DVD

I feel this is an overlooked gem, and I've only just seen it for the first time -and loved it! It's got everything! Great sets; amazing make up; an all-star cast; intriguing plot; Danny Elfman music... what more could anyone ask for?
Beatty has managed to capture the old ‘40's comics perfectly and the movie oozes class and charm from every scene. Dustin Hoffman and Al Pacino deserve special mention as both manage to deliver career highs (Hoffman, miraculously so as he only communicates through barely legible mumbles.. hence his name!) and even Madonna is damn fine!

This is one of the best comic adaptations, since Superman: The Movie (the others seem to lose something in translation to me) and definitely deserves to be given a second chance. More people need to see this film just for it's entertainment value!!

I loved this film, which surprised me! I'm not Guy Richie's biggest fan -actually hated Lock, Stock & Two Smoking Barrels - so was extremely sceptical when I heard that he was directing the new Sherlock Holmes film - but it just goes to show what happens when the story's right and the actors are spot on.

And weren't they just!! Robert Downey Jr was superb! Perfectly cast as Holmes and it was refreshing to see Watson played as more of a clued in & active participant -rather than a fumbling oaf as in previous regenerations - which was down to Jude Law.

In some ways, they've reduced Holmes down to a Victorian version of James Bond - and I should be really incensed at that. But the trouble is they've done such a damn fine job!!! Holmes is ever the enigma -here we see a man who can not function without Watson, and the relationship between the two is so hazy and although it's never stressed or hinted, there's a frisson between the two that is unmistakable (the phrase, like an old married couple, springs to mind.)

The action and fight scenes are well staged and nicely break up the film without being too distracting or erroneous. There are also lots of in-jokes for those people that have actually read some of the books, without being at the expense of those who haven't.

In short, I couldn't find anything about this film that I didn't like. There will be a sequel - one that the arch-fiend Moriatey will no doubt appear in. And I must admit... I can't wait!!

At once both a re-imagining of the Wizard Of Oz and a sequel; Tin Man acts a wonderful bridge to both without losing a sense of it's own identity - it's able to stand up on it's own two feet, so it's possible to watch it without having seen the Wizard of Oz film (for shame, if you haven't.. or read the book either..)

This is as lavish as it is deep - it's not just about finding the wonderful land of Oz (or the o-zee as it's called phonetically) it's about a quest for identity. DG is searching for her own place in the world - the same way that Dorothy was in hers. On the path she's joined by the Tin Man (a former law enforcer); Glitch, the straw-man of the story who's had his brain removed by the witch Azkadellia and then there's Raw who's a hybrid "viewer" who is the lion, in appearance if nothing else... there's flying monkeys that are genuinely creepy and keep an eye out for Toto too...

I love this series for it's depth and imagination and it's lush production values. It never scrimps on quality and kept me on the edge of my seat the whole way through. This is a welcome and much loved addition to my collection and I can't recommend it enough.

For me, this is the best adaptation of any of Thomas Harris' books. I remember reading Red Dragon as a teenager and being hooked, freaked and exhilarated at the same time. When I saw Manhunter a couple of years later those feelings became intensified - this was before Silence of the Lambs and way before Hannibal Lecter became a household name, and the part was played by Brit, Brian Cox.

What made this film so successful for me was manifold: The portrayal of Dollarhyde -the serial killer: This was a man that you felt sympathy for. The fact that the film devoted almost half it's run time to him and his love affair with the blind girl, Reba McLane is a testament to the strength of the story, characterisation and acting capability of Tom Noonan. If Francis Dollarhyde was a one dimensional character then this story could not have worked.

Brian Cox as Hannibal Lecter. I've heard and read plenty of reviews saying that his portrayal as not being as good as Anthony Hopkins. All I can say is that for me, Brian Cox is a far superior Lecter than Hopkins. Don't get me wrong - I have absolute admiration for Hopkins and think that he is a fine actor, but I feel he played Lecter too literally. In Silence of the Lambs, the first time you see him you know, without a doubt, that this is an evil man. When you see Brian Cox, you think that there must be some mistake - the man he portrays is a very amiable, chatty, up-beat kind of guy. You can understand why he was such a successful psychiatrist. It's not until he starts talking to Will Graham -the FBI Investigator, called into investigate the serial killings- and asking him leading questions (like "Dream much, Will?" or "Do you know why you caught me, Will?") that you see something more menacing behind the joviality. This is a subtle performance that rewards countless viewings and acts as a complete contrast to the Dollarhyde character.

And finally, Michael Manns direction: At heart, Mann is a technical director. His shot compositions are coolly calculated but no less effective. Manhunter has a detached feel to it that actually helps intensify the atmosphere of the film. This is a film where there is no black and white - just subtle shades of grey; where Will Graham is only a few steps away from the mind-set of the very serial killers that he's trying to catch. Every shot of this film is deliberate and really pushes the narrative forward whilst framing the action and characters perfectly. Each line of dialog is deliberate and calculated in a way that David Lynch would perfect in his later films.

To me, this is a far superior film than both Red Dragon and Silence of the Lambs. It doesn't offer any easy answers, and the characters are far more subtle. I also love the music in the film -my favourite scene being the climatic use of Iron Butterfly's "In a Gadda Da Vida". Manhunter gets better with each viewing and firmly ranks as one of my favourite films!

There is something about this film that, for me, defies explanation. The plot is epic and labyrinthine as it follows Mick Travis - yes, that Mick Travis... - in various stages of his life, his various ups and downs to his final enlightenment through a form of shakubuku.
The characters and situations are quite complex with many of the actors play multiple roles. Throughout the film I got the feeling that there was more to the film than what I thought, that there was a layer of meaning that I hadn't quite penetrated. The first time I saw this film I understood the zen-like ending and it had quite an impact on me, and each time I see it I still feel the same way, but not how it linked into the rest of the story.

Now, I think it has more to do with the path to enlightenment that we all must take -from innocence to ruin, to finding ourselves once again...!

Malcolm McDowell is superb as Mick Travis, a multi-layered, multi-faceted character - this is, for me, his best role.

The music plays an important part for me. The soundtrack is by Alan Price, and all the songs are uniformly charming and wonderful -especially the title track.

It's a shame this film isn't more widely recognised - it's a classic for so many reasons, and needs to be seen by more people!!

A masterful film - cinematic sleight of hand. Hugh Jackman and Christian Bale star as rival magicians, with a supporting cast including a barely recognisable David Bowie.

Of all the scenes in this film, two images stand out: a snowy hillside covered in top hats and an abandoned warehouse filled with glass cabinets that hide an awful secret which illustrate the lengths that the characters are willing to go to in order to perfect their "illusions".

I was haunted by this film for ages and couldn't put my finger on why it had such an impact on me. I still can't, if I'm honest. It defies my attempts to catagorise it - it's not a thriller, or a drama.. not really. It has aspects of each, but, at a push, I'd say its about the human condition - the darker side of obsession. There is no magic here - the enchantment has been stripped of it's gloss and glamour (there's another scene where Christian Bale manages to make a dove disappear in a cage by squashing both it and the cage!) leaving a murky world where there is no black and white, just a murky grey.

Both Bale and Jackman are superb, and make the film more believable - because if you don't believe in the characters then how can you care for the film, or the story?

This is a film for anyone who likes who-dunnits (because, at heart, that's what this is... in a way) and will reward those people brave enough to dare the Prestige!

This is the benchmark for all detective thrillers should be based against. Razor sharp script & plot; honed and polished acting with exemplary performances by Jack Nicholson; Faye Dunaway and John Huston. This film keeps you guessing with its many winding turns - the final twist of the knife is devastating and the last line of dialog just hangs in the air: "Forget it, Jake - it's Chinatown." This film was made during the Sharon Tate / Charles Manson massacre and there is a feeling of creeping darkness and despair perpetuating the narrative. It's about the corruption of innocence where the truth is just another murky grey area and the final truth is often too much to bare.

There is a feeling of detachment as well, as if the audience are just observers in the drama, just like the private eye Jake Gittes so we are actually implicated in the murder and intrigue and, at the end, are just as helpless to make things right as Gittes.

This is a fascinating film, one of the few thrillers that can be called brilliant and is certainly one of the films you need to see before you die!

A poignant look at the heartbreak following the loss of a child; The haunted streets of Venice provide the perfect backdrop for this moving and unforgettable film.
Donald Sutherland and Julie Christie give beautiful and moving performances as the parents of little Christine, who drowns at the start of the film in a red mac. They move to Venice to escape the pain -the film is filled with tragic ironies like this, and is one of the reasons why I love it so much; it works on so many different levels!- but tragedy seems to follow them as John Baxter (Donald Sutherland) is constantly haunted by images of a small girl running round in a red mac. He's told that all the time he is in Venice he is in danger, but he ignores the warnings until it becomes too late.
This film is an exercise in mood and is so subtle that most of what is happening is just below the surface, barely tangible. The opening scenes of the film are just an example of this - never have I seen such deliberate editing that encapsulates the entire film -and that mirrors so perfectly the sense shattering conclusion.

The question is, can Don't Look Now really be called a horror movie? Yes, it does have a serial killer and there is a death (well, two deaths...) but it's more about the relationship between the Baxters. The horror element is secondary -until the end and then it's inescapable - so it's not a horror film in modern parlance, but I', not sure what category or genre it comfortably sits in.
This film haunted me for weeks and is an emotionally powerful film, as well as being bleakly beautiful -mainly due to it's watery setting. This is a definite must and, to me, really highlights everything that is missing from modern film.

There is one scene in particular which sums up the entire movie for me -and it's not the obvious one either... Travis Bickle (Robert De Niro in his best performance) is in "conversation" with another cabbie in an all night diner and he's just put two alka-seltzer in a glass of water. The camera moves into an extreme close up on the seltzer as they bubble and froth in the glass. This is a mirror to Travis's own breed of madness and alienation.

This is a brilliant film and certainly one of a kind - Taxi Driver summed up a whole generation and firmly entrenched itself into popular culture with the immortal lines "you talkin' to me?"

The dialogue is sparse and direct, especially in the case of De Niro who has to be able to convey Travis's growing estrangement without making it seem too overt, and Scorcese's direction is inspired. There are several scenes where the camera moves in unexpected ways constantly keeping the viewer off guard, making it impossible to figure out what's going to happen next.
The conclusion of the film is shocking and unavoidable -there have been forebodings throughout the entire film, as if Travis Bickle becomes the city's voice box - amplifying the violence, fear and paranoid hatred until it has no choice but to explode.

The music, by complete contrast, is chilled and jazzy - courtesy of Bernad Herrman who died soon after completing the score- but also strangely disassociated as well and it acts as a perfect counterpoint to the story sometimes accentuating the mood whilst other times softening it ready for the next burst.

This is one of the most important films of the seventies - and although both De Niro and Scorcese would work together several times to me this is their best collaboration.

This is a complex and moving film and show's Jack Nicolson at his finest. Nicholson plays Robert Dupea who on the surface seems like any other failure -working on an oil platform in the desert, drinking his life away whilst involved in a totally unfulfilling relationship with his girlfriend. As the film develops though we realise that Dupea is not only an accomplished pianist but comes from an upper-class family of musicians. It also becomes apparent that Dupea is on the run -not only from his past, but also himself.

When he learns that his father is dying he realises that he has no choice but to confront that past before it's too late. The film then becomes a kind of existential, but quirky road movie.

I really enjoyed this film - it was completely different to what I originally expected it to be when I first saw it years ago. I'd only known Nicholson through Batman (yes, I know... I can hardly look myself in the eye!!); The Shining and A Few Good Men. All his roles had been over-the-top and it surprised me that he could play such a complex and subtle character. Of course, I then realised that he'd starred in Chinatown and One Flew Over The Cuckoo's Nest!

This is a film that has been criminally passed by both Chinatown & Cuckoo and really deserves more recognition. To me it has a more resonant story as I can really relate to Nicholson's character. Spread the word and find out for yourself - you won't be disappointed!

Oh -and look out for a hilarious scene in the diner, about half way through!!