russell100uk Reviews

The Man from Earth (2007)

The power of a good script...

[9/10 · 25 December 2008]

Very rarely do I feel the need to write a comment about a film on IMDb, there's usually little point as the film is already highly acclaimed or a decent, thought not mind-blowing movie experience. However tonight I watched this small, minimally produced one room drama unfold and felt compelled by its conclusion to write something about what a throughly refreshing and stimulating experience it was.

There are no car chases, gun fights, steamy sex scenes or overblown fight sequences on offer here. The story is confined to a small cabin in the middle of nowhere where a handful of people debate matters of science, religion, theology and physics. In short then, 9/10's of the population will be bored stupid by this movie.

But that's okay, because this movie will never be a blockbuster best-seller, will never have (nor ever aim for) mass appeal. Instead it is a low-budget science fiction drama which shall find a niche among the cult crowd, a flick that is often talked about but rarely actually witnessed first hand, much like Primer from a few years back.

The movie unfolds at a tremendous pace, not in it's rapidity, but in it's perfect balance between recollection and debate. As the story of our central character, John Oldman, a history professor who claims, to the bemusement of a handful of gathered colleagues, to have lived for 14,000 years, the film shifts gears and delivers several fantastic twists and moments which endeavour to confuse and even anger the gathered few. What starts of as little more than a perceived hypothetical scenario slowly unravels to become a heated debate, by the end of which, will leave the viewer just as exasperated as his esteemed colleagues he has chosen to share his closely guarded secret with.

People have compared this movie to Kevin Spacey's K-PAX, but they are nothing alike. John Oldman is not a being from outer space nor a mentally deranged lunatic, he is simply a man who has experienced far more than the average human and is at a loss to truly explain how, or why for that matter, he is different. As his story unfolds he bats away many of the more inane objections with his own analogous comparisons, particularly focusing on the human perception of time in relation to his own extraordinary life cycle. The Man From Earth asks many questions and answers many more, and by the end you too will be uttering the sentiments much repeated throughout the movie:

Anything is possible.

Southland Tales (2006)

Extraordinarily Unique

[9/10 · 13 December 2007]

It's not often I bother with reviews on here, but this film is worth it. It's had a lot of bad press after the Cannes debacle last year and has major difficulties with classification (what 'genre' it belongs to will certainly provoke continued debate for years to come), but at the end of it all it's a treat for the eyes and mind, providing your prepared to open that mind and let your preconceptions fade away. A few (admittedly the type who looked like they would) walked out during the screening tonight amongst about 20 people, not a huge deal but then what do you (and they) expect? The key to this film is to go in with zero expectations and just allow anything and everything to be absorbed. Pay VERY close attention, particularly to the news tickers that appear throughout, which, unlike the usual gimmickry, actually paint a picture of the surrounding situation. Oddly, the satirical nature of the piece made me think of 'Brazil' whilst the odd humour and tone was very reminiscent of, bizarrely, 'Hudson Hawk', yet neither of these films can even begin to compare to the unique spectacle this film is. Even the casting, which, whilst may at first appear strange, is actually, by and large, inspired, with Gellar, Timberlake and, in probably his best movie role to date, Dwayne Johnson (AKA, wrestler, 'The Rock') giving terrifically crafted performances, perfectly suited to the weirdly tongue in cheek tone of the film.

Overall then, I'd say this film is a success and a definite step in the right direction for Kelly. It's ambitious and hideously complex but also thought provoking and observant, a timely entry into film history during a period of humanities history when the world really could end at any time.

Gone in 60 Seconds (1974)

Ace Chase

[9/10 · 26 January 2006]

Crap acting, dodgy voice dubbing, lack of plotting... no matter, the reason for this films existence is highly evident, the stunts are superb, the final chase builds like a classical music piece, starting off small and basic before escalating into a full blown crescendo. The sheer amount of destruction on-screen is astounding, but unlike most car chases this actually shows the consequences, with cutaways of the chase "victims" placed in between the hi-octane spills and tyre squealing thrills. Unlike the recent Nic Cage remake, which purports to be a Ferrari but is actually a Fiat Uno in disguise, this version keeps things simple and lets the action do the talking. Shallow, yes, but you'll hard pressed to find a more exciting car chase this side of Ronin.

China Lake (1983)

Show's why they chose Harmon for The Hitcher...

[8/10 · 2 January 2006]

Just saw this as it was included on the UK DVD Special Edition of "The Hitcher". A very good short feature, the story revolves around a biker cop (Napier) who uses his vacation time to indulge in meditation and dishing out his own brand of justice to various characters, including brutal torment to a cement worker. There's some excellent DOP work from Harmon which shows why he was chosen to direct "The Hitcher" as he really captures the arid nature of the desert settings, while still retaining a strong sense of beauty within the landscapes. As a story it's hard to define, but whatever else you won't feel you've wasted your time here, as the subject matter is nonetheless compelling.

Apocalypse Now (1979)

Cinematic Art

[9/10 · 5 October 2005]

Apocalypse Now is a movie bordering on a masterpiece, created using a canvas even the most legendary painter would be envious of. The striking elements of the film are the exceptional usage of colour, the clever manipulation of lighting and the start contrast of each and every frame. Marvel at the picture postcard presentation of the jungles of Vietnam, before suddenly all hell breaks lose and it becomes a torrent of machine gun fire and blood. Apocalypse Now aims for the gut and skewers the viewer, assaulting the senses with a masterful display of cinematography, lighting and direction. Unlike so many "Hollywood" productions of today, "Now" is a labour of love, each frame expertly crafted by a man at the very pinnacle of his film-making career. Very few films would be right at home next to a Monet or a Van Gogh, yet this is one of the few exceptions, displaying some of the most beautiful photography ever seen on the silver screen.

While the look may impress, "Now" is rendered complete by its phenomenally powerful story, based on Joseph Conrad's novel "Heart of Darkness". The full horror of war is explored to the depths, with the absurdities of war emphasised by the central plot of eliminating the enemy, not the Vietcong rebels, but an American Colonel with delusions of grandeur. The movie takes many unexpected twists and turns, always flirting with the bizarre and surreal, and always coming off as a fresh and invigorating slice of life behind enemy lines. Martin Sheen is superb as Captain Willard, a man who knows no other world, who lives and breathes war. Brando is suitably chilling as Kurtz, the object of his mission, and Dennis Hopper, as a hippy photojournalist, gives a typically neurotic turn, converted by Kurtz's seemingly infinite words of wisdom. And who could forget Robert Duvall, as the gung-ho Lieutenant Kilgore, lover of Wagner and napalm.

"Now" is a remarkable film, a breath of fresh air amidst PC modern day film-making. Even 26 years on, its impact is spellbinding and its message is timely. Coppola, as a filmmaker, should be applauded for having the courage to make a movie about the truth and not a fabricated Hollywood tale where the true horrors and inhumanities of war are neatly swept under the carpet. I doubt we'll see another war movie of its calibre for a very long time to come.

Crash (I) (2004)

One to make you think

[8/10 · 31 August 2005]

Crash is a powerful movie about the perception of minorities in modern society, a riff on racism that challenges stereotypes and the way in which we, as human beings, are prone to make assumptions based on the appearance of an individual, often playing off of pre-conceived idea's that have been embedded into us from an early age.

Opening with a car crash, we then backtrack to yesterday, as an ensemble cast's lives intertwine in the diverse density of the L.A. metropolis. But, unlike Magnolia, Crash is less interested in the ways in which fate and chance dictate everyday events, and more with how bigotry and racial tension exists in every corner of this multi-cultural melting pot. Where Crash is most successful is in how it challenges certain racial stereotypes and how it subsequently portrays the effects racism has on everyone's lives. It's not just a simple case of white vs. black. It goes much deeper, as we realise that intolerance is widespread and isn't confined to the white middle classes, that it exists between all colours, all races, all cultures. The finger of blame is easiest to point at somebody who doesn't look like you, who doesn't have your upbringing. Because of this, they must be in the wrong, right? Matt Dillon's veteran cop has this outlook. His father lost everything because of minority rules and he holds a deep grudge against all blacks, regardless of age, sex or profession. Yet this bigotry is awkwardly juxtaposed between his genuine care for his sick father and his honour and duty as an officer of the law, something he later demonstrates during a life or death situation. Director and writer Paul Haggis twists the stereotypical views further with the characters of Terrence Howard, a young, black film-maker and Michael Pena, who gives an outstanding & extremely subtle performance as Daniel, a young Hispanic locksmith with a wife and young daughter, with whom he shares one of the films most touching moments. In fact all of the cast do a fine job with their roles, even Chris "Ludacris" Bridges, in an attempt to branch out, providing some of the funnier moments of the movie with his musings on black oppression. And lets not forget Don Cheadle, as a cop who finds his integrity challenged after investigating a messy bout of cop on cop action.

Ultimately though, the thing that will stay with you the longest is the simple message that shines throughout the film. "Don't judge a book by its cover." Every character displays the devil inside of them but it's only one part, there is good in everyone, it just needs an outlet, an opportunity to break through. As the film reaches its climax we are forced to consider how we look at people in everyday life. How we label and pigeonhole certain cultures, certain races, into one group, with no distinction between the good and the bad. In an increasingly paranoid world, where we are being schooled in how to be suspicious of unfamiliar practices and alien customs, Crash serves as a hard reminder that while we must be careful in our own daily lives, we must be equally cautious not to discriminate and adversely affect the lives of many hard working, decent citizens just because of the actions of a few.

If there are any gripes with the film (and these will be minor) it's that what your watching is a collection of vignettes, snippets of these characters lives beamed direct to your brain for your benefit, and not a cohesive story that links seamlessly between strands, in the vein of the excellent Magnolia. At the end of the film characters have reached resolutions, but these aren't earth shattering, life changing epiphanies, rather smaller, more personal realisations that will, you assume, change their way of future thinking. Like much of the movie, it uses a lo-fi approach to the drama, making the final payoff that much more powerful and ultimately, delivering the emotional kick necessary to immerse the audience within this world.

Shaun of the Dead (2004)

Bloody Funny

[8/10 · 19 April 2004]

Meet Shaun, a 29 year old senior electronics shop assistant (because he's the oldest one there) who lives in a flat with a miserable git, Pete (Peter Serafinowicz) and a lazy git, Ed (Nick Frost). His social life consists of the local pub. Shaun's girlfriend, Liz (Kate Ashfield) is bored, she hates the pub and wants some romance in the relationship, but after yet another cock-up from Shaun, she dumps him. Trouble is, the undead have just starting roaming the streets...

Shaun of the dead is funny. Hilarious, in fact. But, it's not actually a spoof. Zom-Rom-Com runs the tagline and that's exactly what you get. It's got zombie's, claret and various bizarre ways of eliminating them, Shaun and Ed rifling through the record collection, carefully selecting LP's to behead the undead with. It's got romance, Shaun and Liz's relationship bouncing back and forth, coming to a head as they find the pub under siege and no escape. And it's got comedy, built not from piss-take zombie bashing, but from everyday banter and satirical observations at the expense of the entire British nation. It even has moments of genuine melodrama, such as when Shaun realises he must take out his mother before she turns, in a set-up aping "Reservoir Dogs" classic ending. Telly addicts will have a field day spotting the plethora of stars on display (Lucy Davis - The Office, Dylan Moran - Black Books, Bill Nighy, - Auf Wiedersehen Pet) while others are of the blink and you'll miss them variety, including fellow "Spaced" co-star Jessica Stevenson as another survivor.

The yanks will probably hate this. The humour is very British, in fact the whole thing is, and lovers of the original 60's and 70's shockers will find plenty to moan at. But, let them. Shaun of the Dead is one of the funniest British comedies in a very long time. Writers Edgar Wright and Shaun Pegg should be applauded for their ability to look at British life and take the piss out of it, while also maintaining a credibility many serious movies fail to adhere to.

8 out of 10

Starsky & Hutch (2004)

Pretty Funny

[7/10 · 19 April 2004]

Comedy duo Ben Stiller and Owen Wilson re-team after 2001's "Zoolander" with this, a film version of the classic 70's cop show. Written and Directed by Todd Phillips (Road Trip, Old School) it's more of a prequel to the show, introducing us to Stiller's uptight David Starsky and Owen Wilson's laid back, unorthodox Ken Hutchinson as well as their pimply informer Huggy Bear (a perfectly cast Snoop Dog).

Kicking off with a murder, the duo embark on an investigation of Reese Feldman (Vince Vaughan) who has concocted a new type of totally untraceable cocaine. Although initially a chalk and cheese pairing they soon grow to love and respect each other and continue on their quest to bring down their nemesis.

The comedy comes in high quantity, from madcap dancefloor duels to a hilarious (yet disturbing) turn from Will Ferrell as one on Feldman's jailbird pawns, Starsky and Hutch presses all the right comedic buttons. It's also right on the money with its 70's theme, the clothes, cars and even filming techniques all smacking of the era. In fact the only place it really loses face is the plot, built more around the comedy situations than a vice-versa. With quality support from Carmen Electra and Amy Smart as the pairs girlfriend's, not to mention the gorgeous Ford Torino, this film is a riotously funny 90 minutes for anyone, even those unfamiliar with the original show.

7 out of 10

The Butterfly Effect (2004)

Trying to play God

[8/10 · 19 April 2004]

Imagine if you could re-visit moments from your past and alter events to reshape your future. Could you create a perfect existence for yourself?

That's the dilemma facing Evan, Ashton ("Kelso from that 70's show") Kutcher, a college student haunted by a past history of blackouts. After a prank goes horribly wrong, the lives of Evan, Kalley (Amy Smart), her brother Tommy and Lenny are irrevocably damaged, and after a confrontation with Evan 7 years on, Kalley commits suicide over another dark secret from the past. However, Evan has a gift. Using the journals he's kept ever since his first blackouts, he can revisit those moments and alter the course of history, therefore creating a new present. Easier said than done however, as each moment revisited harms either his friends or himself, leading him to wonder if he can ever put things right...

"Donnie Darko" meets "Groundhog Day" is the pitch for this sci-fi drama, a mazy tale that will have your head doing loop the loops but eventually bring you back down to earth with a clever solution. Kutcher, as Evan, is perfectly adequate, breaking away from his pigeonhole as a funnyman. Amy Smart also impresses as Kalley, playing several variations of herself with style and charisma, while Eric Stoltz, as her dad, is chilling.

The special effects are good, the script is clever and the consequences of action are well thought out. It will leave you guessing until the end, is satisfactorily tied up and presents a million and one questions about life itself. All in all, a good movie.

8 out of 10

Lost in Translation (2003)

An uninvolving experience

[29 March 2004]

I'm a big fan of Bill Murray and have a diverse range of film interests, but I found this critically acclaimed movie shallow, empty and, above all, pretentious.

Basically its about two people (Bill Murray's washed up actor and Scarlett Johansen, whose photographer boyfriend is in town working) who are "trapped" in a city (Tokyo) most of us can only dream of ever visiting. What ticks me off about the movie is the way in which this "predicament" is presented as being a bad thing and, not only that, but the entire film is based around the idea that the city is boring, not to mention implying all Japanese folk are idiots.

Aside from several gags early on (one particular scene involves Murray's character being repeatedly shouted at by the director although what he actually says is very little) I found very little to be able to class this as a "comedy". By about the halfway point I was struggling to stay awake, the introduction of Anna Faris's annoying character further increasing the woe.

Were it not for Ms Coppola's relation to a well known director, I don't think this movie would have been made in the first place. It may have been the darling of the indie scene as far as the critics were concerned, but it failed to hold my attention.

Kill Bill: Vol. 1 (2003)

QT Does it (Again)

[3 November 2003]

You can tell when you've just watched a really great film. You find yourself replaying whole scenes in your head or sitting at your desk, daydreaming about the music or the action, or remembering choice moments of dialogue. Kill Bill: Volume 1 is one such film, a exhilarating experience from bullet brained beginning to revelatory end, it'll leave you with baited breath, counting down the seconds until Volume 2 appears in February. At its core Kill Bill is an incredibly simple story. Take one woman out for revenge, pit her against five foes, ramp up the body count into triple figures and watch the blood (and dollars) flow. However, this is a Tarantino movie, and nothing is ever simple with him around. A less skilled director would have made a total hash of the whole thing. Mixing western, martial arts, comedy, drama and revenge themes into the mix, not to mention creating perfectly choreographed, beautiful fight scenes and squeezing in some brilliant dialogue in the process, would have been too much for some. Not Quentin. Here he proves that sometimes, being a geek is good, his encyclopaedic knowledge of the various genre's helping to make every segment, every scene of the movie stand up and be counted. There is nothing, nothing in Kill Bill: Volume 1 that should have been cut.

There's no doubting that Kill Bill is a Tarantino movie. It has all of his trademarks (scene headers, sudden shifts in tone, even his obligatory boot shot) yet somehow, it all feels fresh, like you haven't seen it before. It has weirdness (hospital nurse Buck's way to may a few extra quid, Uma talking to her toe) and it has the non-linear narrative approach of Pulp Fiction, shifting back and forth in time as we learn more about the bride, and in a particularly brilliant scene, a manga cartoon introducing O-Ren Ishii's character. It's these marks of brilliance that, alone, would be enough to stamp this as a classic, but, there's more. The fight scene's are without a doubt the most brutal, exciting and funny that have ever been filmed. Yes, okay, the violence is excessive, fountains of blood spraying from severed limbs, decapitated heads and chopped legs, but its played for laughs, clearly stated throughout the film. This is not to be taken seriously, it is just a movie, after all, where else could you take a samurai sword on board a Boeing 747? Exactly, its set in a parallel universe, where nobody thinks anything of 100 dead bodies, all created by the same person. Kill Bill: Volume 1 creates so much tension, excitement and brutality in it's 1 hr 45 min running time and yet we're only halfway there, we still know next to nothing about Bill, Buddy, or Elle Driver (though we do catch a brief glimpse of her in this film). Also, we still don't know the brides real name, another eccentricity of Tarantino's, bleeping out her real name in the opening scene's. With so many unanswerd questions still left unanswered only one thing is certain: February is a helluva long time away!

The Italian Job (2003)

Style over Substance

[6/10 · 19 September 2003]

I went into this with a fond memory of the original, being the first film I ever saw and all that. And I left with that fondness still intact.

The Italian Job 2003 isn't a bad movie, but it's not a great one either. The main problem has to come down to the plot or lack of it. Its too simple. There's never a moment in the film where something happens you don't expect, it's as if the writers just joined the dots to come up with their story.

Starting off in Venice, where a motley crew of characters in Charlie Croker, Left Ear (He's deaf in one ear) Lyle (Who swears he invented Napster) Handsome Rob, who's well handsome and John Bridger, an aging mastermind who's determined to pull of "one last job".

After an exciting and rather original Venice waterfront chase its into the Alps, except there's trouble in store. If you've seen the trailer you'll know what happens next.

Back to L.A. and its up to Charlie (Wahlberg) to recruit Bridger's Daughter Stella who crumbles like a biscuit and succumbs to the revenge plot of Charlie and his crew.

See, the plots simplistic. It tries to flesh out the story by introducing Russian gangsters and a huge Asian bloke, but really everything builds to the climatic job and subsequent escape.

Sure, it's cool and stylish but its really a disappointment. Apart from a cool moment where a chopper and a Mini tangle, it's textbook stuff, much like the rest of the film really.

Despite all these flaws its still fun. Seth Green and Jason Statham play their parts for laughs and there's plenty of little jokes (The actor learning his lines in a L.A. traffic jam then stealing Statham's accent once he yells at him) and cool moments (At one point it looks like they'll take the Mini's into the house, maybe for the sequel.

Apart from the plot though, the biggest problem has to do with the script. It unravels incredibly simply and everything that could happen does happen. It's also hampered by uneasy switch from comedy to drama, one minute we have short, entertaining vignettes introducing the characters lives then the next we see Theron, all crying and vengeful. It's an uncomfortable mix and Theron plays her role way too seriously.

If you like heist movies, see this. If you like car chases, see this. If you like Mini's, definately see this (I want one!) but don't expect to come out of the cinema and know anything new or feel like you've watched something extraordinary. This is just a bit better than average, due to its style.

6/10

Terminator 3: Rise of the Machines (2003)

A worthy end to the trilogy

[8/10 · 11 September 2003]

Okay, this isn't as good as the original or T2 but it's still a damned good movie.

It's got everything you want from a summer action flick and bags more. You want action? How about a 20 minute chase involving a giant crane, remote controlled cop cars and a vet wagon? Humour? The new TX has a mischievious nature while Arnie's entrance is bordering on self parodying hilarity. How about effects? Top notch, Stan Winston and ILM creating brilliant futuristic battle scenes, superb robotic effects and plenty of pyrotechnics to boot.

Acting wise I felt Ed Furlong was missed. Nick Stahl was perfectly amiable as the older John Connor, but I really missed T2's Connor, full of young inocence and cool, his flippant character replaced by a scared, frail older version, who wore a constant frown on his weathered face. Arnie was back and was on great form, he just slotted back into his role as the Terminator as if he'd been doing it all his life. As for the newcomers, Kristianna Loken started off interestingly but quickly deteriated, she wasn't anywhere near as good as Robert Patrick in T2, failing to display the menace that anihilation was just around the corner. And Claire Danes as Kate, while an important character plot wise, did little more than scream a lot and look scared.

Still, the best thing about this film wasn't the acting, action or attempts at humour, but the bold, brilliant ending. Without giving anything away I'll just say: IT WILL BLOW YOU AWAY!

There are rumours of more Terminator films in the pipeline, but I for one hope that is untrue. They should leave it be as this perfectly complements the other two films and serves as a terrific final part of the trilogy.

Overall a 8/10 for this one.

2 Fast 2 Furious (2003)

Nice Car Advert

[7/10 · 27 June 2003]

I wasn't expecting great acting or a twisting plot, and I didn't get it. But that's okay cause I got lots of cars instead.

Basically a long car ad, my friends complained because they got bored, but I love car chases so I didn't mind. However even I thought there was an overkill on the car front. A non existent plot and average at best acting basically let way for wave after wave of screaming engines and squealing tyres.

Okay, it started well enough, a cool street race (there were corners!) but then we got Tyrese involved and the non existent plot (An excuse to race/wreck a ton of cars) got underway.

Taking cues from every car chase ever, the grand end chase is probably the most spectacular, especially then warehouse scene, which is breathtaking. It then descends into Dukes of Hazzard land with the outrageous ending.

I'm not going to say the movies crap, it's not, but if you want to watch something with a even a bit of plot, stay away, this isn't for you. But if seeing babes and imports cars driving at a zllion miles an hour gets your juices flowing, then buckle up for a hell of a ride.

The Matrix Reloaded (2003)

Seen it all before

[7/10 · 23 May 2003]

This could quite easily have been called the Good, The Bad and The Ugly. Here's why:

--SPOILER ALERT--

We get to see Zion. As you'd expect no expense has been spared creating a realistic, living, breathing city, the cyberpunk architecture fits in perfectly with the post apocalyptic setting.

Fight Scenes - Choreography is amazing, but, the Wachowski Brothers seem to have fights for the sake of fights, typical example, before Neo meets the Oracle he has to fight her Chinese bodyguard. What we then get is five minutes of pointless fight scenes that are frankly, boring. More on fights later.

The Freeway scene - This was the best thing in the movie. Car chase was so-so but the bike chase was amazing, but ultimately, failed to live up to expectations. The WB said the would do for car chases what they did for fight scenes in the first one, so I expected them to be able to manipulate the physics of the car to flip it, fly etc. Okay sounds ridiculous but it would work, right? Instead we get some ballet dancing cars flying about the screen, which, okay, looks cools, but isn't exactly groundbreaking.

The Architect - Okay, a lot of people have said this was a real zzzzzzz moment, but I thought it was the most interesting and revealing moment in the film. So, we're in Matrix 6.0. Is Neo real, or a program? Is Zion even real? All will be revealed in 6 MONTHS TIME! DOH!

The Bad

Fight Scenes - As I said earlier, too many. The "Burly Brawl" was fun for a while, but it should have been cut a lot sooner than it was. In fact, that goes for the whole of the movie, its like they didn't know when to cut the movie, everything goes on for WAAAAY too long. Anyway, later on we get Neo vs 100 Smiths round 2 in the corridor. Utter crap. We saw it once there was no need to do it again, It bored me.

Acting - Okay, Keanu Reeves is not a good actor. Sorry for any loyal devotees out there but this movie confirms that. Typical example the dialogue scene with the oracle. It seems as though Neo is simply reading his lines from an autocue, his dulucent tone failing to enliven an already boring and (yep, overlong) conversation. Laurence Fishurne is a good actor, but as Morpheus he gets to be little more than Stereotypical wise black guy no 265, delivering a string of philosophical lines that wouldn't be out of place in a Shakespeare play. Which brings us neatly to...

Dialogue - Uh Oh, have the Wachowski's ever spoken to a real person? The dialogue is AWFUL. Don't they know how people speak in real life? Everything feels sooooo forced, it wouldn't be out of place in Othello or Hamlet. In fact, after the explosive first five minutes we then get to watch a tedious half hour of this, interlinked with a quick entrance of Zion.

Too many characters - The first Matrix was relatively straight forward, a couple of main characters, and a few background ones. Now suddenly we have a host of new ones, Niobe (Who does nothing, I assume she's in Revolutions more) Merovingian (Whats the deal with the girl and the cake?) And many others. Also, character use. The twins are awesome, yet they are terribly underused, and they die (Do they?). Too many sub plots with these characters confuse things further.

Dance/Sex Scene - Why? Why? Why drag this out for ten minutes? A couple of minutes would have sufficed. The party was, well bizarre, the interwinding sex scene, pathetic. Why oh why did they feel the need to slowly zoom out from the tunnel cum bed thing they're using? A real waste of ten minutes this.

THE UGLY (Nay Dodgy)

Fight Scenes - Unfortunately were reminiscent of a game of Tekken, no, no, Street Fighter, boring backgrounds (Playground anyone?) and some dodgy CGI made the fight scenes look like a video game, coupled with the fact that each character had their own moves. Neo had his triple kick, Morpheus had his Crouching Tiger Hidden Dragon thingy and Trinity had... her high kick? Whatever, it was all too familiar too number one.

Right, rant over, overall not a terrible film, it just failed to live up to my expectations. Cool scenes ruined by overlong exposure, terrible dialogue, but at least some nice new plot twists that should be explained in Revolutions. Worth seeing if just for the Freeway chase.

Overall 7/10

Cradle 2 the Grave (2003)

A proper Action movie

[8/10 · 31 March 2003]

After "Exit Wounds" and "Romeo Must Die" it seems Andrzej Bartkowiak has pretty much got the action movie formula sewn up. Mix in some martial arts, gun fights, chases and add a plot which doesn't really make all that much sense and what have you got? An action movie. Well not quite... Unlike "Exit Wounds", "Cradle 2 The Grave" actually has a plot that makes sense. And it's not a bad plot either. Rapper DMX plays Tony Fait, a streetwise thief who only steals from pimps and drug dealers, and operates a strict no guns policy. When he pulls of a heist on a bank, and escapes via the subway system, he finds that he has stolen something rather more important than he thought. Some mysterious black diamonds. Jet Li plays a Taiwanese agent who is sent to retrieve the special diamonds, but just when it looks like he could be a rival, he turns into an allie when Fait's daughter is kidnapped, by Mark Damasco's bad guy, who also wants the diamonds. This IS an action movie. There are gun fights, fist fights, chases, and ludicrous stunts (Jet Li absailing down a tower block WITHOUT any rope) but it also manages to do something differently, to distinguish the Crash, Bang, Wallop set pieces from other films, such as XXX. The direction is pretty inventive, and with DMX doing his own stunts, and Jet Li's awesome martial arts capabilities, the action gets more credibility, none more so than DMX's perelious rooftop ATV chase sequence. Throw into the mix a brilliant comedy double act from Anthony Anderson and Tom Arnold (These two need they're own show!), the OH! so hot Gabrielle Union and a brilliant tongue in cheek humour (At one point DMX's daughter drives a van) and you have a film that is a winner on all fronts. Good plot, great action, and a terrific soundtrack including DMX's "X Gonna Give It To Ya" means this is a film that should keep action junkies entertained, and martial arts fans more than happy for an hour and a half.

Final rating - 8 out of 10

Ronin (1998)

Thrills, Spills and squealing tyres

[8/10 · 29 January 2003]

This movie has got the best car chases ever filmed. They're ultra cool, hi octane and with plenty of tension. So if this were the only thing good about this film then that would be good enough. However it also a has a brilliant plot about a team of freelancers that don't know each other, who have to retrieve a briefcase (the contents of which isn't revealed) for Irish girl Natascha Mcelrone. Robert De Niro and Jean Reno both give top performances, and the whole plot moves along at a slick pace, with the two awesome car chases proving the highlights of the film.

So great cast, great plot and the most awesome car chases ever filmed all add up to a brilliant action thriller.