Furious_Fenner Reviews

The X-Files: The Red and the Black (1998) Season 5, Episode 14

One Law: Fight or die. One Rule: Resist or serve

[9/10 · 7 December 2009]

The conclusion to the brilliant two parter started up by Patient X, The Red and the Black continues a breathless introduction of numerous new characters, alien races, plot points and revelations that breathes life into the stale Mythology.

We head back into the story the morning after the night before, with a new massacre at the bridge sitting proudly alongside those in Kazahkstan and Skyland Mountain. Mulder and Skinner arrive desperately seeking Scully, and luckily she is found with only superficial burns in a culvert nearby. It seems this attack wasn't as successful as those before.

Meanwhile, Krycek endures some role reversal at the hands of Well-Manicured Man who informs him of Marita's fate. She, incidentally, is in a Syndicate run medical centre being treated for the black oil. WWM demands the vaccine from Krycek, but the double agent insists his information is more vital, even when chained up in the hold of a ship that is soon heading back to Russia and no doubt signalling a rather gruesome end for our Comrade. Scully under goes hypno-therapy with Dr Werber in an attempt to unlock her memories, which shows what occurred.

Like Patient X, the strength in The Red and the Black is the writing. Chris Carter's direction is impeccable, Mark Snow's score is perfect and the acting is sublime, but the dialogue sparkles and the numerous subplots and bluffs are never too much to take in. The pace is excellent, and there's plenty of excitement, awesome reveals and great character moments. It's a very quotable episode, and features some memorable work from recurring characters (in particular Krycek and Well-Manicured Man, both brilliant here).

Overall, Patient X/The Red and the Black is an action packed, intelligent and highly satisfying cinematic double bill which for me is probably the pinnacle of the mythology.

The X-Files: Requiem (2000) Season 7, Episode 22

"It has to end sometime. That time is now"

[9/10 · 16 November 2009]

For lots of people, Requiem is essentially the spiritual ending for the X Files and it's certainly far more rewarding and powerful then The Truth. And as far as going back to your roots is concerned, this is a very well plotted and executed episode.

The teaser itself is more of a pace setter and establisher rather than a shocker and a stunner. There's nothing new, although the return of Detective Miles comes as a shock, and it's shot brilliantly. You just know we're in for a hell of a ride.

I must profess to loving the fact that the issue of expenses over Mulder and Scully's investigation was left untouched until what at the time was considered the final episode. And the only thing I love more than Mulder beating the crap out of Chesty Short is Scully's amusement when told. For Billy Miles of all people to phone them up out the blue is a real surprise. As is Krycek's stint in a Tunisian penal colony being ended by Marita Covarrubias, last seen looking like a toilet brush in One Son. As a side note, that is one hell of a recovery, both physically and mentally. Kudos Marita C. Turns out that CSM, now dying, has summoned them for one final attempt at rekindling the conspiracy. Inevitably these two events are linked.

That would because an alien craft has crashed outside Bellefleur, and is now sitting under a cloaking device. Mulder n' Scully meet Billy, exchange some reminiscing, and we quickly establish that his father has not come out well from his encounter with the alien. The twist that he's in fact the Bounty Hunter might not come as a big shock, making the pretty cool car trunk shot less effective, but it's not blatant. It turns out that the alien craft was on a salvage hunt for abductees, and while Mulder and Scully visit Theresa Hoese (nee Nemman, her of the nosebleed), one of the local UFO geeks is sucked into the ship's shields. Used twice in this episode, the shaking shot I reckon looks brilliant. All the while Krycek pokes his nose around looking for the craft (the sum of which is sitting in his car on the phone).

Marita and CSM share some pretty insightful conversations, and it's credit to Laurie Holden that you can see her hatred for him burning while she maintains a veneer of cold, emotionless efficiency. Scully meanwhile begins suffering from sudden nausea, the cause of which will come up later. You have a wonderful scene where Mulder tries to comfort her and states for the first time his wish for her to leave him behind and try and have a better life as a result. Whether this is lucky strike number 2 for Mulder isn't clear, although I believe it is.

With their backs turned, Theresa is taken from her home, her screaming baby just metres away, and the friend of shaky boy confirms Billy's suspicions over his father. While Billy returns home to confront him, Mulder and Scully go into the woods and the latter is subjected to the same forcefield rejection. Dismissed as another episode, Mulder and Scully ultimately return to D.C with nothing when Billy is taken by the Bounty Hunter, who had finally convinced him that he was who he said he was. The scene where Billy demands to know why his father never believed him is oddly touching, and stems back to pilot clearly.

As a result, we have what I reckon is one of the best X Files moments ever, when a hesitant Skinner leads Krycek and Marita into Mulder's office. It seems they've had the same lack of luck, and are willing to sign up with M&S at the expense of the CSM. We get a scene from the Lone Gunmen and another example of Mulder trying to stop Scully from joining him at the potential ground zero. This time he succeeds, and while Scully discovers that the alien DNA means Mulder is at risk, Mulder and Skinner travel to the site and the inevitable happens. Mulder walks into the forcefield, ignoring the calls of Skinner, and joins the gathered abductees as the Bounty Hunter walks up to him and smiles vindictively. Skinner almost cries, and then another bombshell: Scully's pregnant.

Ultimately, it's always going to be the return to the beginning aspect of Requiem that will win us over, and does it must be said. There's a feeling of coming full circle that is both excellent and slight depressing (despite what they've seen and done, Mulder and Scully haven't really gone anywhere). Also, the double headed plot which utilises both Abductions and the Conspiracy is generally well handled.

The main issue is that as a one parter, it has holes where they couldn't afford time to use. Krycek and Marita's methods to find the craft aren't clear, and neither is CSM's logic behind rebuilding the project with a single crashed UFO. Mulder and Scully just seem to give up on the case after Billy disappears too. So it's far from perfect.

However, it does deliver and is an emotional, powerful episode that could well have ended the show. Scenes such as Mulder watching Scully with the baby, the bedroom scene and Skinner getting emotional are stunning, and we have the satisfaction of seeing Krycek shove Cigarette Smoking Man down the stairs. The revelation that Scully is pregnant is jaw dropping.

So basically, Requiem isn't perfect; it's uneven, and slightly constricted by the single episode it was given to resolve the story. However, there is genuine emotion, wonderful recognition of the show's roots, and a great plot and story. The music from Mark Snow is brilliant even by his standards. If Season 7 was all about closure and wrapping up, Requiem does it in spades. Powerful viewing.

The X-Files: Tunguska (1996) Season 4, Episode 8

"You're gonna keep me in the dark?"

[9/10 · 20 September 2009]

Placed in the bumpy beginning to Season 4, Tunguska, as the name suggests, was always going to take us back to the subject of aliens and hence the mythology. So its excellent that the episode contains a couple of welcome surprises, and ultimately has an excellent pace that many of the myth-arc instalments lack.

It begins with a shocking, and slightly surreal, teaser which quickly establishes that we're back on the trail of the black oil, last seen deposited by Alex Krycek in Apocrypha. And, of course, this in turn sees us back on the subject of Krycek himself, who is captured during a raid on a militia group in Queens. Since Krycek is a personal favourite character of mine, it's always nice to see him show up and he drives Tunguska with his information regarding a diplomatic pouch and general misdemeanours by higher powers. While Krycek cops a beating from pretty much everyone throughout the episode, Scully focuses on the black oil, emanating from a Mars rock, and Mulder attempts to find it's source. We get a cameo of sorts from both CSM and Well Manicured Man, bringing the syndicate into the storyline, and also an appearance by Marita Covarrubias in oddly seductive mood acting as a source of Intel for Mulder. The gist of it is, the rock originated from Tunguska in Siberia, the famous site of a 'meteor' crash, and soon Mulder is on his way with Krycek in tow, while Scully encounters first hand the oil's deadly properties.

Tunguska is an excellent episode, picking up a strand of the mythology which proved fascinating and giving a new angle to familiar characters. The pace, as I mentioned, is fantastic, not quite breakneck but never dull and the perfect balance of delivering information and observation. The final scenes of Mulder in a world of hurt are shocking, making the follow up Terma all the more tantalising. With excellent direction, good writing and well judged acting, I can't find much wrong with the episode.

A strong 9/10.

Lost: Fire + Water (2006) Season 2, Episode 12

Badly Handled, But Not Terrible

[5/10 · 24 June 2009]

Fire + Water, as it is well known, is one of the least popular LOST episodes. There are a number of reasons for this, the main one being that of course it is hideously uncomfortable viewing for Charlie fans, of whom there are many. However, it is the material and not the plot of the episode that is it's downfall.

One of the reasons I was frustrated with the episode can be summed up in two words: John Locke. One of the most centred characters on the show, with a passive, peaceful approaches, suddenly goes from acting as Charlie's mentor/guardian angel to, in this episode, being a belligerent and over aggressive bully. Where Locke listens to the island intently, and follows the vivid dreams he experiences, he instantly dismisses Charlie's similar visions as just being him using again, despite spending so my time guiding I'm to sobriety in Season 1. In fact, it is shown that not a single character (with the exception of Eko)has any belief in Charlie and are all happy to turn their back on him (quite literally, as it turns out).

The second would be the writing and general flow of the story. At no point does the viewer feel anything other than sympathy for Charlie, and as a direct result it vilifies the other characters for being so dismissive towards him. This is a man who journeyed to the fuselage in the first days, who regularly risked his life to save others, who rescued Jack despite his heroine withdrawal, who was injured recovering Aaron as he promised. And all he has done wrong has suffered the same dreams often experienced by other losties who were listened to. And as a result of that, and some actions he was instantly remorseful of, he was ostracised by the group, beaten by the 'man of peace' John Locke, and made the most hated man in the camp.

Surrealism aside, the episode simply suffers because it has no balance and the characters act totally out of character, a sign of very bad writing. In fact it's only real purpose to the series was to add a plot point to the following episode, 'The Long Con'.

The Dark Knight (2008)

The Dark Knight: Masterpiece or Masterstroke?

[9/10 · 11 October 2008]

Inevitably, given the hype that built up to near overload before the film's release, The Dark Knight had a lot of expectation. Given the fact it was following up the brave and excellent Batman Begins, which kicked off a new more realistic look at the Batman saga, you could say it was a film that simply couldn't afford to fail. It HAD to be a classic. In many ways, it was.

The film takes a different angle from the typical Batman story premise. Rather than going for Batman vs (fill in villains), it goes for a four way multi-character driven crime saga epic more in the spirit of 1995's Heat than previous incarnations. While Bruce Wayne/Batman continues his mission to clean up Gotham City and wipe out the mob he set about destroying in begins, with the aide of Lt. Jim Gordon, he is is sought after by the ambitious and determined 'White Knight', new D.A Harvey Dent, who seeks an alliance he feels will rid Gotham of it's disease ridden underbelly. However, with the mob on the verge of destruction, it's head honchos, lead by Mafiosso Salvatore Maroni, are forced into their own pact with the devil. The devil, in this case, is a nameless, moral free psychotic bank robber, known in the criminal world simply as The Joker. Inevitably, things take a turn for the absolute worst, and soon it is clear that The Joker is not in it for the money, but for motives far more terrifying.

The Dark Knight represents a brave turn from Christopher Nolan, and after the uplifting Begins, he goes for a new theme: chaos. With politicians, police officers and officials dying left, right and centre, the city is plunged into panic and soon Batman, the incorruptible symbol, becomes helpless to save a city destroying itself. As one person puts it "Things are worse than ever!". This creates an uneasy and almost depressing mood, deepened by the death and destruction that is unrelenting and threatens to bring an end to any hope whatsoever. Desperation is a key theme, as The Joker tears up his environment with an enthusiasm that chills to the bone and leaves a solution seemingly unreachable.

In most key areas, The Dark Knight is a wonder to behold. Nolan's direction improves with every film he does, and his gritty look at the Batman universe firmly anchors us in Gotham, remarkable given the subject matter. The screenplay bristles with dual identity and moral code, though is occasionally less than subtle. The music score by Hans Zimmer and James Newton Howard thrills and frames each scene like a cape. Not once are the beats out of place, permeating moments with the necessary emotion and mood. The acting is out of this world. Bale matches his intensity of Begins, even when given a withdrawn role, and adds an emotional pathos to a character who could easily become a cardboard cut out. Kudos must go to Aaron Eckhart, who displays real versatility portraying a character who, like Batman himself, is almost two separate identities. Despite the bad press, Maggie Gyllenhall accomplishes herself well enough filling Katie Holmes's shoes as Rachel Dawes, while Michael Caine and Morgan Freeman return with the panache you would expect from such fine actors. Eric Roberts really surprises in a charismatic and slick turn as Maroni, providing some really subtle touches to a character who may have simply disappeared in the sea of talent. Gary Oldman is worth a lot of credit as Jim Gordon, displaying some superb understated vitality that is key, especially in the last scene.

And finally, Heath Ledger. A lot of people are going to see the film purely for his performance, and let me say this to them: it's worth it for that alone. He oozes danger and mystery as the iconic villain, a man who is a walking enigma. From quick, and quirky, talker, to homicidal violence loving monster, he switches with terrifying speed and you instantly forget who is behind the cheap purple suit and make up.

Overall, the film is highly memorable, with some truly wonderful scenes, moments and elements that set it apart from other superhero films. Its pessimistic mood is highly fitting of the story and the tale itself is well told with gusto. Let down slightly by the overplayed moral sentiments and the occasional lapse back into classic action film, it still maintains a grace befitting its own high standards. Basically, almost a masterpiece and a must see for any film lovers.

Boomtown (2002–2003)

Canned Brilliance

[9/10 · 13 July 2008]

Boomtown, a masterclass in story telling and character driven narrative lasted just over one season, and is perhaps the greatest case of a show destroyed because of it's nature rather than it's quality.

In an ambitious take on the well covered cop/crime show niche, Boomtown aimed to show the story behind a crime from every angle; the beat cops, the detectives, the politicians, the paramedics, the victims, and the suspects. Whereas this could have ended up being a gimmick wasted on an audience not excited by such originality, creator Graham Yost managed to mould a brilliant series of stories that always kept the people at the fore-front of the drama, and never gave in to spectacle. The episodes would veer from comic to dark and disturbing from week to week, going from a corpse fired out of a cannon to betrayed police officers and S&M Murderous Psychopaths. All the time the principal cast, and the creditable guest characters, were given the most attention and the stories usually explored the why of a crime rather than the how and who.

The main characters were a mixed batch, all of whom were memorable in their own right. There was the two detectives, the earnest and dignified Joel Stevens (Donnie Wahlberg, displaying his acting chops in a rare chance to prove that he's far more than Marky Mark's brother) and his partner, the flamboyant and tongue in cheek though on the mark Bobby 'Fearless Smith (Mykelti Williamson). The street officers were the chatterbox veteran, Ray Hechler (Gary Basaraba), and youngish Italian bull Tom Turcotte (Jason Gedrick), who is forever his legendary father's shadow. Then there was the strong willed yet vulnerable paramedic, Teresa Ortiz (Lana Parilla), who cares for nothing but the well being of others, and the usually hell bent and cold reporter, Andrea Little (Nina Garbiras), who has questions she should ask herself. However, the real showpiece of the show was reserved for the fast talking, faster switching Deputy D.A David McNorris (Neal McDonough), a brilliant lawyer who trips himself up on account of his demons. All of these characters were fleshed out well and played to a tee by a fine cast.

The show combined breathless showpieces of action and suspense with the occasional injection of humour, plus managed to incorporate a heart and emotional edge that in so many similar mediums seems tacked on. None of the characters are free from this, with each one suffering from their problems, some facing them better than others. Moments brought gasps and tears in equal measure but their was always enough entertainment abound to ensure the show kept on an even keel. The second series, although beginning shakily, got into stride and the series seemed destined for greatness before the networks pulled the plug. It was a sad end, brought about by a general lack of popularity and a view that the show would not provide the means by which to finance it's ambition. Whether Boomtown would have become a household name over time is not clear, but it's obvious that it's loss was felt by those who appreciated it's sublime nature, and it's cancellation represented a defeat in the battle for quality television.

Ultimately, a brilliant show that died young.

MTV: Reloaded (2003 TV Short)

MTV's Funniest Parody

[9/10 · 23 August 2007]

The MTV movie awards always tend to show short parodies, or spoofs, of a film that was popular during that year. The use of footage from the film itself is spliced with cameos from comedians and centres around the host/hosts is some way. Previous films lampooned include The Mummy, Se7en and Castaway. This one, in my opinion is the funniest.

Basic plot involves Justin Timberlake and Sean William Scott trying to get into their apartment, but being sucked into the Matrix due to the intervention of the key-maker (Randall Duk Kim amusingly reprises his role from the film). They then travel to a number of Matrix Reloaded set pieces and interact with real characters.

One of the highlights is the meeting Neo has with the oracle, as although footage of Keanu Reeves' hero are used, the oracle is replaced by Wanda Sykes responding to Neo's lines and also the appearance of Timberlake eg. "Hey, your that boy from N-Sync!". The lines are put together so well it is ultimately hilarious. Also notable is the appearance of Andy Dick (a regular is such shows) as a clubber at the rave in Xion culminating in: "Morpheus is having a massive Orgy at his place tonight, at least that's what many of us have heard" to which the in-film Morpheus announces "It is true what many of you have heard". The appearance of Will Ferrell as the architect, better known as Larry is truly wonderful and the interaction/non-interaction with Neo in the scene is side splitting.

All in all, a hilarious send up that is by far and away MTV's best lampoon. 9/10

Scrubs: My Screwup (2004) Season 3, Episode 14

All the Emotions: The Brilliance of Scrubs

[10/10 · 1 March 2007]

The two things that mark out Scrubs from all the other millions of comedies out on TV at the moment are the following: 1). It's obscure randomness and surreal humour that recalls The Simpons when it was back in it's prime, and 2) it's ability to change the mood from humour to pure emotion and sadness in an instant. This episode is one of the best examples of both such things. Skip the next paragraph if you don't want to know what happens...

SPOILERS

It starts off brightly, with the re-appearance of Brendan Fraser's popular character, Ben Sullivan, Dr Cox's best friend and former brother-in-law. He's in usual charismatic and lovable form as a larger than life amateur photographer, and it seems he has come back to attend Jack's first birthday. Although the leukaemia that blighted him two seasons before is still a problem. From then on, it seems as if it's another laugh-fest, and much of the episode's quality is clear to see. However, one of JD's patients dies, due mainly to him being overworked, and Cox refuses to accept that it wasn't his protégé's fault. We are made to believe that he is talking about an older man with an irregular heartbeat who he was worried about earlier, and therefore things don't seem too serious. But there are hints throughout as to the identity of the patient who has died, and the signs are not good. Cox forgives JD, something which means a lot to him. Out walking, with Cox dressed smartly, but Ben not, Cox finally agrees to let go, something Ben has been telling him to do throughout the episode. It the transpires, when JD shows up, that they are in a cemetery. There is a funeral. It's Ben's. It turns out that the patient who died was in fact Ben, and Cox had failed to cope with it. As the ceremony begins, Cox bursts into tears. END SPOILERS

The way the writers hint at the Truth the whole way through is brilliantly done, and it really shows the emotional depth that the shows makers have that they are able to insert such a premise into a comedy show without it looking out of place. By making the said character such a popular one too, it insures that the audience is just as hard hit as the characters, and the acting, particularly from John C. McGinley at the end is phenomenal. The only other times I've been so touched by a TV show were at the ends of the My Lunch episode on Scrubs, and the end of the Pilot in Boomtown. Truly great writing.

Saw II (2005)

A Sequel to Challenge the Original

[7/10 · 1 December 2006]

"Violent. Gory. Pointless. Needless. Entertaining. Thoughtles." It's very easy to right off the Saw series if you haven't actually seen it yourself. The way that it is portrayed and talked about by some people just makes it seem like a needless bloodbath of imaginative deaths, occasionally flavoured with some headache inducing twists and turns that bring up more questions rather than answering the ones that have already come up. Sure enough, the latter is often frustrating and seems to have become a popular trend. It's either a sign that the writer's don't know what they are doing or that they have a far bigger picture in mind. The fact that there will be at least 5 saw films perhaps points to the second option.

Saw II is quite different from the original. This is perhaps inevitable since it not only was made by someone else, but wasn't even a Saw sequel originally. Therefore it's easy to think that it might become a Blair Witch 2 type tack-on-easy-money-farce that it could well be. The Saw films are very clever, and this is often brought up by those who appreciate it. However the violence gets more publicity, and the simple truth is that it arouses enough curiosity to convince people to go and see it. The original Saw wasn't actually that violent. Much like Se7en, a film it is compared to but frankly isn't in the same class as, most of the nasty events are left to the imagination of the audience. Even the most famous scene, where Cary Elwes saws off his own foot, you see absolutely nothing. Saw II changes it's style, and is hard to stomach on occasion. However, the film gets it's nastiest death out of the way straight away. A protagonist who seems to be a snitch and a voyeur, much like Adam from the original, has what is described as a Venus fly trap round his head. It will slam shut, crushing his head, if he doesn't unlock it with a key before a minute runs out. The key happens to be behind his eye. Although he never goes as far as to get the key, the idea in itself is disturbing. After this the deaths aren't particularly gratuitous. In fact the scenario, solve puzzles to find a cure for a nerve gas destroying your system, is more horrifying then the way in which most of the people die.

The plot itself is simple and well defined, and newcomer Bousman makes sure that the film doesn't go off the rails and lose it's focus. Donnie Wahlberg, in excellent, and as usual, understated form, plays Detective Eric Matthews, the principle main character. His son has been kidnapped by the infamous 'Jigsaw' killer, and he, along with a number of unfortunate souls who have an unseen connection, are locked up in an old house. The only hope that Matthews has of saving his son is by finding out from the old and dying Jigsaw where he is. There are the two main stories that overlap each other, of Matthews and his team at Jigsaw's workshop, and his son and the other victims in the house. The formula allows an opportunity for the characters to grow themselves, and one of the understated values of the film is the characterisation. Matthews at first simply seems burnt out after a tough career, but it soon becomes clear that he is far from the perfect cop. The man on the floor (or house, as it were) who seems to take control and act as a leader, Xavier, is in fact a selfish and overbearing drug dealer who cares about no one but himself. It would be easy for the makers to drop good characterisation and get down to the bloodletting, as many feel is the case with Saw III. It is a credit to Bousman that he appreciates the most important aspects of making a great film: plot, characters, dialogue, atmosphere. By keeping these as a priority, and it makes the film easier to appreciate and makes it seem less like a popcorn movie.

Another important factor in making a good film is usually down to the actors themselves. Whereas this could have B-Movie performances, all the displays are solid and excellent. The fear, frustration and anger flows in a way that really surprises you. From the genuine terror and panic of the opening scene's character to the deep emotion of Matthews, the characters are believable and aren't just cardboard cutouts. Singling out Wahlberg as the star performer may be harsh on a quality cast, but the fact is that he has the hardest character to portray and pulls it off with flying colours. It's miles away from his performance as another cop, the earnest and honest detective Joel Stevens in Boomtown. Ultimately though, the film works so well because all the elements come together and create a film that isn't just entertaining but is also believable and terrifying.

Inevitably, most people probably think that the Saw series is pure popcorn and gore, and in many ways it is. Indeed the premise is sick at best. But in Saw II you have a film that shouldn't be THAT good but is, and it more than matches the original for atmosphere and drama. It's well worth it watching not just for the entertainment, but also for the great way in which it has been made. That is, of course, if you can stomach the violence.

Star Wars: Episode III - Revenge of the Sith (2005)

Biggest Hollywood sham since Cleopatra

[3/10 · 28 April 2006]

I'll admit it. I was never a big fan of the Star Wars series. The films were OK, but I never thought they that bad. The first three were OK for entertainment purposes. Episode 1 was average, Attack of the Clones was poor. I should have seen what was coming next. The pattern was there:

Phantom Menace *** Attack of the Clones ** Revenge of the Sith ?

How do I describe it? One possible description would be the anagram of the word 'Sith'. You might have gathered from my subtle tones that I don't like Episode III much. Thats mainly because it's absolutely awful. And, if that wasn't bad enough, they antagonise me by making everyone else love it. Why? The script is terrible, the direction dull, the acting is appalling. I went to see this film for a bit of entertainment, but even the action sequences are boring!

Revenge of the Sith? Shelf it please, Mr Lucas

Se7en (1995)

Chilling and Memorable Thriller

[10/10 · 5 April 2006]

7 gruesome murders. Each gruesome for any number of reasons.

One of the darkest and most disturbing thrillers ever, David Fincher's Se7en set a benchmark when released that has rarely if at all been matched since. In only his second ever film, Fincher takes us on a roller-coaster ride of religious fanaticism that shocks, intrigues and horrifies the audience.

Morgan Freeman is a week away from retirement. Brad Pitt is a week away from replacing him. The pair form an unlikely pair during the curious case of a morbidly obese man who appears to have been forced to eat himself to death. Somerset (Freeman) believes that it is the beginning. Mills (Pitt) thinks that it is simple ironic torture. However, a second man is found bled to death, with greed written on the crime scene floor. A second trip to the first location reveals the word gluttony behind a fridge. Soon the unlikely duo find themselves hunting a killer who appears to be using the seven deadly sins as both his template and as a murder weapon.

Fincher's piece of cinematic brilliance is a roller-coaster ride of exhilaration, shock, revulsion and curiosity, and shows a flair of direction that Fincher would later show in Fight Club. His use of directorial techniques, such as his eradication of colour and light from his dark, wet and gloomy sets creates a near nightmare like brooding universe which simply adds to the sinister nature of the investigation. Unsurprisingly, the murders are horrific to say the least, although much is actually left to the audience's imagination. The unconventional partnership of Freeman and Pitt is entertaining, with Pitt resenting Freeman's almost patronising wisdom, with Freeman hating Pitt's gung ho, unsubtle attitude. Both excel in their roles, as does Gwyneth Paltrow as Mills' frustrated wife. R. Lee Ermey and John C. McGinley, are, much like the rest of the supporting cast, well judged and make good work of their small roles. However, the most eye catching performance is by the unexpected Kevin Spacey as the killer. Although he doesn't have much screen time, he is terrifying as the righteous and almost serene John Doe, convinced that he is doing God's work, and carrying it out with cold cunning and confirmed enthusiasm. It's this planning that paves way for the stunning conclusion, that is both shocking and brilliantly set up.

The big star, though, is Fincher. The director redeems himself brilliantly following the much slated Alien 3, using unconventional techniques ,the creation of a sinister atmosphere, his control of events as well as the pacing that help make the film so memorable.

That and the seven gruesome murders, of course.

Sin City (2005)

What a film!

[9/10 · 2 April 2006]

WOW! What a film. Every now and then, a film comes along that you HAVE to see, even if you end up hating it. Films like Fight Club, Se7en, The Usual Suspects and so on. Strangely, often these films turn out to be my favourite. Needless to say, Sin City is now one of my favourite films. Sure, it's hammy, sexist, explicit and hideously violent, but it's also gripping, exciting and so much more. I can't really explain why I like it so much. I just do. Brilliant.

Mickey Rourke is great and almost unrecognisable (correction: totally unrecognisable), but the other 'main men' Bruce Willis and Clive Owen are hammier than a butchers shop. Jessica Alba, despite being gorgeous, has nothing to get her teeth into either, so acting isn't the films strong point in general.

Thats about all I can say.

Bit where Elijah Wood gets eaten by his dog is strangely less shocking then you would expect, I'm not sure why...