I had enough of zombie flicks after the first... there really is no need for any more, but this at least works well as a sci-fi action flick. Like Tom Cruise's War of the Worlds it has plenty of suspense mostly rather than shocks. Early scenes are clearly set in Glasgow's George Square.
Surprisingly good. I was worried this would just be another Ransom, another routine thriller, but it takes a different route to the one expected at first. It's a detective story, a la Luc Besson, set in Paris with some social commentary thrown in. Nothing sophisticated but it was a fun James Bond style superhero action flick that never felt gratuitous and was reasonably well grounded in reality.
Hustling poor Korean family demonstrating that the class divide can never be surmounted. A slow-paced thriller that keeps you on edge, whilst never quite becoming sinister, just powerfully developing the characters' stories to the ultimate conclusion.
Visually stylish and a nice homage to the 60s Bond movies, neatly tying together plot points from the previous Daniel Craig bond movies, but felt quite pedestrian, I never really felt anything for any of the characters: things just happened without any excitement or emotion. At least it wasn't too silly, but again lacked humour.
The Krypton Factor meets Star Wars in the best original Star Wars movie since the 80s. I really don't understand why they couldn't make the prequels in the earlier style too (the same look, soundscape, language and everything); now we still get the old references and throw backs like The Force Awakens, but this time with an original plot, which meshes perfectly into A New Hope. I also thought there was a better performance by the strongly British cast with lots of kudos to Gareth Edwards.
Buongiorno Principessa! A very powerful film that begins pre-war as a slap-stick comedy, introducing our characters with some memorable clever scenes, but then shows its real genius in the second-half when Guido uses his fast-talking talent to keep his young son's high spirits and childhood naivety intact during their internment in a concentration camp. Guido's character has an extremely and uniquely playful perspective on life that with great skill carries him, his son and indeed his wife, on through some of the most bleakest times anyone could ever experience.
Working Title pictures are almost their own cliche these days with their fantasy portrayals of upper-middle class British life that seem even further removed from reality now than before. This one even borrowed an idea from Four Weddings & A Funeral with the dress-picking scene. Still, if you forgive the shaky camera work, this one employs a clever plot device to dissect Richard Curtis's philosophical musings on life with another heart-warming feel-good story to add to the collection.
A host of comic book characters in typical Wes Anderson style set in a fantasy country not unlike Eastern Europe in a fantasy time not unlike the 1930s with pretty and playful cinematography not unlike a Jeunet movie. Another tour de force by Ralph Fiennes, the sophisticated hotel proprietor dedicated to bringing civilisation to the uncouth "modern" age.
Finally, a Mars film done right. Ridley Scott has produced an inspirational space exploration thriller set in the near future with completely faultless science, stunning 3D cinematography as well as some nicely placed humour. It's almost like "Elon Musk on Mars: The Movie", combining the best of Apollo 13, Gravity, Moon and Interstellar & 2001 to produce the current definitive sci-fi film.
Well, I always thought A New Hope was the best Star Wars movie... Episode 7 has kept the style of the original movie, its soundtrack, not just the score - the entire sound scape, but it should have left it at that. What we have feels like a fan remake of the original; re-hashing every plot element, every character, every scene, even ripping off several lines of the dialogue directly. I was half-expecting Rey to do the Obi-Wan sound diversion trick at one point. Alas, the new plot seems like it's in far too much of a rush at times, and thus each re-hashed scene fails to deliver the impact of the original whilst also feeling unoriginal. The characters' journey's don't touch you as much, and there's no strong emotional scenes such as when Luke stood watching the two suns rising over his home world in the first movie. Still, it has a strong female role and it was fun to see the old Star Wars well and truly return to continue the story; hopefully the next movie will do something original and do it well!
A classic of cinema, with a broadway musical brought to the big screen in colour. Full of memorable songs and unforgettable scenes. The new 3D presentation brings the black & white scenes to life, whilst some of the colour scenes, particularly the wider shots, are too soft, but mostly it's excellent.
It took me a while to get into this one and whilst the story is no masterpiece, musicals rarely are and it's actually a damned fine musical. It ain't the jazzy Disney of the mid 20th C. that we grew up on and not all songs work but those that do really make the movie. That and the catchphrases...
Although the characters are all kinda annoying, the little girls are cute and ground what is otherwise daft Warner Brothers style violent Americana. What really makes this animation though is a really punchy soundtrack that sticks in your head.
A horror story for kids, taking elements from many classic kids tales, about a girl who finds a secret doorway to another world in her new house where a witch tries to capture her and her parents but the brave girl fights back. Great 3D animation and well produced by the director of James and Giant Peach: this could almost be another Roald Dahl story.