Augusta Mels's Movie Ratings - Rotten Tomatoes

Movie Ratings and Reviews


Non-Stop is a 2014 mystery suspense action thriller set aboard a flight from New York to London, starring none other than Liam Neeson. It's fortunately not in the style of Taken, whereby almost everything is offset by enjoyable, brainless action and a completely illogical plot, but this being from this specific genre with Liam Neeson it's often hard to let off so easily. Sure, we gain a sympathetic situation from an air marshal with horrific problems to deal with (I couldn't help it when it was announced his daughter had died from acute leukaemia at the age of 8, mirrored with the conversation with Jennifer about the blue ribbon that his 17 year old daughter had given him because despite being who he is, he's still pretty much a damaged person), the film itself doesn't often follow through with the morality themes it has given itself. To an extent, it is entertaining in a better way that you have to use your brain (for the most part), but has an ancient habit of not in the least well done plot devices.

Liam Neeson is Bill Marks, an air marshal, who discovers the flight he is on has someone threatening to kill a passenger on board every 20 minutes if $150 million is not wired to a given account number. The set-up is simple and solid and we come to an understanding of a thrilling suspense ride that combines both intelligence and action. The hype is definitely not surprising.

We gain much of this from the acknowledgement of the question many people would be asking: "How do you kill someone on a passenger plane without anyone noticing?" I mean, with the limited space 40,000 ft. above the ground, it would be too easy. That film wouldn't exactly be the most popular.

It helps that we are given a conventional beginning to lead us through, with the usual action of boarding the plane (his alcoholism is prominent right from the start) and interacting with crew members and passengers. In particular he takes a shine to Jennifer Summers (played by Julianne Moore) and manages to find trust in Steward Nancy Hoffman (played by Michelle Dockery).

This is significant to the plot strength, because if he is to discover how someone kills someone aboard a passenger plane discreetly, he needs to know about the other passengers and that includes asking for help. Although, there's a weakness here - of course it's meant to be difficult considering the circumstances and what better way than to throw a plot twist in there? However, it does stretch out coherently enough, really only until the final act where a plot device manages to make its way in.

What doesn't make sense is that Bill gains and regains people's trust too quickly in spite of the revelations. Perhaps the sympathy card was played for that reason - they can't trust him enough as an air marshal but after airing his problems people have no other idea but to. I suppose it wouldn't work if he didn't have the jaded persona, but at the same time it doesn't come naturally. If they had only one reason to trust him it would be because what he was doing was trying to save their lives and that they had to. The media is a volatile outlet and to retract the statement of being the FBI's (we're talking high class investigation here) prime suspect in a hijacking wouldn't be that easy to do.

The film sometimes forgets that it aims to bring its own morality to the table due to its own idea of logic. The distrust is too often forgotten, the theme of futility and hope getting more intermittent as the film progresses and whether the physics of being able to muffle a bomb blast in an airplane while managing to land it and have the present passengers all survive still sounds questionable. But a specific saving grace happens to be a young girl named Becca, travelling alone to meet her father, a walking symbol of a fragment of Bill's life that he can finally share an experience with that he was never able to last with his own daughter. The blue ribbon being quite obvious.

To an extent, this film is an enjoyable ride that sets up on a take-off with a solid, excusable premise that misses points and jumps too quickly. It is refreshing to see a wide range of people represented, showing a distinctive power of a lack of discrimination. When Bill doesn't know who to trust, it's simple to know he's doing it out of a genuine lack of knowledge and that he addresses those he needs to in order to know what's really going on. What doesn't work though, is that what ends up as a possible development ends up being squandered for the usual kind of ending - Julianne Moore and Liam Neeson looking at each other in the style of a happy ending of a romantic comedy. Being a mystery suspense action thriller, that's definitely not what I was expecting (for a Liam Neeson film, I was hoping he didn't have to do this).

The LEGO Movie

Boasting a glorious set of characters with a note-perfect choice of voice actors, you need to see this more than once to catch all the humour, wit and charm that this film rolls out. Not only that, the satire isn't watered down by the beautiful story behind it. It doesn't just poke fun at everything from pop culture to business or overpriced coffee to Siri, but there's a lot of respect in something built from a corporate franchise that can teach a lot about morality and creativity at the same time.

Love Actually

An enduring tale of different love stories with suitable lead pairs and a refreshing taste of reality.

Wes Craven's New Nightmare

This is much of a parody as well as a pastiche. It hones in on what Freddy was supposed to be, although both the original and this one tend to stick to the concepts - if it wasn't for the first one, we wouldn't see this refreshing, different angle represented by the actors themselves. This is not so much as what Nightmare On Elm Street could have been, or a retelling, because even though it is a sequel, it manages to contain itself within a twisty script that plays on being written just to bring Freddy back and ends up being a film within a film where the narrative is being used by the characters instead.

It represents its first kill in the series through the possession of Heather's son Dylan (playing on the second's storyline, with the competent belief that these incidents happened due to this film's storyline enabling them to happen outside the dream-world) with the idea of the fourth's storyline that enables Dylan to fall asleep and have Julie brutalised by Freddy. It is an extremely interesting set-up that takes inspiration from its own series and twisting it so a film is able to exist within a film for its best interests, while the script that is used by Craven within it is wrapped up by the end of the film, choosing to exorcise the demon. What is made to think to be unnecessary, aids it in its own purpose which helped Craven in getting what he finally wanted instead of asking for another sequel.

It also makes it a whole lot more fun to see the actors playing themselves, although Freddy is chosen to have a lot less screen time than what would be considered fulfilling in a role like this. The last scene was perfectly done, but Heather should have had less screen time to enable us to get a good look at what people were up against.

Freddy's Dead: The Final Nightmare

It may be descending into self-parody, but no film deliberately seeks out to be a horror with these CGI and one-liners. However, Freddy has become more of a caricature, reminiscent of particularly the later sequels where his grim humour and personality remained sadistic but still something of a brave embodiment of making fun of his victims while he tortured and killed them.

This film chooses to make fun of itself, where self-parody isn't such a bad thing. We can take note of Freddy's remarks on the previous sequels where despite how he was killed, he still managed to find a way back, giving an exploitative yet logical explanation on the creative decisions in bringing him back to life several times (note that this is known as 'the final nightmare', so it's kind of an apt choice to put that in there). There is a point where he says in his famously darkly sarcastic tone that 'kids these days, they haven't got any respect', which is exactly the time one of the characters decides to hit back against her dead abusive father (who is actually Freddy). Not only does she survive the film, but the point is made where Freddy is annoyed that she isn't a weak slasher-type victim where she doesn't choose to defend herself. She's already gone through enough torment and so manages to not devolve as a character.

One of the deaths are quite cringe worthy - making the decision to give one of the characters a trait of smoking so he manages to have a Freddy-induced psychedelic dream that ends up putting him inside a videogame where he gets brutalised through a power glove that Freddy himself is using. This is complete with Looney Tunes/Mario Bros style music, enough to make you wonder what you are actually watching. It's a cringe inducing scene, especially because in real life he is hopping like a madman around an abandoned house, although funnily enough it doesn't detract from the rest of the film ('What do you call that, rational?').

It certainly is a strange sequel to end on besides the subtle parody/pastiche that came 3 years later in the form of New Nightmare. It's gotten more obvious as the years went by, and what became of it soon found the eccentricity worked to turn itself into a self-parody that it was there to enjoy rather than end up accidentally becoming stupidly unusual.

With the first Nightmare, it is only implied about what happened to Freddy when he was released on a technicality, so it doesn't get bogged down by backstory (Halloween chooses to see the pure evil and psychopathic behaviour of Michael Myers with a suitable backstory without turning into an offensive stereotypical cookie cutter antagonist), but as we go throughout the series we have a chance that fortunately takes us away before we descend into complete mayhem. We may be deviating from the original as so far as having one teenager left over from the havoc that he caused all the way from the beginning, but we receive adequate links over the decision to make every place have an Elm Street.

His backstory gets more interesting the older he gets, and although it is polarising to see him try to gain sympathy for his bloody deeds, we can tend to understand that when we see it from his daughter's point of view on how psychopathic he managed to be (some of the best lines originate from when he tells her not to tell of the things he'd done and when we see him post-burn the interaction between her as an adult and him proves pretty worthwhile). It's a chance to see him beforehand where we saw him destroy the lives and well-being from the information already given to us, with the dramatic irony of seeing him playing with his young daughter in the garden with the knowledge of what happened previously. The point being that it was 'A Nightmare On Elm Street' with the sudden idea to make everywhere Freddy's future playground, yet we still have a history that doesn't heavily deviate from the concept of the original.

Freddy's form, although a shadow of his dark, humorously sadistic self, is still sent up as a funny, dark self-parody that gets to create more chaos in his own playground. His background is more fulfilling than once realised, and it is important to regard this film in the series as something that needed to be added rather than taken away. No one would create a horror film deliberately that would be soon turned on its head by taking a turn with an interesting story and put together with overly-creative ideas that made the eccentricity of A Nightmare On Elm Street what it soon turned out to be.

A Nightmare on Elm Street 4 - The Dream Master

The weird and campy seemed to be upped another level in this fourth installment, but although Freddy was strangely surreal he fortunately didn't become a caricature. The first half maintained the logical set-up that it went with but it admittedly became a campy nightmare. As much as I did prefer the Dream Warriors version of Freddy, and the fact that it had the taste of an 80's glam rock music video, the scenes towards the end involving a one-on-one fight with him left it on a good note with his jokey personality (which, to be fair, I liked that in him).

Friday the 13th

Lacking the atmosphere of the granddad of slashers - Halloween - it lets on its tropes more than it needs to. On a similar point, the teenagers drop dead quite quickly and it only really gets interesting at the second half.

The Secret Life Of Walter Mitty

With a do-good message in its centre and a light hearted comedic tone, it is soon revealed as to what it really is - a fantastical journey to find yourself in a sudden pointlessness, a 'that's it?' after-taste and shifting scenes. It is more deserved if the man finds something else other than his cute co-worker on top of that.

A Nightmare on Elm Street 5 - The Dream Child

It's a shame that we see a much different Freddy, with someone who's lost the creepy swagger that set him apart from the others and worked for the later films of the franchise. Besides that point, it made certain sense that he had found another way in with the reasonable idea that Alice's powers were neglected in favour in having less control and many more gruesome deaths.

A Nightmare on Elm Street 3 - Dream Warriors

Great characters and set pieces, especially with Nancy Thompson. She brought back something as a link to its roots, going up against Freddy again yet in a different way which maintained the shift between old and new, reality and dreams. Freddy himself was on the borderline of humour and creepiness, on the point where I did prefer him in this way compared to the first one (doesn't invalidate his role in the first one - we still got a sense of his character but it's probably his humour I prefer). It has much to elaborate on, but the setting is apt and we have a great array of likeable characters (their deaths were creative and I perhaps didn't like it how they were killed quite quickly when they faced off with him). I will always love Kincaid's dialogue especially, he gets some of the best lines especially when talking about Freddy.

Nightmare on Elm Street, Part 2: Freddy's Revenge

An underrated sequel. I can see where people are coming from the deviation of the supernatural formula, but I found a possession to work really well with Freddy as he invaded dreams. The scene at the pool party illustrated otherwise.
The imagery itself was pretty awesome. Something you could expect from A Nightmare On Elm Street - mixing with the fact that Freddy is messing with Jesse through his dreams.

The Others
The Others(2001)

It's been ages since I've truly been creeped out by a film, but what I found the most special about this film was that the scares were rooted not just with jumping out of nowhere, but the real twist of not telling or showing us anything. The haunting exploration of religious themes were indeed explained, but not so much as to ruin the slow ironic pace. It was all the more terrifying just watching Nicole Kidman's acting, her firm parental style, her frightened, panicked style and the quiet mournful style. Even from the beginning, you know that something's not quite right. The tunes themselves lead you down the corridor and creep up on you from behind as you walk away.

500 Days of Summer

A mainstream romantic comedy trying too hard to be indie. It is everything an indie film isn't. Joseph Gordon-Levitt managed over everyone else to be the better actor, but if you've got everyone else dragging behind, it's not much of a film.

The Great Gatsby

It was important to understand the delusions and hedonism, and the energy, extravagance and pace reflected enough to see this message underneath. The cast themselves performed their roles beautifully, most of it deserved towards Tobey Maguire. Self-aware and naive, but still not a fool of what disasters befell people around him.

Star Trek Into Darkness

This film is just awesome. Aside from a few plotholes that could perhaps be explained in some way, this manages to pack in some intense thrills, as well as deliver a beautiful storyline that's as much fun as the action itself. With the villain in the shape of Benedict Cumberbatch, who gives an ominous and captivating performance, it all makes for a journey that you just want to watch over and over again.


I agree with the strikingly visual effects, but I guarantee that this film is not thinly scripted. It's amazing when big-screen performances and beautiful CGI meet a poignant low-scale drama. I found myself enjoying it very much and had a feeling that Tom Cruise was the best person for the main character. It's no fault in him playing the main character even if he does most of the time - because I found his performance to be one of the most compelling I've seen of him.

Wreck-it Ralph

Adorable animation and lovable characters, this is both a combination of Toy Story and Who Framed Roger Rabbit in video game form Disney style. Maintains that Disney look of great animation, comedy and unsurprisingly underlying darkness alongside characters with interesting back stories where they are just begging to be loved, not to mention the film itself begging for repeat viewings because this is a film you can't see just once.
It's neither patronising nor sickening, an intelligent combination of characters if not cameos with plenty of nostalgic video game references and humour which is a reason why plenty of adults should see this. It makes it feel like an instant classic and it's got an imaginative yet freaky twist in it that I've ever seen in an animation.
The thing that got me was not only the heart-warming ending, but a sweet little romance between two very different characters which should be one of the sweetest romances in animation history. This film should belong up there with beautiful animations such as Toy Story.

Minority Report

A perhaps surreal futuristic science-fiction thriller, Cruise perfects it by staying in control of his all-guns-blazing urges but brandishes a tricky yet fascinating personality. The ending comes extremely close to letting it all go in Spielberg style, but it felt like a matter of the poignancy involved when dealing with sensitive areas, alongside the corruption and multi-faceted look of each of the characters. Besides, it still had the action, just with the intellectual superiority, hard-hitting, thought-provoking and the haunting strangeness in both the visuals and the story that many other films don't have. The plot twists were careful enough not to tie you in knots, but remembered the audience knew that it was a science-fiction thriller, and ended up creating something intelligent and mind-blowing at the same time. Strangely, this is both Cruise's and Spielberg's best film that I have seen so far.

Mars Attacks!

This stylistic feature of black comedy has put quite a mark on reflecting and perhaps parodying America's attitudes towards culture and materialism. The fact that the design of the UFOs and Martians were less shoddy and more of what we think of them means that it helps to look at these in terms of our assumptions. A great ensemble of character with their own time to shine, the comedy is affectionate as well as outrageous. It's not meant to be predictable, it's the fact that the characters should have seen this one coming.


An underrated piece of art, this bleak future where emotions are forbidden has an ironic emotional core to it. It doesn't surround itself with blatant copies of Fahrenheit 451 and 1984, in fact, what many people would assume are carbon copies I would prefer to call references, harking back to other dystopian films while also being a standalone film in its own right. Equilibrium treats the matter with mild stoicism, foreshadowing particular events in a neat way that manages to explode in a thrilling yet thoughtful way.

The ignorance of many critics that assumed the worst, didn't seem to see the whole picture. None of this was about the fact that censorship exists or that you could be executed for certain crimes. The whole idea of the film was to make you see how people behaved through lack of emotion, with the failure to see that emotion is what makes us human. Rather than take a purely political motive, it manages to incorporate perhaps a majorly ethical motive.

The action that is contained in this film is not just for showing off. The stylistic features render the action scenes mindblowing, but no less helping to drive the core theme of the story - besides, the main character is a cleric, trained in the art of Gun Kata (a thrilling name for a sadly non-existent masterpiece of fighting style) who manages to put a chink in Libria's armour as we see through his perspective by realising he can use this weapon against the system that attempts and fails to betray him as someone who is 'feeling'.

When I first regarded this film, I became fascinated about how, amongst the close-ups and wider shots, the main character seems to obviously show some kind of emotion without the intrusion of the system demanding why on earth he hasn't been arrested for his crimes. This ultimately came to the climax, whereby the foreshadowing managed to sneak its way in at the beginning. The fact that Christian Bale was chosen for this role makes me wonder why some people didn't think this was good, considering how deft he was in executing the action, the visual non-speaking scenes and the dialogue.

To the amazing use of irony, a number of heart-rending scenes kept up the core theme, and the stylistic use of camera focus on Christian Bale emphasised the distress that we could feel he was going through, one being his flinching when we don't see the dogs being shot, but we can feel it by way of his reaction. However, I thought one of the most chilling scenes was during a raid of someone's apartment, with fires burning and people spattered with blood, was the simplicity of a dying man running into the main character, known as John Preston, bleeding, desperation and hope glittering in his eyes as he slides down, leaving Preston aghast and completely horrified, reflecting the man's pain. The expression on his face could not have been possibly matched, Christian Bale just executed that so perfectly that I could feel myself choking up and stopping dead.

So this film, by none the way anything completely copied from other films, is a masterpiece in its own right. By way of insulting the stylistic features to convey emotion and provide thrilling action that shaped the film, the amazingly well-acted characters that were to no end incredibly fascinating, the amazingly clever storyline, you are refusing to take it to the light of some of the world's greatest films and distastefully making the biggest mistake of throwing it away. Like the scene in the film, whereby Preston awakes from a nightmare with shock and overwhelming emotion, tears away the fabric from the window to reveal glimmering light on the horizon and a rainbow glowing in the rain, it strips away the layers as the film goes on, lulling you into a false sense of security, but instead just brings you surprises exploding onto the scene, leaving you brimming with hope at the end. Look out for the poignant reference of Yeats.

So, despite it being compared to other dystopian films, this is more terrifyingly realistic, with its future being more like a parallel world with its own parable instead.

The Lord of the Rings: The Return of the King

With surprisingly better pace than its predecessor, The Return Of The King provides a graceful and majestic yet thrilling end to the trilogy that is Lord Of The Rings. I almost cried.

The Lord of the Rings: The Two Towers

This somehow did not work for me. If this was supposed to be serious, it was verging on the ridiculous. I could excuse the first one for a little low-brow humour considering it didn‚(TM)t get right into the journey at first, but it was too overdone to at least lighten the mood in a serious context. It also had massive pacing issues, as it either brought everything to a standstill or hurried everything on, and it‚(TM)s suddenly strange how they stray off and bring to your attention scenes of no point whatsoever.
On the positive side, the acting wasn‚(TM)t affected too much. The scenes with either Legolas, Aragorn or Frodo were beautifully done, so I have come to terms with the fact that the acting can still be good even when the pacing isn‚(TM)t. Despite that, they should have taken a few of the characters out, because they were kind of pointless. I liked Gollum (or Sm√ (C)agol), but I think he was just there for the crazy factor. Overall, it was good, but was not as good as the first one. This could definitely have been better. Maybe they should just have done two films if there was going to be such a big gap in the middle.

The Lord of the Rings: The Fellowship of the Ring

It's surprising when you find one of these rare epics that still manage
to captivate and spellbind over such a long period of time. The visuals
were absolutely majestic, yet the story managed to unfold with such
grace and never dawdled.

The actors proved worthy of the role they played and kept up their
spirit throughout. It was also nice to feel a little light-heartedness
among the fantasy, drama and suspense that occurred. Even for being almost 3 hours long, it seems much better even than those films that was less than 2 hours long as it proved still very much interesting.

To be honest, I couldn't really point out what was actually bad about
it, because it just looks like one of the best fantasy epics ever made.
It just goes to show that a good film can have such spellbinding
visuals and an intelligent plot simultaneously.

Crazy, Stupid, Love.

Well, it‚(TM)s certainly not your average romantic comedy. Like other films of similar genre, though, it was still clich√ (C)d. I wouldn‚(TM)t find this among the Hollywood cheese, but I wouldn‚(TM)t find it as a classic. It still had that small spark that let it down, which I appreciate because it wasn‚(TM)t major, and it didn‚(TM)t try too hard to be funny. In fact, this film was pretty relaxed and like people say, the unabashed humour just made it a feel-good as well as a romantic comedy. I loved the actors who played their characters, I like Steve Carell for his dry humour, Ryan Gosling was supposed to be the lady-killer who was actually quite funny, but I wasn‚(TM)t as attracted to him as much as the rest of the characters. As well as Emma Stone, I really enjoyed Kevin Bacon‚(TM)s little role ‚" I mean, who can get more awesome than him, especially with just such an awesome name? I was right, this is a great ensemble of characters, it was extremely funny, and because of the shameless (quite) realistic portrayal of how love works, this wasn‚(TM)t your usual romantic comedy from Hollywood. It was crazy, unashamedly stupid, and it was certainly love.

The Hunger Games

I can‚(TM)t help but think that there‚(TM)s something missing ‚" the visual effects were stunning, there was an adequate enough storyline and the actors themselves couldn‚(TM)t have been picked better. Maybe I couldn‚(TM)t identify with the characters as much as I hoped I would.


Amazing! Didn't take itself too seriously, humour, wit and great characters. Definitely recommended.

Fright Night
Fright Night(2011)

Despite the idea that remakes of great films aren't really worth it, this film is surprisingly good. The actors themselves are the main point of this film, especially Farrell, whose representation of a bloodthirsty vampire proved to be quite disturbing. Tennant's acting was great, but I often found myself focusing on the absolutely significant character played by Yelchin, although he was interesting nonetheless. The gore was aplenty - it must have been awesome to see this film in 3-D. Overall, this film was amazing and more specifically thrilling - makes me wonder what things are lurking in the darkness when I sleep at night. Less of a bloody mess and more of a bloodthirsty rollercoaster of horrific fun.


This is such a sweet and enduring film. Looking at the flashbacks, we can look at different points of view, and gain a real understanding of each person's emotions. What we find out is not how we thought it would be - never at any moment can you assume that this beautiful British drama could be schmaltzy or predictable. Each character has a significant impact on the film itself, reminding us of childhood innocence and lack of hindsight of consequences of our actions. It never really went downhill - something that romances often do - but this stayed strong and kept up the spirit until the end, which should be one of the prized endings in romance films.

The Frighteners

This horror-comedy doesn't sound as stupid as you might think. The different characters involved all have their own personalities which makes the plot a little more varied. It's understandable that it didn't have the most solid of acting, but it was totally benefited from by the talent and looks of Michael J. Fox. Despite his age at the time, he seemed pretty agile when I was watching him on screen. It has humour too, and turns out to be a pretty entertaining film for what it is.

Back to the Future

This film earns its critical acclaim via solid acting, imaginative plot and awesome set pieces, plus the humour will have you laughing hysterically on your living room floor. It's specifically the two leads that get this up and running, but the film is also benefited by the brilliant acting of less significant characters. A sci-fi spectacular for geeks and non-geeks alike.

Sherlock Holmes

Despite what some people say, this movie is a lot of fun. Sherlock Holmes doesn't look like it was made to be an action movie, but I think it gave a little spirit to the story. I loved Robert Downey Jr's Victorian English accent, and, besides that, it was a humorous and enjoyable film. Of course, you can't please everyone, which is why there have been many purists complaining. However, I think there is only so much mystery solving you can do before it starts to go downhill. That's probably why it received quite a bit of 'special' attention.


I can't describe this as a lovable film - it's too long, and most of it has been stretched out to its limits. Of course, I'm no doubting James Cameron's skill at creating beautiful set pieces and special effects, what I'm doubting is the fact that he has taken an event from history - a disastrous event - and turned it into schmaltzy disaster (literally) movie. Of course, if I were to watch it again, I would have to focus on the stupid acting. I don't care if it has Leonardo DiCaprio and Kate Winslet in it, it's just another terrible movie.


How unoriginal. The special effects were beautiful, I'm not doubting that. It's just that the special effects were there but the acting and the plot weren't. I wouldn't see this again in another lifetime. James Cameron, learn to make films properly, and then I'll learn to appreciate the quality of the acting involved and the originality of the script.

The Bucket List

A heart-warming tale about the friendship of two men during times of hardship. In fact, it was only sad near the end when we found out about their deaths. It showed us about how we treat our lives, and that life isn't all about money or its shallowness. It was funny too, why it has been described as schmaltzy I don't know why. It will make you laugh and cry, almost at the same time. A highly recommended film.

Marvel's The Avengers

This film flawlessly sparkled in my eyes. The action was terrific, but what made the action brilliant was the fact it wasn't a stupid gun-fight like other action films, there was a plot, and the characters all had their turn. There was so much to laugh about, but it also thrilled me from beginning to end. It wouldn't tire me to see it several times. To sum it up, I would say, this is a deliciously buttery popcorn fest of cinema gold. It should be a classic.

Sherlock Holmes: A Game of Shadows

This film totally lived up to its promise. One of the best films I've ever seen, and will want to see it multiple times in my lifetime. I totally nominate Professor Moriarty as one of the most evil and cruel villains I have seen. The acting in itself was more than amazing.

Who Framed Roger Rabbit

A brilliant movie that skilfully merges laugh out loud comedy and chilling scenes. The mystery is also fun to unravel as you progress through the movie, which is fun for the relatively younger viewers. Your eyes will be glued to the screen so as to not miss a single second of this fast paced action. First - and best - movie to combine cartoons and real life with realistic interactions. Highly recommended - although may not be suitable for kids under 10 due to use of threats and innuendos.