Claire: If you look in the mirror and you say his name 5 times, he'll appear behind you breathing down your neck
The first half of Candyman is truly terryfying. It merges the conventional shock moments with more obscure fantastical episodes and all together the atmosphere is set for what could be one of the most horrifying films ever. It does however lose some of its steam, and eventually becomes almost a parody of itself, and whilst it maintains the jump-out-of-your-seat scares, the plot and story loosens into a weird jumble of myth, fantasy and reality.
The film also highlights race issues of the time, and though the film recieved criticism for this, it does set it apart from the normal no-brains horror flick, into something that delves a little deeper into the psyche of society. A must watch for horror film fans, if only for the huge number of shocking moments, and less so for the plot.
Dr. Caligari: I must know everything. I must penetrate the heart of his secret! I must become Caligari!
The film that supposedly introduced the 'twist' ending into cinema, and what a twist. A horrific tale, told vividly and boldly through the use of German Expressionism,with a terrifying tale of power, greed and desire. The film set the benchmark for future horror films, and though not the scariest of cinema's films, Dr Caligari will still leave you perplexes and in awe, even some 90 years after its creation.
Maurice: Individuality's a monster and it must be strangled in it's cradle to make our friends feel confident.
Stanley Kubrick's third feature length film, and one that he himself disregarded as one of his masterpieces. A crime film at its basic, but also a test of human endeavour, and the intricacies of the criminal mind. Even in his early projects, the camera work and intensity that Kubrick brought the cinema is evident and effective. The film is as meticulously shot as the crime itself.
The use of a narrative that continually gives the time and place of the scenes, distorts the audience, and the inclusion of flashbacks is an interesting take on the genre and offers up the various roles of the characters well. Overall, this is not one of Kubrick's absolute greats, but it is an early example of the master at work, and foreshadows what the director is capable of. Here he is mastered the crime genre well, but this is just the beginning of his cinema and his legacy...
Nick Twisp: In the movies the good guy gets the girl. In real life it's usually the prick.
Michael Cera in an all too familiar role, which is by far not a bad thing, because he plays it so well. The unassuming teenager is once again, witty, innocent and above all funny. The film as a whole however lacks this somehow. It manages to create a few laugh out loud moments, but as a comedy, it ultimately is not as funny as what it will be compared to (Superbad, Juno).
Aside from that, the film is a feel-good one, with plenty of charm and wit, and the plot itself is fairly interesting, and the 'Revolt' of the film is fresh, though not integrated enough. Michael Cera fans will love this, but for others there are better examples of the genre out there.
Paul Hackett: What do you want from me? I'm just a word processor!
An odd one for Martin Scorsese, i was not expecting this breath of fresh air. A hilarious adventure and a brilliant departure from the director's other works. Griffin Dunne in an incredible role, is both lovable and brilliantly manic as he runs around town in one of the simplest, yet mind-boggling films ever. A comment on modern day urban life, the film captures the maze-like existence we find ourselves in everyday, and the frantic lives we lead.
The film brilliantly plays out, and the unfortunate events that unfold work well together. Perhaps the final scene is a little predicatble and cheesy, but it doesn't really matter, becuase as mentioned earlier, the film offers a drastic genre shift from the director's other works, and is for the most part very funny, and very warm.