TG22Film Reviews

Crawl (I) (2019)

Unerring intensity

[7/10 · 5 November 2020]

This film has cult classic potential. Far from perfect, but its intensity is unmistakable. Hugely enjoyable - in a way it often felt less like a horror film and more like a Jurasssic Park style action film with all the suspense to boot. Saying that, there were moments that that clearly drew inspiration from Jaws.

In spite of the alligators taking the spotlight at different points throughout the film, I was surprised to find the father/daughter element of this film is what drives the story. It adds a bit of emotion to the closing scenes, which is a neat touch where modern horror so often fails abysmally.

Loved the first couple of alligator scenes. The later ones a bit less so. I will explain - there was an opportunity for a fantastic horror scene when the trio arrive on the boat outside that shop/service station. The girl is screaming as her legs are bitten into - and for a split second I was pretty terrified myself. Then they cut to someone else's death, which just felt like a goofy/spoof type death. So unnecessary! Sadly, moments like that can really impact on a film's fluency (which was otherwise very good). They should have stuck with the girl scene for longer - quality always triumphs over quantity in horror. That's why, in my view, slasher horrors tend to be so hokey.

Anyway, in summary, very enjoyable film that doesn't outstay its welcome. A winning combination of intensity, suspense and a touch of emotion make this one worth your while! Just a shame that some of the death scenes weren't as good/effective as they could have been. Hmm..that makes me sound pretty twisted. But it's a pretty key trait of great horror flicks.

Don't Breathe (2016)

What he cannot see, he can sense

[7/10 · 12 September 2020]

I'd read that this film was a good horror film before watching it, so went in with reasonably high expectations, and was not disappointed!

'Don't breathe' has its share of obvious horror references and tricks of the trade but it uses lots of interesting cues and twists to keep you guessing. The three burglars were quite well imagined - contrasting enough in personality and background to set the scene up for their respective falls. However, the blind man and his backstory were the part of this film that really hooked you in once the suspense kicked in.

So...what I loved first. There are quite a few nicely pitched scenes in this film with great setups and triggers that create layers of suspense. The Blind man sensing his intruders set up these really well thought out scenes. When he is panning his gun round the room trying to work out whether he should fire or not - and you can see Alex and Rocky's reactions to his sense guessing - this is nerve shredding stuff. Really good filming and something I can't think I've seen in other films (maybe Hitchcock-like I guess). The second scene that stands out is when Alex falls onto the glass ceiling and we slowly see the cracks emerge - nothing new there, sure. But it's the situation it creates as the blind man shows up once again that makes it great. The scene towards the end with Rocky and the dogs was ...brilliant...maybe my favourite (in spite of the intriguing blind man character and all of his scenes). For all Rocky's obvious faults she is clearly resilient, and I love how she finds unique ways of seeing off the dogs each time they attack her. Great camera angles, initiative, and all the surprises are hatched well and deliberately. Essentially, these scenes demonstrate that this film thrives on all of its unpredictable moments within an atmosphere of suspense.

Whilst I was impressed by the film I felt it could have achieved more. It felt like it was missing a couple of key elements which would have propelled it into classic territory (although I'm sure many may consider it a classic in the future). I wonder firstly if the film could have been made more suspenseful by making it that bit longer. They could have built up Alex and Rocky's background a bit more at least, just to give us a bit more involvement in them before they get inside the blind man's house. Or they could have even used yet more suspense in some of the key scenes to really nail those horror elements to the ground. Perhaps I'm being overly critical now, but I think they could have also made the blind man even more interesting, and perhaps even a bit creepier for effect.

No monsters in this film, but it showed you can still do a good horror without them. And understanding the blind man's motivations, as well as the burglars set this all up well for the perfect storm it was.

This and 'It Follows' are definitely two of the better horror films I've scene in the last few years. Both worth a watch.

Annihilation (I) (2018)

Forward thinking sci fi with lots of ideas

[8/10 · 4 April 2020]

I'm always a bit perturbed when a film which is clearly more courageous and visionary than a lot of others in both scope and vision is bashed by critics who would rather see one with just some good acting and a very predictable, cliched storyline. Enter Annihilation, a classic example. In fact, the acting in this film is pretty good, the story is reasonable but above all, the vision, concept and style of the film is where this pushes it well above your average sci fi horror flick.

The scary/action sequences were almost certainly the points of the film that were the highlights. From that hefty croc beast to the awesome lighthouse sequences towards the end of the film. Not forgetting the scene where they're tied to chairs by Anya, before the entrance of that mutant bear; this is one of the more intense scenes you'll come across in recent film releases. My absolute favourite part is probably when Dr Ventress explodes - just spectacular; and this whole sequence was quite clearly nailed by the production team.

The soundtrack was suitably dystopian, oddly beautiful and weird.

On the concept - I liked how we learnt more about the shimmer as the film went on. Teased at each significant event with something else the shimmer does - both to humans or whatever resides within it.

So if you want some weird sci fi delivered in a fantastic visionary style, look no further than Annihilation.

Pandorum (2009)

Nifty Sci-fi with a neat ending

[7/10 · 28 March 2020]

This is one of those films you go in not expecting too much from (no disrespect to anyone involved, but this was my honest outlook to begin with) but then it gradually rises above your expectations. I don't think this film is incredible, or any superlatives like that - but it is very watchable and it worth the 90 minutes if just for the beautifully staged finish.

I think Foster's performance is the one that shines through - and his honest delivery of his lost character and the claustrophobic struggle he faces is well suited to the film's style.

At times I couldn't help but feel the film slightly bordered on cliches and action film goofiness but it often kept on the straight and narrow with the cool plot developments and character twists.

*Spoiler* My favourite part of the film is definitely the final 10 minute section with the final conflict involving Bowers, Nadia and Payton (or Gallo even?) and then Bowers and Nadia's escape to the ocean's surface. I think having been through 90 minutes of utter darkness, you feel a similar sense of relief to them - and that's credit to the way the film was set up and delivered.

Good job overall. Can see why it is become a sci-fi cult classic.

A Quiet Place (2018)

Felt familiar often, but with a clever and delicate execution

[7/10 · 28 February 2020]

I definitely enjoyed 'A Quiet Place' but in spite of the nicely set up 'hush concept' there were many moments of the film that felt overly reminiscent of other films and franchises. I'm not sure it's a great sign when a scene makes you recount lots of other scenes from films. That can become a bit distracting, and I have to admit there were a number of moments in the film I felt this. I might just have seen too many films of course, but one minute I thought 'Signs', then the next 'Jurassic Park' (particularly with the noise the monster was making which reminded me of the velociraptors) and there were hints of Predator and Alien in here too. Tropes like self-sacrifice, finding the monster's weakness, and 'must save the kids' were all in abundance. Throw in some 'Stranger Things' vibes as well. With the appearance of the monster, I couldn't help but think of the Demogorgon.

Lots of positives to draw from this suspenseful horror flick though. Brilliant acting from the whole cast including all the child actors (and the baby!) The monster was concealed well until the late major scenes, which is always preferred to revealing too much early on in this type of movie. The sounds used outside of the silences were cleverly placed and executed. Emotion was used really well, the characters were strong enough to have you caring about them - how many horrors kill off characters without even introducing them properly?

So in summary - the strive for originality in this one was evident, but at times the influences of the film were too obvious. Decent and delicate film overall.

Horse Girl (I) (2020)

Brave performance with a difficult subject

[7/10 · 18 February 2020]

A bit surprised at the super critical reception to this film. Alison Brie shines as this 'horse girl' character, who at first we just see as a quirky, shy character before we are gradually introduced to her apparent episodes of mental illness (I think it's a paranoid schizophrenia or similar). This is obviously a role that meant a lot to Alison Brie and through her character portrayal this carries through to us as viewers.

Yes it's a very arty, at times, purposefully bizarre style but I think that works quite well with the questions being asked throughout the film. The music is applied well to the increasing feeling of disorientation, and the surrounding characters help to enhance the issues we're witnessing. This is not normal - but what has been the cause? Are we actually judging her as mentally ill before understanding the full background story? Is the film trying to make us believe her story about the alien abductions, the cloning etc?

I guess this is where it's easy to become a bit confused, and most viewers would likely prefer some concrete answers, and not just a frequent blurring of reality and imagination (sometime's through the character's eyes, sometimes through an outsider's eyes) But do people with mental health issues ever have or receive concrete answers?

Some of the supporting cast were particularly good and I liked Joan - Sarah's work colleague. I think Joan was a bit underused as I think her caring personality was giving more weight (by way of sympathy) to Sarah's problems - and used more regularly would have given this film considerably more emotional power (that's just my view). As it is, it's still a worthwhile watch and study of someone with a very complex problem.

Aftermath (2004)

The aftermath triggered by tragedy?

[8/10 · 6 February 2020]

This film shows us the effect of tragedy on what initially seem like a 'standard couple'. It also shows us how tragedy can bring out the worst in the human condition (portrayed by the brilliant actors of 'Killing' fame Sofie Grabol and Mikael Birkkjaer). Whilst you sympathise for their grief and despair following the loss of their daughter, their actions seem wholly understandable. But as the film progresses they both cross lines that create distance between them and perhaps us as viewers too, and this almost serves to question whether they were actually good people before the tragedy struck. How much of what they are doing is down to that tragedy alone, how much of it is character flaws/traits?

This film deals with extremely difficult subject matter that a lot of people would likely dare not tread with film making (perhaps this is even more true in 2020, sadly). It's bold but in a way which relates you to characters. The actions of the characters, because they escalate from understandable to disturbing, make us afraid of how fragile the human condition really is. Not one to watch if you are looking for a pleasant viewing, to say the least. But what a film. Are we all victims of our fates? Or can we rise above the demons that tragedy can breed.

Blade Runner 2049 (2017)

Justice done to a Sci-Fi classic

[9/10 · 2 February 2020]

This movie might have a very slow pacing to it, but more often than not, that just serves as a way of making the important scenes even more stunning and atmospheric. This film ignores the predictable formula of modern blockbusters, and follows more in the footsteps of the original to develop a sequel and a believable follow up to a film which was nearly 40 years before it (not to mention also set in the future, or pretty much the present day based on the original timeline!)

On the acting - Gosling delivers an understated performance as a conflicted replicant. De Armas is captivating as the holographic love interest. Leto plays the psychopathic corporate boss and fits the bill pretty well. Ford resurrects Deckard with his older/wiser outlook and I thought Carla Juri was also superb in spite of her relatively short time on camera.

Is there anything much to criticise? I wasn't sure about the K/Deckard fight sequence with the Elvis songs. I guess some humour was needed somewhere(!) but this didn't quite work for me. It didn't spoil the film though, because 99% of it is a spectacle.

The story follows the replicant K most of the way through. The puzzle develops and teases us as to whether or not he is important, or whether he is just a pawn caught up in a web of corporate greed and rebellion in the blade runner universe. We're led to different locations of the blade runner universe as he endeavours on his search for the truth. The audio flashbacks to what other characters have said earlier in the film is an effective way of creating the feeling of confusion and disillusion e.g 'but you've never seen a miracle'

I've absolutely no issue with the soundtrack unlike a lot of other fans. I actually thought this was delivered perfectly on some key scenes in the film, including the bizarre but absolutely amazing love scene involving K, Joi and Mariette. The sea fight towards the end was also superbly orchestrated. In fact, those are probably my two favourite scenes of the film.

Villeneuve is welcome to direct more visually stunning sci-fi on this scale. I hope to see more films of this calibre in the near future.....

A rare case of a great sequel.

Batman & Robin (1997)

Considered the worst Batman film.....with reason

[4/10 · 1 February 2020]

So I saw this at the cinema aged 12. I don't remember much of the experience, and perhaps there was a reason for that. I think what I did remember was Uma Thurman as Poison Ivy - and I actually thought although this is not her best film(!) she was one of the few highlights with her comical/glam style of portraying the Poison Ivy character.

I just think this film was clearly not going for anything remotely serious, and if you treat it as a harmless funfare of daft gags - it may not be as terrible as it seems (arguable). I actually think this would have been a lot better as a 'batman and robin spoof' with better comedy written in the script. Instead it's mostly bad comedy with the odd mildly funny 'tut' reactions to puns here and there. The film is also way too long for its extremely simple plot and characters. No more than 90 mins, or even 60 mins was really needed.

So not one to watch if you have literally anything productive or slightly more interesting to do of an evening. But, if you want to cringe relentlessly, give it a go. Or if you secretly liked Uma Thurman as Poison Ivy (I confess)

Star Wars: Episode I - The Phantom Menace (1999)

Not the terrible movie the fandom would have you believe, but it's not great either.

[6/10 · 18 January 2020]

Last night I revisited this film for the first time in years with a slightly fresh take on it. I have to admit, I felt very let down when I first saw the film (as like so many others, I think it's almost universally acknowledged that this was some way off any of the originals). The truth is - this is a very mixed bag of a film. It's full of goofy and ironically, animated Disney-like moments (strangely now feels like an omen) but there are some great sequences amongst the awkwardness of it all. The Neeson/ Qui Gon scenes seem to stand out as the best - I liked how he connected with Shmi, his interesting relationship with the Jedi Council,. his closeness to Obi Wan/Qui etc etc. This was all characterised extremely well. The lightsaber duels at the end were also excellent, with some great Darth Maul moments, and a cleverly concocted suspense with those red forcefield doors creating delays before each part of the fight. And on the bad CGI imagined characters, Watto the Toydarian was the better of the animated characters for me.

As for the negatives, Natalie Portman did not look at all comfortable throughout the film. Nute Gunray seemed like a pretty turgid and weak villain and the whole political story in the film felt more like a sideshow than a driving force. Darth Maul was underused. And whilst I don't understand the hate leveled towards him, Jake Lloyd as kid Anakin felt like a poor casting choice. He wasn't that bad to be fair - the script he had was hardly inspiring!

All in all a 6.5 out of ten for me - Neeson kind of saves this film from being a complete disappointment, and having something that feels worth a watch (if only for the one time)

The Void (I) (2016)

A film of two halves

[5/10 · 16 June 2019]

This is a film which clearly had bold ambitions - going for an epic lovecraftian horror on a relatively low budget. What's sad for me is the film did show some signs of promise and found its groove in the latter stages, but it was spoilt by the frankly atrocious first half of the film.

Let's start with the first half (so we can finish with the positives). It just felt too meaningless - all of the characters that were killed off were done so in such an off the cuff, spoof-like way it undermined the film's own intentions to disturb the viewer. And who were the white cloaked beings? Was there ever an explanation of those? Most of the main characters were not likeable (although perhaps in a stupid, comical way) and the actors for the best part weren't all that great either - but could maybe be sympathised with for a lot of the dialogue they were given! The two I thought pulled off their characters pretty well were the doctor and Alison.

The second half was more interesting and suspenseful. It slowed down the pace more, gave you more insight into character motivations - and the character/monster terror mix was also done better. The monsters were pretty awesome - and the film is clearly inspired by 'The Thing' and 'Hellraiser' as I could see elements of those throughout. Certainly enjoyed 'the triangle portal' scenes towards the end of the film and that at least gave it a feel of spectacle, though sadly couldn't paper over the cracks of the very poorly executed first half.

Oslo, August 31st (2011)

Sublime, understated, brilliant

[9/10 · 19 February 2017]

This has become an all time favourite indie movie (well, movie generally) for me. I can watch and rewatch it for its personable style, as well as for the way the supporting characters link to main protagonist Anders so believably that we as viewers are not only empathetic to him but also understanding of the history of his life and how that has affected his surrounding family and friends.

I'll cite some scenes as examples of why this film is so personable. The first major one is the scene between Anders and his friend Thomas. We see both of their lives in a nutshell within a 15 minute cross sectional take as they regale, regret and retell their shared and individual histories. I love it (park scene) when they almost row but then accept that they have reached an impasse in the conversation, and settle with each others' different pathways in life, like only very good friends would. The interview scene is another excellent one. We see Anders showing some aptitude at the interview, but, he tragically cannot escape his own past and self destructs after the interviewer discovers his CV gap for what it really was. You feel so sad for Anders (as you feel like he could have actually got that job).

Another fantastic scene is where we are looking through Anders eyes, and hearing through his ears other conversations, like we are also alone with him, listening to everyone else's aspirations, hopes and dreams but not able to find them ourselves - which becomes Anders' ultimate tragedy. And that absolutely brilliant, spellbinding sequence of scenes after about an hour into the film when we see Anders officially reach a sort of 'point of no return'as he is seduced by the girl he meets from the houseparty - we get that electro style song and then the sound and sight of fire extinguishers transition into the characters cycling through a beautiful Oslo night scene. The short Vigeland Park, then later swimming pool scene shows Anders' envy of the girl as she clearly has a life ahead of her, perhaps with or without the tragic years he clearly feels he has been through.

My only criticism of this film is probably it is a little too short, with a final scene that feels a bit dragged out. Other than that, nothing else to say other than this is definitely one of the best indie films I've seen, and whilst some would cast it off as 'depressing', it is almost pleasantly melancholic in the most relatable, and enchanting of ways. Good performances all round, great script, great job.

Copenhagen (2014)

A credible film, but could have been incredible

[6/10 · 19 February 2017]

The first thing I should say outright is that the performance of Frederikke Dahl Hansen was completely enrapturing - and ultimately, she was the star of the film. Far more likable in character than her co-star, to the point you almost feel like the film would have been better centred with the main plot around her, rather than Gethin Anthony's character. I feel like the plot itself was OK, with family ties being sought by two very different characters midst the beautiful backdrop of Copenhagen. The problem was that the male lead's character was fairly detestable, and that led to a lack of sympathy from me as the viewer with his back story. Towards the end there were signs of some redemption in his own behaviour as he starts to care about Effy. However I think the writers should have softened his character more to make the audience feel a bit more connected to him. This is why I have scored a 6 as he is a key part of the film and I truly think that his characterisation was off beam. I understand his lack of maturity is one of the key elements of the character (to fit in with his relationship with Effy), but this needn't have been done in such a coarse way.

The above said, the film is absolutely worth watching. Dahl Hansen produces a superb performance combining both a wisdom beyond her 14 yr old life, with a hint of teenage naivety that sees her attach to William. I also think whilst Gethin Anthony's character isn't very likable, he does gel well with Dahl Hansen and we see some great scenes that are very memorable; the Karaoke scene, the awkward discovery of her age and the theme park ride among them. There is a gorgeous scene when we see them cycling the streets of Copenhagen (with the possibly underused Jeremy character) that is verging on euphoria. I've not been to Copenhagen, but seeing this film has definitely made me want to go.

So 6 out of 10 is my final score. With a better written lead male, this could have been a 9 or 10. On the topic of the underage aspect, the film addresses this fairly well and shows that it is not unduly bypassing it. We are somewhat led to believe that their companionship has transcended their ages, with the dangers of that relationship highlighted well in the row scene between William and Jeremy - one of the more interesting scenes with the two male characters involved. So go see it, but see if like me you feel one half of the critical relationship just needed re-configuring.

500 Days of Summer (2009)

A cautionary tale about love

[8/10 · 6 April 2015]

Before I watched this movie I just was expecting a romcom - a standard slushy movie where boy meets girl over a summer period. I had no expectations of the film and sometimes that's always for the best. I was obviously very pleasantly surprised and then some.

It's made fairly clear from the outset that the two characters Tom Hansen and Summer Finn are destined to have their lives collide in some way. We see it built up through a selection of scenes that build up our sense of the apparent romance going on, but the crucial scene where Zooey Deschanel's character just wants friendship is the film's central and binding core.

As an audience member, you want the couple to become just that. The chemistry seems real, the scenes depicting it fool us into thinking perhaps it may still go somewhere (the IKEA scene with the two pretending that they have already settled down is an example). I related to his naivety in this hope that she will be won over sometime in the course of the casual dating. Gordon Levitt's performance is excellent - you can see in his eyes alone a desperation and desire that doesn't leave him throughout the film, but also a denial that he doesn't want to face the facts. I empathised and sympathised - not least because if someone like Summer Finn was dating you you would probably become exactly the fool he portrays. Her smile and mannerisms are hypnotic, and Zooey's acting seems natural, not forced, to back this up. A number of actresses could have easily overplayed the role, but she is subtle in the way she bounces off Gordon Levitt's moves and charms.

The countdown-of-the-days sequences and whistle-like cue weave perfectly into the story to lure us in to his naive obsession of his date and tempt us into believing the romance of the pair. My favourite part of the movie is probably when they reunite on the train, and during the sunset you don't hear the talking of the characters you just see their facial expressions, but critically you sense this meeting is setting up the finale of their dating, for better or worse. The Temper Trap song beginning to the visual of the last moments on the train is enchanting to the point where you want to be stuck in the moment and not leave it, in spite of all the warning of the story in the scenes before.

The romance lovers in the audience will have at this point been praying for Summer to decide she likes Tom enough to make it a long term relationship. The realists will realise the tragedy of this reunion and that the character who will suffer most is Tom.

When we're shown the reality and expectation split screen, most of us are watching the reality part, but really want to see the expectation happening. At the point of the ring reveal you can feel the heart being torn out of Tom's chest.....and if you've ever been a fool for love, this was a real heartbreaker of a moment that you would be able to relate to. This was actually the one part of the film where I think Zooey's character was a bit cruel. If you are casually dating someone for a long period at least, to not say anything about another involvement I think is harsh.....particularly by way of showing an engagement ring. Or at least I think so.

Anyway, back to the review - which is that this film achieves its purpose with the flying colours of a summer festival - to tell a cautionary tale of a one way love obsession, and not to forget the signs that it is, just that.

Cromwell (1970)

Cromwell overburdened but film an enjoyable spectacle overall

[7/10 · 18 July 2010]

It's the middle years of the 17th century. The English constitution lies in an uncertain state and a legal mess. Our then Stuart King Charles I has walked on a parliamentary-set tightrope for 10 years in abstinence of holding parliaments and by levying unpopular taxes on the people of England. Religious disputes lie in an undercurrent of power-shifting scenarios and Charles is unwavering in his belief of divine ordinance from God. And so emerges Cromwell, to heroically salvage the kingdom from Charles and endless civil war, in this film portrayed mostly as Cromwell the Glorious, Cromwell the brilliant and Cromwell the resolute. Richard Harris does a suitable job as each of these Cromwells. The script and film may have benefited from emphasising more on Cromwell's humbler background and strengthening his case by developing his unwilling character early on. Instead, the film's Cromwell is placed as a prominent MP in the Long Parliament and is one of the impeached during the royal retaliation to the Grand Remonstrance which we see in the relatively early stages of the film. I thought this was historically inaccurate and an error to champion Cromwell the politician before championing Cromwell the military leader, which is how he saw himself and how he probably should have ultimately been portrayed. This would have aided the film later on when we finally see him as the reluctant politician towards the end, waiving the opportunity to be King Oliver I and in one of Harris's finer moments showing Cromwell's humbler side and his yearning for a republic no longer roughshod by a tyrannical King.

The most engaging scene in the film, however, is Charles I's public execution. Many historians wax lyrical about Charles' finest hour being the preceding one before his death and thus his martyrdom in speech and performance was made exclusive from his somewhat arguably grander political failings. Alec Guinness is superb in portraying Charles the unwavering Martyr, showing courage and wonderfully saying 'I go from a corruptible to an incorruptible crown'. This scene is perhaps the most spookily accurate one of the film as you sense the paradox in allegiances that many people must have been feeling in the lead in to this scene.

All in all, a film worth seeing and engaging enough (wonderful battle scenes in the middle worth a mention). The ardent historian may fidget in their seat over Cromwell's script and image but the less concerned will enjoy Harris's Cromwell and Guiness's Charles to the extent that (by the end of the film) they will ponder as to whose side they would have joined if they lived in England in the 1640s. And in this sense, the film achieves the spirit of the times.

Sliders (1995–2000)

Sliders should be remembered

[9/10 · 16 February 2008]

As far as sci-fi TV series go, this would probably be in my top ten of all time - in spite of the plot decline midway (approx) through the third season. The initial premise was exciting, namely that parallel worlds existed and could be accessed through a 'gateway' created by boy genius Quinn Mallory. In each Universe differences might be slight or substantial depending on the historical events that had taken place prior to that current time.

As with any show, a decent plot on its own cannot be carried without great character portrayal. I thought the four original cast of actors were brilliant - Jerry O'Connell, Sabrina Lloyd, Cleavant Derricks, John Rhys-Davies (The commanding presence he had in this was mesmerising. When the show forced him away there was a gaping hole in the show's believability that ultimately was not filled). Unsurprisingly, when these actors were separated by circumstances of which I am not completely clear (so I wouldn't like to pass too much judgement), the credibility of the show was lost into oblivion.

However, whilst the cast remained intact, the writers (Tracy Torme and Robert K Weiss) ever inventive and the show true to its initial premise this programme was a joy to watch. My most memorable moments of the series include one during post traumatic slide syndrome where we discover that they might have actually finally returned home - but are mislead by the squeaking gate (which had been repaired since they had been away), the arguments between Arturo and Rembrandt and the latter's singing performances. Really though, there are many more and now I have the DVD's I can watch them again.

Red Dwarf (1988– )

Marvellous

[9/10 · 30 October 2007]

Some people do not 'get' this show and I'm not sure why. I always think that they haven't watched enough to get to know the characters or they can't quite relate to the abstract brilliance of it all. Well I'm not one of them for sure, as this show has provided me with more laughs than any other. From the disgusting habits of Lister to the delightful cheekiness of The Cat to the smug remarks from Rimmer the comic moments just go on and on. And yes, the Grant-Naylor partnership was possibly key in maintaining the subtlety of the gags. Yet, I do not necessarily agree that Series 7 and 8 were a pointless waste of time. For me, these two series were worth it just for Kryten alone. His eccentricity and corruption sort of 'blossomed' in a way and I felt Robert Llewlelyn took his character in the right direction. This is a point that will probably be hounded but you only need to see the psychiatrist scenes from the final series to see what I mean.

Sadly, the other characters in the latter series seem to lose some of the magic they so brilliantly weaved in front of a live audience. However, the stories were still good enough to entice my viewing throughout all 8. My personal favourite series is series two. Even though this was when they were still (pretty much) confined to the Red Dwarf ship, the scripts and dialogues were absolutely fantastic. 'Thanks for the Memory' is so brilliantly constructed I think of it as the best half hour of comedy ever written. The way it begins with the drunken starbug flight back and ends with the discovery of what Lister has done with Rimmer's memory is pure genius. Then you have that brilliant moment where Danny John-Jules nails a one-liner so sublimely that you just have to cackle. Rimmer (played by the ace Chris Barrie) attempts a ridiculous explanation to how they've ended up with unusual predicaments after a late night party (for example broken legs) and tries to ease everyone's worries by suggesting it was alien communication. Then Cat (Danny John Jules) simply says "I wouldn't want to be around when one of these suckers is making a speech".

Anyway, I could go on and on with the praise, so I'd just like to say to everyone involved in the show.............. thanks for the memories!!

Clash of the Titans (1981)

A classic production

[9/10 · 28 January 2006]

I saw this when I was very young, and it literally fuelled my imagination. After seeing the scene with the Medusa for the first time, I recall the odd nightmare here and there. This might seem laughable, but get lost in a great film when you're six years old- then it tends to have effects on what you dream later on.

This adventure fantasy based on the Greek mythology of Perseus is tense, exciting and moving. This, in part, is due to the beautiful musical score (Laurence Rosenthal) and clever screenplay in scenes of danger and tension. I also found the concept of the all powerful gods and the figurines of all their people fascinating. I Particularly found the transfiguration of Calibos disturbing, and clever. This is excellent film-making, rather than showing Calibos himself transform, we see a silhouette of the figure of his physical being slowly change shape.

So, Perseus is born, despite the attempt of King Acrisius to murder him and his mother ( by throwing them in a box that floats on the sea- not the cleverest of ways to kill off an enemy). Perseus ends up safe and sound with his mother on an island, where eventually he is castaway by the goddess Thetis to a darker place so he can face a real challenge. This is Thetis's way of getting back at Zeus for punishing her son Calibos.

Andromeda plays the role of the princess, and Calibos plays the role of (in modern terms) her ex, who has now turned into a beast at the hands of Zeus. Thetis, still pretty pent up about her son, especially after losing a hand, intends to avenge his state of affairs by the death of Andromeda through the deadly Kraken. It is Perseus who stands in the way of Calibos, and the Kraken, in order to save the Princess and the Greek city from doom.

Thusly, this film has politics, romance, horror, tension, philosophy and all kinds of other elements to it. Again, for me, the highlight is the build up to the Medusa's lair. Indeed, it was very scary stuff as a young kid, I used to look away from the screen when her face appeared. All in all, this is a really entertaining film with depth and wisdom. If there's one thing that could make it better, it would be to make it longer.

Cube (1997)

An enthralling experience

[8/10 · 21 January 2006]

I had only read a hint of what 'Cube' was about when it appeared on the TV schedule, and as I thought it sounded intriguing, I recorded it. The following day, from the moment I began to watch it, I was hooked.

Being a sci fan and a student of psychology this film was indeed perfect for me. There were more twists and turns in some of the personalities than the cube itself. This is what gave the film its psychological and thought provoking value.

The character that really shocked me was Quentin. Appearing as a headstrong do-gooder cop at the beginning to later become a psychotic killer was for me, unexpected. I was comfortable with Quentin the way he was to start with, before this alter-ego stepped in. Another interesting character change was concerning Worth. His stance to begin with was very negative (being a part of a team involved with the Cube's design), but as Quentin turned for the worse, Worth turned for the better. Nicky Guadagni's performance definitely deserves a mention, she portrayed her character Holloway with every ounce of believability.

The concept of this film was brilliant, and showed that you do not need astounding computer graphics to create something special. The claustrophobic atmosphere was captured well by the screenplay and the design of the green, red and blue rooms, each one holding a new surprise for each individual.

One of the other great things about the film, was the difficulty in predicting who would survive, and who would die. Many films and sequels make the mistake of making a hero obvious, thus making him or her immune to being killed off. In this film, however, the heroes became known only toward the end of the film, and thus you fear for each individual in the cube, not just one.

Finally, this is a must see for those looking for intrigue and originality.

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

Impressive as a whole- even if (like the dark side) a little unnatural at times

[7/10 · 10 June 2005]

I definitely enjoyed this film, as I came out satisfied and contented that I'd been very much entertained on a number of levels.

Lets start commenting with the good points- special effects were impressive (even if a little overused, especially in previous films) and the transcending final scenes with real sets and intriguing props were a great linkage to 'A New Hope'. I was also impressed by some great action scenes and fights in some of the earlier parts of the film. The fights as a whole were certainly better looking than the sloppy ones in 'A Phantom Menace'. I was particularly impressed with the fight between Dooku, Kenobi and Anakin and the start of the film, for me this was a top point of the film, and I think I actually preferred it to the final fight. I felt far more emotionally involved in this scene and felt Anakin's guilty confusion over killing Dooku. For me, if this fight scene had been made a bit longer, it would have been perfect. I also give credit to the scene where Palpatine makes his transformation to the emperor we know so well from the classic trilogy- this is effectively fear invoking, and the setup for Windu's fate is simply spectacular.

Where I was less satisfied- Anakin had previously felt guilt for the death of Windu and Dooku- but suddenly goes on to kill a load of 'younglings' and feel no guilt whatsoever! This was a bit hard to believe, and I would have liked to have seen more scenes that bridge this sudden transformation of his personality from good into completely evil. Furthermore, the film did not make us feel much sympathy for any of the deaths Anakin had caused in his destructive path; thereby making us become an unsympathetic audience. I criticise the fact that we knew none of the youngling characters, so it was hard to empathise with them when they were killed. Sure, we're upset about it, but 'Empire Strikes Back' is far more successful in making us sad about 'scoundrel' Hans Solo getting frozen- than 'Revenge of the Sith' is in making us sad about the death of younglings or any of the jedi for that matter.

The film for me also fails in some of the final scenes- particularly the laughable outcry of 'noooo' from Darth Vader. This could have been made so much better-perhaps a cruel displacement of his anger and distress on a nearby Officer would have been a better way of ending his complete transformation to the darkside rather than a silly 'noooo'. The crucial fight scene between Anakin and Obi Wan was reasonable, but I think it would have been better on a more realistic set- such as the ones in the classic trilogy.

To conclude, the film is thoroughly entertaining, but some points which seemed 'minor' originally have affected my outlook on the film as a whole. 70% successful in my mind.

Around the World with Willy Fog (1983)

A very memorable series

[16 February 2005]

This is such a fantastic animated series (for everyone, not just kids!) for a number of reasons. Firstly, there are obviously the lovable characters, the way we see them develop throughout the series is a joy to watch. Secondly, the story lines are enticing, you just have to know whats going to happen in the next episode- take the jungle episode and the evil worshippers approaching as a great example of how great this series was at cliffhangers. Thirdly, the music score is really fun to listen to. Although it is distinctly '80s' sounding, each tune really tends to capture the atmosphere of the moments in the series. For just a cartoon series there are so many 'true to life' things in this series- like morals, the evolution of friendships, romance, financial problems and solving problems. Not forgetting the enormous geographical value of this programme- how many places do they visit throughout the series? Point proved. The only thing I have to say against it is repetition. How many times do we have to hear them say they're hungry or they're late for a train? Mind you this recurrence amuses rather than annoys me.