there's too many people and not enough Muppets! :)
I eat, drink and sleep movies. But I call them films.
Some of my reviews have question marks instead of commas, for this and other in-corrections in grammar, I apologise.
I like films and I like talking to other people who like films about films! If you don't really like films you are at the wrong place. All my reviews are based on my own opinion, if you don't like it, you know what to do but please don't be nasty and try and keep your remarks short and intelligent.
Please don't add me just to increase your numbers, I will only add you/ask for you friendship if I like your style (Not because you are naked, although, feel free to send me naked pictures of yourself if you like ;o).
Learn the rules before you play the game!
I look forward to communicating with you in the future! ;o)
PS. I'm not a troll and I don't have lots of other profiles and other such nonsense. I'm not interested nor will I tolerate anti-social networking!
Oi, Flixster, sort the list function out!!!!!!!
Roger Michell's Le Week-End is his best film to date, hands down. It's not the easy watch you might think it is from the poster and all the better for it. Ever wondered what those bohemian, free loving, fast living couples, typically seen in 1960s films by Jean-Luc Godard (check the title) and Francois Truffaut would become like in old age. The couples that weren't supposed to stay together but were supposed to be forever free in their sexuality and a slave to no one. Don't get me wrong, this isn't a film about old hippys, more of new thinking intellectuals. It's a tender but brutally honest portrayal of a great love story, desperate, disagreeable and completely hopeless. Set in Paris, the City of Love, Jim Broadbent and Lindsay Duncan play the best screen couple I've seen in cinema for quite a long time.
When an Asian film such as the original Oldboy gains popularity on a global scale, the Hollywood remake is inevitable. Why make films for the lazy people who can't be bothered to read subtitles? If a film has a good story but doesn't reach full potential then sure, remake away but when it is recognised as a modern classic you leave it alone. To hear that Spike Lee was behind the remake was the real surprise. The fact that it wasn't going to be one of his 'Joints' but merely a 'film' didn't exactly get anyone's hopes up either. We are all agreed that this remake was a needless one but I would argue that it is a good one. The changes are slight but for my money it is still pretty entertaining and the differences are interesting enough to keep me entertained throughout. Of all the Asian films made into Western movies, this was the one that shouldn't have worked but somehow it does. 99 Luftballons' by Nena is a great song, a party classic but so is 99 Red Balloons.
The second but unconnected film in Chan-wook Park's vengeance trilogy is an explosive one to put it lightly. There are so many layers to pull back in this one that you'd be excused for feeling more than a little dizzy before the end. It's a pure mix of the darkest Manga, Park Chan-wook twisted mind and Asian Extreme cinema. The story hooks you in from the outset, shocks you with it's ultra-violence and then deeply disturbs you with it's shocking realisations. Somehow, after all that, there is a beautiful and tender message, albeit soaked in blood. Not for the fainthearted but unmissable for those who want to see something unique and rather special. The direction is unmatched in its violent beauty.
If you are going to make a film about greed and excess, you've got to use the same levels of greed an excess to match. The Wolf of Wall Street is Martin Scorsese on steroids. He has taken all of the elements people love of each of his films and has put them all in one place. It's part Taxi Driver, a bit Mean Streets, an essence of The Departed, a whole chunk of Goodfellas and a refreshing slice of After Hours about it. I'm afraid it knocks Oliver Stone's Wall Street out of the water somewhat although Wall Street didn't have the same hindsight to be fair. This is the Scorsese/Di Caprio partnership at its best. It's also Thelma Schoonmaker's best work to date although this is the first Scorsese film she hasn't been nominated for, what the hell is that about? The whole production is faultless, the 3 hour run time flies by, it could have been longer to be honest. This is a director, one of the greatest ever, in fine form. If Scorsese has any influence at all in Hollywood then I hope other film makers note the originality, pace, creative indulgence and punchiness and make their films accordingly.
Released the same year as A Hijacking, Captain Phillips concentrates on the true story of a Hijacked ship and the rescue mission that followed. Two very different films essentially about the same thing. It's fair to say that Captain Phillips won because it is the big star Hollywood picture but also because Paul Greengrass is the best director working today when it comes to dramatised reconstructions. I would argue that A Hijacking is the better film that takes a more realistic approach and shows all sides of the story but Captain Phillips is the more exciting. The last scene is spectacular though, Tom Hanks has never been as good and I'm not sure Hollywood has ever been so raw.