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Rating History

Lockout (2012)
4 months ago via Flixster

I see this Euro sci-fi-action brought Guy Pearce shifting into action-man mode.
Action specialist and co-writer/producer Luc Besson has fashioned another slick thriller - with a twist of sci-fi - to rank alongside this Transporter franchise; while a buff Pearce does his best in a role more suited to Jason Statham. Fans of John Carpenter's Escape from New York will immediately recognise the premise although its safe to say that Snow is no Snake Plissken!
Maggie Grace is as good as ever as the damsel in distress and the supporting actors do a bang up job as well. Guess what this is one of three Grace-Besson films including Taken sequels.

Zoom (2006)
2 years ago via Flixster

Great family and laughs of superheroes film since Sky High. Chevy Chase is so hilarious that makes me laugh when he's trapped in his 'Outdoor Survival Simulation' room where a fake skunk gives out a foul-smelling fluid onto his face.

A Force of One
2 years ago via Flixster

Mix of crime and martial arts showcase for Chuck Norris with a tidy conclusion as the guilty parties will be brought to justice and Logan is allowed to get his revenge. Interesting decision to shoot combat between Norris and his opposition in slow motion (opening an opportunity for scrutiny such as Bill Wallace's elbow clearly missing Norris' face, yet he reacts jarringly anyway as if he did), inside and outside the ring. Known as a follow-up to Good Guys Wear Black, neither film resemble each other in any way either in content or characters.
The acting is not bad. Chuck Norris is very good here, while he was somewhat wooden at times, he was a lot of fun to watch, and did a credible job for the most part! Jennifer O'Neill is very good here, she had good chemistry with Norris, and was very likable. Clu Gulager is a great character actor and was excellent as the detective. Bill Wallace is terrible acting wise, but shows off his outstanding martial art skills.

Macbeth (1971)
3 years ago via Flixster

The violent refelling of this classic story was commissioned and underwritten by publisher Hugh Hefner. I watched this William Shakespeare's tragedy tale when I was 17 with my old deaf class-mates for our English studies. Director Roman Polanski's 1971 film is grim yet compelling, this version of one of our great plays is not for everyone and contains scenes that make it objectionable for children (or squeamish adults).

Cowboys & Aliens
3 years ago via Flixster

Totally entertaining! James Bond and Indiana Jones work together to battle against aliens in Western.
Directed by Jon Favreau - as much harking back to his overlooked Zathura (2005) as Iron Man (2009) - Cowboys & Aliens put its not-too-many human characters front and centre. A straightforward, linear plot is also offered; lean, rather than bloated and, while skipping over a few gaping holes, it largely makes sense.
Along the way is delivered pleasing action sequences, during which you can actually make out what's going on. The visual effects assist rather than burden the storytelling adding to the atmosphere (instead of sucking it out). Favreau's genre mash-up is not groundbreaking or perfect, but it is traditional and charming - and that counts for a lot.
Cowboys & Aliens also feels refreshingly unsterilised. The lead character smokes. There is a scene in which a child is given a knife as a gift and, later, uses it to stab an alien to death. The whole production has a gritty, sweaty, blood-smeared look, recalling the revisionist "oaters" of the late '60s onwards, as opposed to the crisper offerings of the genre's golden age. This ain't aliens versus Shane; it's aliens versus The Man With No Name and The Wild Bunch.
Bullets, arrows, spears, teeth and claws puncture flesh, with gouts of blood flowing. Wounds need sewing up and spent gun-barrels sear skin. One action beat even sees an alien being messily offed by dynamite... tethered to a dagger.
As the Clint-esque, amnesiac bad-hat Jake Lonergan, Daniel Craig is an intense presence; laconic, simmering and brutal, a creature of bone-snapping action rather than whip-smart wit.
Along him we have Harrison Ford's town-bullying ranch-man who shifts gears from leathery grump mode (at the outset) to something with a glimmer of his Dr. Jones twinkle. Ford's occasional interjections prove welcome, including one which viewers will be tempted to imagine was the actor's own reaction to the script. At a campfire conflab, it is revealed that the green, bug-eyed interlopers are on Earth because there's gold in that planet.
Even so, Lonergan and Dolarhyde make for a dour pairing, both characters defined by loss, tragedy and inky-dark pasts. There's none of the Iron Man films' sense of irreverence - just grim people dealing with a grim situation. There's little lightness from the supporting cast, either. Olivia Wilde is a shimmering, otherworldly presence in a multi-layered yet underwritten romantic-interest role, Sam Rockwell jitters and whines as a rattled barkeep and Adam Beach pines for a father-figure as one of Ford's stooges.