Sure, it looks good – great in fact – and the frequent action is uncompromising and well done, but it’s all a bit ham-fisted.
Eeloo? Warner Brothers? Ees Guillermo Del Torro ‘ere.
Zombies, eh? Can't live with 'em, can't live without ‘em wanting to eat your kids...
This is the part Vin Diesel was born to play, not because of his thespian skills, but because he’s almost named after van fuel.
Come for the eye-candy, but stay for the story.
If a film has a twist, but the twist is in the middle of the film, then it’s not really a twist, is it?
Kathryn Bigelow’s ‘Where’s Osama?’ is an intelligent film - uncompromisingly so, in fact - but I question its wisdom.
Technically it is near perfect, the performances are exemplary, the plot is classic literature...
I wonder why Peter Jackson has decided to… That much? Yes, I guess it would make financial sense to do it that way.
It’s intelligently crafted, brilliantly acted, flawlessly authentic and consistently gripping.
"It’s a breathtakingly brutal, tear-pissingly moving and savagely beautiful odyssey of a young girl’s struggle for survival..."
"the film has a cool quasi-steampunk groove to it, and it’s paced well enough that the bloody stupidity doesn’t get in the way" - Jay works his way through Looper
Obviously, my drawers are bulging with Dick, so do I really need to make space in my DVD cabinet for yet another take on his canon?
Gone is the boil-in-the-bag kookiness we’ve come to expect; this is a truly sumptuous and lavish affair.
This month our chef is Joss Whedon and his ingredients are prime beef, short-crust pastry, mushrooms, and a piece of dog-shit.
So, picture the scene: A desperate Hollywood film exec scans his child’s bedroom. He senses potential inspiration and plunges his arm, elbow deep, into the nearby toy-box.
This reboot is handled with an air of genuine affection towards the kind of 80s action films and trash TV, whilst simultaneously poking fun at it.
As a depiction of domestic abuse it is shocking but never gratuitous. Most importantly, as a story it is utterly compelling.
Like Obama, it is stylish and intelligent; like Bush, it is twisty and dense; and, like Kennedy, it is expertly shot.
It’s high-tech, slick, completely preposterous and, while it’s not the best of the series (that would be number 1) it’s not the worst (3).
0/5 out of 0 votes
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