About: A gang called ‘The Warriors’ are framed for killing a gang leader trying to unite all the gangs in the area. With other gangs gunning for them they must get back alive to the home turf of Coney Island
The music has two of the best features of a late 70s movie: the synth original score and the funk. It’s glorious.
The plot and political statement within the film is as relevant today as it was when it was made.
The costumes and makeup really help with keeping track of all the different gangs and they’re beautifully done. Even now, they give the feeling of a distance future.
The opening is eerie, but spectacular. It builds up and reveals the tensions between the gangs.
I found the focus of the blame on the Warriors a little too flawed. I know that as a viewer we know they’re innocent, however I don’t buy everyone believing that the leader of the Warriors did it.
You have one prominent female lead who is called a slut/whore/tramp throughout the movie by Swan. To have her get with him in the end. Eurgh! Nope!
Rating: PG Length: 1h 45 Release: 23.6.2006 Dir: Alejandro Agresti About: Love blooms when Kate, a doctor, exchanges letters with Alex, an architect who is fed up with his life. Unknown to them, they lead lives two years apart.
Who doesn’t want to see Sandra Bullock and Keanu Reeves reconnect onscreen? If that’s what you’re after, I’m not sure it matters about the plot or quality of the film, so long as that chemistry between the two is still there.
It’s essentially Jumpin’ Jack Flash, but with letters and time travel instead of the internet and global espionage.
I don’t like the characters of Kate and Alex. They’re both really boring.
The film feels very clinical and sterilised of all emotion. perhaps it is the separation of the two main characters and their isolation within their time periods. The interaction they each have with other people feels artificial and for exposition only.
The time travel aspect is just shit and doesn’t make sense. At the heart of it is a massive paradox that, as a fan of all things sci-fi, I can’t ignore. The magic of time travel falls flat and also seems too integral to the plot. I know, I know, suspend belief and all that shit, but I have too many questions about what I saw leading up to the changes in the timeline and they’re not answered.
Who gave that shockingly back haircut to Sandra Bullock?! It does nothing for her and, while very circa ’06, has not aged well at all.
You manage to get two people together who have chemistry and they physically share a screen within the same time zone for less than five minutes?! What the actual fuck?! I want to see them together!
I think I’ll just rewatch Speed in future. Love Bullock and Reeves, but this was underwhelming.
Rating: 15 Length: 1h 37 Release: 17.7.2009 Director: Ducan Jones About: Astronaut Sam, the sole employee working at a lunar station with his computer, GERTY, is nearing the end of his three-year work contract. Just before he returns home, he meets with a fatal accident.
There’s something so very Red Dwarf about the visual production. I felt this great familiarity when it came to the shots on the moon and outside of Sam’s habitat. I get the feeling it was models made to scale, much in a similar way to Red Dwarf in its infancy. The quality is incredible and for me, at least, it gave a bit of comfort. Even the interior felt like it was at least inspired by Lister’s surroundings on Red Dwarf and I mean it as a compliment. For me, the Doug Naylor and Rob Grant British Sci-fi show is my accepted idea of what space travel might look like.
Sam Rockwell! If ever there was an actor who could be pretty much the only person on screen and still keep you invested, Rockwell was going to be that guy. He’s an actor that I would put alongside Robin Williams and, to a lesser degree, Will Farrel. By this I mean that Rockwell seems at home in a comedic role. He’s someone who has their timings right and can make them laugh. Then, just when you think you’ve got him pegged, he shows you that serious side. That Oscar-bait face and boy, doesn’t he just kick you in the feels. Well, Moon gives you both sides and then some. You’ll laugh, you’ll cheer and you’ll cry. This will forever replace Galaxy Quest as my go to movie to introduce someone to Sam Rockwell.
The music! Okay, so there’s a beautiful soundtrack throughout. That’s amazing! However, this movie had one of the best song choices early on. Chesney Hawk’s I Am the One and Only! No longer is the number one hit the theme of Buddy’s Song, its now solely associated with Moon.
Oh so many questions. It’s not bad on the part of the film, in fact its quite genius as it made me want to go back and watch it again. The film, without giving away the plot, made me question a lot of things about society. Philosophical, ethical and even scientific questions. I actually felt overwhelmed at times and there will be some things I’ll ruminate on over the next few days. The scary part of it though, I think I already know the answers to some of my own questions.
I needed more Matt Berry. Everyone needs more Berry. In fact, Matt Berry could have played all of the roles and there still would not be enough Matt Berry. Don’t get me wrong, it wouldn’t be anywhere near as good as what Jones’ has produced, but it still would not be enough.
Kevin fucking Spacey, man! I know this is a time thing, but the connotations and physical response I have from hearing that man’s voice is a detriment to the film. I am aware that the similarities to Hal will have given me some doubt as to the character, but this was more than that. I will agree that this is a prejudice born of an outside source, but it’s not something I can ignore. (especially when I read that the massive douche allegedly only agreed to the role after the film had been made and he’d deemed it worthy of him.) While I would be curious to view this with someone else taking on the role, given it doesn’t require a physical presence, I would not want to put the creators in such a political position. Did get from my rant that I hate Kevin Spacey?! Fucking bastard ruins so many movies that I once thought were great.
This movie, for me, is the equivalent of psychic paper. It’s the Sci-fi of my dreams and I’m only sorry I’ve never seen it where it truly belongs; on a cinema screen.
Rating: 15 Length: 1h 27 Release: 23.8.2019 Dir: Alexandre Aja About: Florida residents Haley and her father get trapped in a massive hurricane and struggle to escape. But things get worse when they realise that the floodwater is the least of their fears.
This is an incredible film; high octane in a contained area is surprisingly effective. The location being at the home instils fear into the viewer because this is the one place you should feel safe.
I love Barry Pepper. We need more Barry Pepper. His character really goes through the ringer and it’s his survival I’m holding out hope for more than anything.
There are some great misdirects and fakeouts that really add tension, such as the three friends at the petrol station and Hayley’s Jurassic Park kitchen recreation.
‘Gator cam. As I’ve mentioned in a previous post, this is an over used camera angle in a creature feature. What is worse with this movie, is that it lulled me into a false sense of security. I actually mentally commended the movie and then they go and use it. Once they started, they didn’t stop.
While I love the character of Hayley, I’m not so sure about the choice of actress. I found her rather Kirsten Stewart circa Twilight.
The opening is a little long winded. There is a pay off for it, but I’m still not sure it was enough to justify the time dedicated on it.
The ‘gators are all too identical. The exact same size and screamed of copy and paste CGI. I’d have like to have seen variation as there surly would be an alpha. If you’re going to have so many, you really do need to have some distinction.
Total individual thing for me, but even though I knew Barry Pepper’s dad wasn’t dead in the opening act, it was a little too close to home in terms of discovering my own dad (obviously not in a crawlspace with alligators) so I did have to have a really good cry during the film.
Its a fair movie and a decent watch, especially if you’re a fan of creature features.
Rating: 15 Length: 1h 49 Release: 19.12.2014 Dir: Bobby + Peter Farrelly About: In need of a new kidney and having learned that he has a long-lost daughter, dimwit Harry Dunne (Jeff Daniels) snaps his equally cretinous pal, Lloyd Christmas (Jim Carrey), out of an apparent fugue state to accompany him on a journey to find her. The witless wonders criss-cross the country using whatever mode of transportation they can find, ultimately arriving at the one place on Earth where they least belong: a summit of the world’s most brilliant minds.
I like that they brought back the kid from the first film to reprise Billy. In fact, the casting choices throughout the film are really good. From Walking Dead’s Laurie Holden to Paul Blackthorne’s brief cameo. It’s clever choices that make this film almost bearable.
“gotcha”. The whole premise of this film runs on pranks that just don’t make sense and are not remotely funny. Much like the first film, the humour is way too taxing.
Having Lloyd laughing at Harry’s mother for talking in Chinese is just fucked up.
That god damn incest trope again. We spend the movie with him wanting to bang the girl, for him to work out she is most likely his own daughter. Gross. (Gross is in fact the most recorded word withing my notes for this film)
Yet another form of sexual assault played for laughed. Lloyd on one of their many misadventures, is manipulated into touching an old lady’s genitals. Upon realising no diamonds are to be found where he’s been led, he tries to remove his hand but she clamps his hand between her legs. So wrong on so many levels.
Yet more misses than hits, but if you liked the first one; this is just more of the same.
Rating: 15 Length: 1h 47 Release: 3.7.1992 Dir: Terry Hughes About: Upon meeting a butcher, a psychic believes she has met her future husband because she has previously seen him in her dreams. She ends up marrying him and eventually meets the real man of her dreams.
This is Splash meets Midsummer Night’s Dream by way of High Spirits and Enchanted. Its just a sweet, quirky story and perfect for Sunday night viewing.
Jeff Daniels makes for an ideal Tom Hanks replacement. What’s better is that Daniels is not an annoying twat when he shouts. He also works well against Demi Moore.
There’s an openly gay character and the word ‘gay’ is not used. She just is. It’s not established in an overt way, its just casual and conversational. I find that brilliant and progressive for the time in which its made.
While Demi Moore suits being blonde, I’m not sold on her accent. It’s patchy, at best and there are times where she drops it completely. It’s a massive pet hat of mine and i just wish she hadn’t attempted it at all.
I was a little thrown at the beginning as the film is promoted as a Demi Moore, Jeff Daniels romance. So to have the opening act be about her marrying someone else made me feel like I’d missed something.
Mary Steenbugen is a singer, Stella, with stage fright. Because of Demi Moore’s Marina, she goes to a bar to sing. While preparing to play Stella laments “I wish I was black, they have it so easy.” Jesus! There is so much wrong with the statement and it really disappointed me because of how progressive it was regarding LGBTQ. So, while I get the context and I know she’s talking about the stereotype that people of colour have amazing singing voices. However, that is me knowing this stereotype. Take that away and its a sweeping statement that is grossly incorrect, especially in the current climate.
It is a cute, quirky and wonderful film for a fun evening watch when you don’t want to think too much.
Rating: 15 Length: 1h 47 Release: 7.4.1995 Dir: Peter Farrelly About: Two good-hearted but incredibly stupid friends stumble upon a briefcase. Unknown to them, it contains money that is intended for abductors with connections to the mob.
Who’d have thought Jeff Daniels could do this sort of humour?! It’s a really different look for him and he certainly looks like he’s having fun.
There are some funny parts. However, when you’re throwing it as thick and fast as this film does, it’s not surprising that some of it works.
When it lampoons other films, it really makes it work. Both the Pretty Woman montage and the Silence of the Lambs quote are both well done.
I do actually quite like the resolution of the film including the FBI and the death fake out. Not sure the final scene works for me, again it’s the level of intelligence inconsistency that makes the final gag fall flat.
There’s almost a quality of Monty Python to the humour in the dialogue. “Pull over.” Says the cop to Harry, for him to reply “No, it’s a cardigan but thanks for noticing.” however, due to the characters it doesn’t work quite as well.
The literal toilet humour is just not my thing. I know what its trying to achieve and I also appreciate that it will have some people belly laughing. However the way in which it was done was mean spirited and the outcome was over blown.
The core issue with this film is that both of your leads are beyond stupid. You need a straight man to balance out the stupid. Daniels’ Harry does show signs of being the Tom Cruise to Carrey’s Dustin Hoffman. However, that wouldn’t work as Daniels is doing so well against type. Perhaps a third in their close group would help. I’m not sure, but either way it’s just a little too much for it to be funny.
The humour is a little too obvious and heavy handed at times. As I mentioned before, everything was thrown into this script. Some of it hasn’t aged well, but other bits I feel always would have felt offensive. Then there’s just the completely gross: spitting in the burger for example. It makes me gag.
I didn’t really like it the first time I saw it and it’s not aged well at all. It’s a bit painful for a comedy and I’d like to think I’ll remember to never watch it again.
Rating: U Length: 1h 47 Release: 7.2.1997 Dir: Carroll Ballard About: Amy moves to Ontario to live with her father after the death of her mother. Her father, an aviation expert, helps Amy lead a flock of orphaned geese south for the winters.
This was one of those rare films I got to see in the cinema growing up. A cinema outing was primarily just for my birthday until this point. However, 1996 marked a change. Labour came into power here in the UK and both my parents became almost immediately employed. This meant there was a little more disposable income and my mum added in this spring half-term trip to the cinema. This also became the first film I ever bought myself on VHS, having been bought Jurassic Park by a family friend and a number of Disney VHS from my Gran for Christmas. It was a hard decision; Fly Away Home or The Santa Clause (the Tim Allen one). I’d loved both films so much I’d even read the books. I think it was the all-year-round appeal that saw Fly Away Home win out. However, that was perhaps mum’s logic than my own; I was the girl who would watch Santa Claus: The Movie all year round. Perhaps mum didn’t want a repeat. It’s also thanks to this film (and Jurassic Park) that I really wanted to see the Piano. Anna Paquin was someone I felt was ‘like me’. So I wanted to see everything she was in. The VHS was set up to record. I was very disappointed when I came down the next day to be informed that mum had stopped it and that it was not a film I should watch. Safe to say, I’ve still not watched it to this day and from that point, I was a little more reserved in watching her films.
It’s a story about adorable animals and their relationship with a kid that ‘could be you’. What is not to love about that? Oh and they go on this great adventure with a parent, when you (as kid) totally know your parents would NEVER be that cool.
While it opens on a sad note, this film actually is uplifting and what I would call a ‘cathartic’ tearjerker. The viewer gets to see Amy express and embrace her grief.
While there’s no attempt to give each and every one of the geese a distinct personality, you don’t have a heart if you don’t immediately love Igor. His narrative gives you all the feels and there are some giggles to be had when he tries to keep up with his siblings.
As always, Jeff Daniels gives a brilliant performance. These are the sort of roles he’s made to do and can balance the eccentric and paternal really well.
Anna Paquin screams way too much in this movie. That high pitch just really starts to grate after the millionth time. As a kid I don’t remember this being something that bothered me, but this time it was a massive irritation.
It does feel a little slow in parts with it trying to introduce us to all of the characters without being overwhelmed.
It is based upon a true story and as I said before there is a book out there. However, the book is a novelisation of the film so I think my point going forward is fair. The wildlife guy who comes to the house to clip the wings and proceeds to play the antagonist just doesn’t sit quite right. It feels as if he’s given this persona just to have something to fight against and make the film more dramatic.
THAT SONG! If the song that opens the film doesn’t make you ugly cry, either at the start or at it’s reprisal, you need to warm up that cold cold heart of yours.
It’s such a heartwarming film and I really am surprised I’ve not watched it more.
AKA: Paper Man Rating: 15 Length: 1h 50 Release: 14.4.2014 (UK DVD) Dir: Kieran & Michele Mulroney About: A frustrated novelist (Jeff Daniels) begins to depend less on his imaginary friend (Ryan Reynolds) when he forms a unique bond with a Long Island teenager (Emma Stone).
Ryan Reynolds is just incredible as this larger than life, colourful superhero imaginary friend. This sort of crazy is where he shines. His character is just delightfully absurd and is the saving grace of the movie. He works so well alongside Jeff Daniels. I really wanted more. In fact, it could have just been the two of them for the entire time, and i still would have wanted more.
There’s a scene in a bar in which Richard is befriending the locals. The way in which he has them all hanging on to every word is something I would have loved to have seen more of.
Emma Stone’s character is just as complex as Richard’s. Everything about her individually I love; her background, her anger, her outlook. The only thing I don’t like is her relationship and interaction with Richard. It being the basis of the movie, therefore, becomes a problem.
Some of the film’s choices are massively problematic and, on the whole, the film leaves too much unresolved. What happens to Abby’s friend as a result of the film is quite horrific and the relationship between Richard and his wife is so toxic, but its played out in such a bias way that I don’t know how any viewer can be satisfied.
There’s an uncomfortable line that this film dances with, and it stops it being the uplifting film I certainly wanted it to be. The issue is the establishment of what the relationship between Daniel’s Richard and Stone’s Abby. It takes way too long to suggest that what both are missing the father/daughter bond. By the time its suggested (not established) the creepy/ grooming seeds have been sown. It’s further compacted by the final act; the post party snuggle and her kissing him on the mouth during their farewell. It completely ruins the entire tone of the movie and for at least the first half, I had my finger on the remote ready to turn it off.
There’s a charming indie film hidden under a gloss of grooming and misery. It stops you engaging with the more important, meaningful, aspects.
Rating: PG Length: 1h 49 Release: 4.1.1991 Dir: Frank Marshall About: Dr James Atherton moves to a small town and witnesses a series of unexplainable deaths of the locals. Upon investigating, he discovers that a flock of spiders are responsible for it.
I remember watching this as a kid and being scared. I remember watching it a few times. I’m not sure it was one we recorded onto a tape, but we’d watch it if it came on tv. There are certain scenes that have stuck in my memory (the shower) and have been replaying in my head ever since I decided it was time for a rewatch. I’d never watched this film alone, so that was… fun!
The story is actually really cool and I totally didn’t remember. New doctor comes to small town to replace older doctor. As with small town politics, Ross Jennings struggles to win over the confidence of the residence. It’s not very helpful, then, when the other newcomer (South American spider) starts killing the only people on the good Doc’s side. I love that there are elements that make Ross even doubt himself, but also that he is able to stand his ground.
John Goodman’s character is a brilliant addition and brings some levity to this very scary film. His presence is accompanied by this jovial music that is a complete contrast to the rest of the movie. As someone who is on edge, I am so grateful for this.
If you want a scary movie, this is the big daddy of them all. If you’re afraid of spiders that is. No cartoonish Freddie, no man in a painted up Shatner mask. Just something that most of us are afraid of just as they are. This one has a killer bite too. It has everything; jump scares, those slow builds the viewer sees coming but the victim doesn’t and even the fake out. It’s the biggest roller-coaster in the genre.
Chekhov’s gun is a bottle of wine. Okay, so it might be that I had a vague memory of the final act, but I do enjoy putting the pieces together and making predictions.
Not really this film’s fault, but I’m getting really sick of animal POV in these creature features. However, this one gets the added mention because of how messy it actually is. As it happens when the bird picks it up, it’s actually unclear as to which animal the pov is coming from. Just stop with the POV. It doesn’t add anything to the film and it feels a little like reading homework that’s been copied from wikipedia.
I’m not a fan of the 20 minutes it takes to get to the small town. It’s a little too much of a ball ache set up and based upon how the spiders are collected, I feel bad for the first victim. You have these dicks who kill all these insects in the name of ‘discovery’, but its the man who doesn’t seem to really want to be there that gets it in the neck. With this sort of beginning, I feel like it should have developed more into a ‘creature from the black lagoon’ sort of plot. Or, tighten up that opening completely; five minutes tops and have that spider rushing for the airport, so to speak.
I’ve never been so scared watching a film in my entire life. During one scene I actually pulled off my glasses to stop myself from seeing the screen. However, I am proud of myself for watching it and I have to admit, it’s a well made film.
Rating: U Length: 1hr 43 Release: 13.12.1996 Dir: Stephen Herek About: Anita, a fashion designer, and Roger, a computer game writer, have to rescue the puppies of their dalmatians from Cruella De Vil, an insane woman, who wants to use their fur to make a coat.
In a world where Disney are churning out ‘live action remakes’ in much the same fashion the 90s gave us direct-to-VHS sequels, its hard to recall this as the Mouse House’s first attempt. Given the public’s outcry if casting is deemed ‘wrong’, we must talk about how perfect Jeff, Joey and Glenn are as the live action counterparts to a classic animation. To a fault almost, they do at times keep the outdated views too. However, for the most part, they are perfect. I certainly couldn’t think of anyone better now, or then.
I love the direction they went with the animals of the film and how they communicate. Babe had paved the way for talking animals in a live action, but thankfully Disney didn’t see the benefit of this frightening approach. Instead the film uses barks and other audible cues from other animals to imply a conversation. It’s best seen at the stable and the result is rather charming. It’s something that people of all ages can gain a level of understanding from and I love it.
While I do like the change of careers for our leads, I do wish they had committed a little more to Roger’s computer game designer. It’s implied that he’s freelance and works from home. Yet nothing is really seen of him working outside showing less than 30 seconds of game play.
While I find the pairing of Hugh Laurie and Mark Williams delightful, the trouble they find themselves in does stray a little visually into Home Alone territory; it’s a little too big and the response feels a little trademarked to the Wet Bandits.
Some of the CGI puppies are showing their age. It’s a shame because it’s only used in odd scenes, but it shows way too much.
As an adult, the last 10 minutes or so bug the fuck out of me. At the value of up to £2,000 per pup, there is no way on earth that you’re getting that fairytale ending where: 1. No one else has reported stolen dogs. 2. Even if the officer believes they *know* that no other reports have come in, they would not be able to just hand over what is essentially ‘evidence’. 3. It’s 101 growing DALMATIANS, not handbag sized chihuahuas. There is no way you have the room to humanely keep the pups for even a day. 4. All the puppies, and subsequent litters, are kept. 5. I’d say that they couldn’t afford the property they end up in, however that’s moot given the property they *magically* own anyway. Seriously, was one of them a secret billionaire?! Essentially, my ageing ass has lived in London and now has an understanding of money. I’m calling bullshit on this ending.
Rating: 15 Length: 1h 56 Release: 30.9.1994 Dir: Jan de Bont About: A disgruntled, dangerous man plants a bomb in an elevator. When his mission fails, he plants a bomb in a local bus and threatens to set it off unless his demand is met.
I love the music. While it doesn’t have the iconic status of Jaws, Jurassic Park or … anything by John Williams, it still packs punch and pulls the audience into a scene. And it starts with those impeccably 90’s opening titles. You know you’re going into something. There will be no easing into a situation, the audience hits the ground running and that score makes sure that your body knows that.
As I said, the audience go straight in and meet the bad guy before anyone else. No holding back. Well, except for who he actually is and what he wants. Dennis Hopper has everything you need for this sort of villain, the main thing being a distinctive voice. While the audience do get to see him a lot of his communication is done solely through audio, so the voice has to be right.
The film has so many instances and dialogue that may not seem like much, but do have call backs either almost instantly, or later in the film. It helps develop the thread running through the film.
The cast is awesome. There’s not a single person I’d replace. It goes without saying that Reeves and Bullock are perfect in their lead roles so I’m going to gush about two others. Firstly, there’s Alan Ruck. Its not the biggest of parts, but he has some excellent interactions within the main act. My favourite moment comes when he’s relaying Jack’s description of the bomb. He can’t bring himself to say what Jack had, so instead utters “oh, darn.” which gives us quite a lot about the character.
There is also my favourite character, Harry. Played by the wonderful Jeff Daniels. The chemistry he has with Reeves equates to what we would now call a bromance and I’m sold. There’s a moment in the first act when both Jack and Harry need to descend to the access point of the lift and its in that moment one takes to the cables like they’re a fireman’s pole, the other uses the ladder. This indication that Harry doesn’t jump in and, as a result, isn’t as reckless as Jack has a rather sad payoff towards the end of the film. None of which I think is possible without Jeff Daniels in the role. While he isn’t as prominent after the first act, he is crucial to the plot and the mindset of the character of Jack. You do feel his absence from Jack’s side, but he’s still very much working with him. Right up until the point Harry doesn’t look at where he’s going. That close up we’re given gets me every single time.
The film does gauge how long its focus should be on the bus. Just as I find myself drifting, the stakes are changed and the goalpost is moved; giving the audience a bit of an adrenaline jolt.
The ‘Annie reveal’ in the final act doesn’t sit right with me. It’s edited in a way that makes me think I’m meant to, even for a spilt second, think that she is in some way involved. However, there needs to be some more editing for that to work, given that we see her interaction with Payne and therefore know she’d never met him before. I know there was original plans to have it revealed that Harry was working with Payne, perhaps this edit is what remains of a plan to have *someone* double cross Jack.
The final act Vs the bus jump. For me, one of them has to go. While the bus jump gives us that great visual, I’m not sure what else you can put in the final act that would give us the resolution we need. Perhaps have it that there’s another set of cars on the track at the next station?! Doesn’t seem as good as “the track’s not finished yet.” As it stands its two overly identical situations and it almost gives the audience fatigue. The set up is the same, the way out of the situation is the same and the success only varies slightly.
I love this movie. I only watched it a few days ago and I already want to watch it again. Boiling it down to “Die Hard on a bus” doesn’t do this film nearly enough justice as it’s execution goes beyond that.