Reviews written by registered user
|107 reviews in total|
OK, the biggest film of all time. Let us remember that it was good. It looks astounding, even now. It takes the already good A Night To Remember and improves upon it. The much-derided love story works for me, I'm sorry. In fact, the one bad thing anyone had to say about this in 1997 was that the dialogue wasn't up to scratch. Excuse me? How many quotable lines? `She's made of iron, sir. I assure you, she can sink.' `I'm the king of the world!' `We are dressed in our best and prepared to go down as gentlemen. But we would like a brandy.' `You unimaginable bastard!' This film is a true classic in the old-fashioned sense of the word.
So now Peter Weir has a BAFTA. For some boat movie. Well, whoopee-do. Never mind his earlier, better movies. Such as this. A story about the ultimate betrayal on one hand, a deconstruction of the hyper-realist nature of our post-modern lives on the other, and an unintentional retelling of Doctor Who Vengeance On Varos on the side, this is really something of a minor masterpiece. Carrey's Truman Burbank is a put-upon hero to rank with George Bailey from It's A Wonderful Life, a man whose destiny is to come face to face with `God' (and it's also better than Bruce Almighty). One of the more perfect endings put to celluloid caps it.
I well remember the moment I realised that Ghost was a good film. It was several years since 1990, and I had written it off as a pointless chick flick. Then two female friends decided to watch it and, having nothing better to do, I cynically sat down to watch it with them. When I started to borrow tissues, I knew I'd been wrong. It may star two of the biggest has-beens in Hollywood today, but you can't deny the emotional power of this love story from beyond the grave, somehow keeping its punch even when competing against a comedy sub-plot about a `sassy' psychic. And remember the ugly guy on the train, too. A cheesy classic, but a classic nonetheless.
Do you find that it's hard to reconcile a director's early movies with their later huge blockbusters? To understand that the director of Assault On Precinct 13 went on to make Ghosts of Mars? To realise that the director of The Duellists created Gladiator? To find the links between Piranha II The Spawning and Titanic? Well try looking at this effort from the man behind AI Artificial Intelligence. As stripped down as they come, this is basically one man in a car versus another (unseen) man in a truck. The story is one long menacing chase sequence like a shark and a cyborg in later, bigger movies, an unstoppable force is after this guy, we know not why. It doesn't let up, and it's fantastic. He deserved his career from this evidence. Now, who's seen Sugarland Express?
Like Clockwise, this is just a movie I've always found very funny. Superbly casting some superlative film talents into the board game roles of Colonel Mustard et al, this throws the greatest over-actor of them all in as the butler and lets rip. The murders start to pile up, getting sillier and sillier (three cheers for the Singing Telegram Girl!) The pace picks up, so that about half an hour before the end the butler starts to exposit and virtually never stops. Oh, and there are three endings, just for good measure. And the last line is an all-time classic.
If you don't love big, stupid movies with huge explosions in them and (usually) a lightning bolt hitting a tree at the beginning, then move on now. If you do, then you probably like Con Air. A hero who's motivation is so tunnel-vision he can kill and utter dialogue like `Put the bunny back in the box' without batting an eyelid. A villain called Cyrus the Virus. A plot so idiotic as to be genius. And a marvellous supporting cast wandering around proceedings desperately trying to get some screen time. Best of all is Steve Buscemi as a psychotic serial killer who claims `One girl, I drove through three states wearing her head as a hat.' Big? Yes. Clever? No. Subtle? No. Award-worthy? No. Fun? Yes. Take popcorn.
Why would you bother remaking something like this? An iconic film that defines its era, and you decide to re-do it three and a half decades later on the wrong continent with Mark Wahlberg. I look forward to the remake of Goodfellas set in London which we'll make in 2025 with Dean Gaffney or someone. Anyway, the original Italian Job is essence if sixties Caine, washed down with an effortless turn of class from someone so iconic you can't believe they were still alive in 1969, and finished off with half an hour of minis. Maybe I've come to notice its weak points more of late Benny Hill takes over so much at one point that the film starts playing homage to the style of his TV series - but this is still an essential film.
The wacky and indeed zany riposte the Coens chuffed out to Fargo's breakthrough hit status, this ended up rivalling it in critics' affections. Giving Jeff Bridges his signature role, this mixes bowling, kidnapping (of course), German porn, nihilism, modern art and Julianne Moore's vagina (of course) to make a surreal pot pourri of complete incomprehension. The film starts with a tumblin' tumbleweed...well, why not? A Stranger turns up to dispense advice from under a stetson...okay. One character has a completely unexpected fatal heart attack...fine. The Dude goes into a dream sequence that makes you feel you've dropped acid...whatever. You can't argue with The Big Lebowski, because it's coming from a place you can't even imagine. Sheer class in an utterly odd way.
Always thought this was great. Makes me laugh no end. When he lets himself go, Mel Gibson is funny, and this pastiche of an almost forgotten TV cowboy show - complete with its original star cast in the main supporting role - is comedy gold. Better yet, this is Jodie Foster's only real brush with the comedy genre and she proves so adept at it that you can't help feeling this route would have been better than Nell and Anna And The King. The ending piles twist upon twist, and it's one of those movies where everyone involved is clearly having such a great time that you do too.
One of those films which deserves its placing through its initial effect on me. Seldom have I been more shat up by a film. Most of the big scares are false ones hands on someone's shoulder etc but it still had me on the edge of my seat, as the cliche has it. It looks wonderful check out not just the Event Horizon itself but also the zoom out from Sam Neill at the beginning, which just keeps going and going... Maybe it does rip off Hellraiser, and maybe there are bits that don't make sense, but it does have a bloke on fire, Sean Pertwee (always a plus), a member of one of Britain's noblest acting dynasties being almost drowned in blood, and a truly horrible scene where one character goes out of an airlock. This proves that the generally accepted `Paul WS Anderson is a talentless hack' line is pure baloney.
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