Reviews

Jeunet combines wonderfully with Laurant to produce a spectacle worthy of adulation and high regard. This tale of the romantic awakenings of a previously sheltered and inexperienced Amelie includes a visual feast of colour, vitality and sheer entertainment. The excellent and refreshing soundtrack of Yann Tiersen combined with the crisp and vibrant cinematography and sound liven this tale of, well simply put, finding love and happiness in a gloriously 'fairy-tale' Paris. Amelie devotes her life to the assistance of others, by a method untouched by the post-modern cynicism and anti-sentimentality so common in US productions. The film is a feast of colour and charisma, and gushing with style.

Very few things capture a time and spirit as eloquently as this TV series. Germany is the setting for a band of 'brothers' fleeing the mass unemployment and uncertainty of Thatcher's Britain in search of work, money and hope. This TV series contains natural acting, pathos, humour and a gritty realism that manages to combine drama and comedy without an emphasis on sentimentality or bawdy laughs. The series chronicles the debacles of a motley crew of British workers uncertain about Germany, their lives and their futures. Promised a hostel with swimming pool, they end up in a barren hut with no amenities yet friendships are forged and a social life centered on Beck's Beer and brothels ensues. With a memorable soundtrack and performances from relatively unknown actors that inspire, their pursuits become a part of the viewers' lives in a way that very few modern TV series capture. Oz, Dennis, Moxey, Bomber, Barry, Neville and Wayne become personal friends of the viewing public along the way in this story of the working man, ordinary lives and extraordinary situations that although filmed over twenty years ago remain timeless.

Kenneth Branagh tries hard to shift the essence of a theatrical

production onto film, and succeeds in some parts but fails in

others. The film concerns the lives of several dysfunctional luvvies

brought together by unemployed actor Joe, played by Michael

Maloney. Producing a Christmas-time Hamlet seems a labour of

love for Harper, and the pragmatic approach to the broadening of

Shakespeare brings together quite a mixed-bag of personalities.

Briers and Sessions stand out as the unlikely 'bedfellows', with the

emphasis on theatrical camp. Briers has the best lines, and

Sessions overacts with apparent glee, but several of the

supporting characters seem lightweight in comparison. There is

the usual mix of tragedy and comedy, but at times it does all rather

seem cliched. Basically, they are all good at heart, but struggle

with personal issues that somewhat sidetrack from the plot. In

places it is highly amusing, but some of the gags fall flat on film,

better suited to the extravagance of a stage production. There is a

pantomime quality to the production, and the black and white

presentation is perhaps an attempt to tone down the characters

and the unreality of the situation. All in all though, the film is about

sacrifice and the unravelling of egos. It will certainly help brighten

the odd gloomy evening, but realistically the film lacks bite and

credibility.

So what do you do? The Australians produce The Adventures of

Priscilla, America must reply! Only the reply is cliched and

unoriginal. You can get only a limited amount of laughs from

dressing up tough guys Swayze and Snipes in drag, some of the

comedy hits the mark, but for the most part it stutters along at an

uneven pace. Leguizamo is the stand out as the drag queen

wannabee, the best lines, and the best make-up. This film is a

little shallow, perhaps tamed for the American audience, and it

does not pack the vibrant punch of Priscilla. Yes it preaches

tolerance and understanding, but we've heard it all before, and

said with meaning.

This film is as much an exploration of fragile human emotion as it

is about ghosts. Shyamalan prises a dedicated absorbing

performance out of Willis playing a troubled psychologist, and

Osment is superb as the lonely child with a grave secret to tell.

The film is handled with care and emotion, and the script solid and

full of depth. There are many genuine scary moments, but none to

sicken or to shock, it is handles too well to descend into horror

farce. Compelling.

I have to admit I enjoyed Billy Crystal's Oscar night parody more

than I enjoyed the film. True, it does boast some superb visual

effects, and the sets are truly remarkable, but was this film really

worth 11 Oscars? I think not. As usual Hollywood distorts historical

fact with romantic sideshows, and although one cannot help but

admire the effort and expense of the film, there has to be more to

an epic than high budgets and pretty actors. Winslet and de Caprio

look out of place in such a grand design, and the sub-plot of a

psychopathic Zane intent on dastardly revenge seem to pour water

on what could have been a triumph (no pun intended). All that was

missing from his performance was the tweaking of a villainous

moustache. Disappointing.

Bill Murray is a comedian with obvious talents yet he has struggle

at times to find vehicles for his talents. This film is one of his

successes. Murray plays Phil Connors the weatherman with an

attitude who encounters a day that will stay with him for the rest of

his life. The situation allows him the luxury of re-examining his life,

his priorities and his career. Andie MacDowell plays the love

interest Rita Hanson in a rare quality performance. Director Ramis

is imaginative and uses the predicament to exact sterling

performances all round. Refreshing.

Despite the fact Joan Crawford was always the first choice,

director Robert Aldrich brought out a fine performance from Olivia

de Havilland as Bette Davis's prim cousin Miriam. But, of course

the film belongs to Davis playing an ageing, neurotically paranoid

Southern belle, haunted by past demons. This is a fine piece of

Hollywood drama, dripping with atmosphere and presence, with

enough twists and turns to keep even the most irritable viewer

satisfied. Joseph Cotten delivers a whiskey-soaked performance,

and Cecil Kellaway adds kindly benevolence as curious stranger

Harry. Majestic.

Post-war America may not have been ready for Capra's delightful

feel-good epic, but the history books will record this seasonal gem

as one of the best movies ever made. James Stewart could do

very little wrong, but this performance is simply compelling as the

small town guy with a worldly outlook. The film tests the strength of

the human spirit, and revels in sentimentality, that is not at all out

of place. Barrymore is excellent as the cold-hearted Potter, oozing

contempt and bitterness. Travers is faultless as the heavenly

scene-stealer Clarence. This is not a film about religion, it is a film

about hope, truth and the depth of the human heart. Expect a stray

tear to blur the sight. A masterpiece.

One is always concerned when a great work of written fiction is dressed up for the screen, but you can have no worries about the integrity of this production. We all paint pictures of characters when reading a book, and these images remain locked in our minds.

More often than not, when these characters appear in the flesh on the TV, we are a little disappointed. Not in this case! Maupin's wonderfully colourful feast about San Francisco in the seventies transfers vividly to the screen. The emotion and pace of the written original is dutifully kept in this production, with sterling performances all round. Dukakis exudes mystery, D'Amico portrays the endearing 'Mouse' with style, and Linney is sublime.

Expect to be experiencing all the human emotions in this delightful mini series. Perfect.

Michael Palin exudes warmth and depth of character as he attempts to follow in the footsteps of Phileas Fogg. His wit, sincerity and enthusiasm set this documentary apart from other pretenders as he experiences the pleasure, pain and fulfilment of a voyage of discovery. One cannot help being in awe of this production which educates and entertains simultaneously. Palin was to follow this series with other 'adventures', which show him to be an affable character with genuine wit and intellect. Along his journey he has memorable encounters with beast and humanity, and his writings and narration capture all of the emotions.

Outstanding TV.

Those wishing to see film noir remakes, should not see this as as a remake, you will always be disappointed. Instead, enjoy a gripping performance from Dennis Quaid and visual imagery to commend. The colour drains from the film (literally, not metaphorically!)) as the plot gathers pace, and the dialogue is crisp and gritty. The opening dialogue is clever, and the viewer is carried along by a sharp screenplay and a real, original film noir feel,

By this time in his career, debonair British actor David Niven was making films purely for the money. This effort was strangely different from other entries under this guise. The story of a dreamer facing the consequences of his masculine boasts is entertaining, and draws on his performance in Separate Tables.

There is a certain sadness, watching Niven as one of life's losers trying to make amends with one last act of heroism, full of pathos and regret. The film itself is nothing spectacular, but Niven manages to rescue it from oblivion, and credit where credit's due, he almost succeeds.

If you're after blood, hideous spectres, chainsaws and gore this is not the film for you. If, on the other hand, you want creeping fear and psychological discomfort, do watch. The beauty of this film is that it is never overstated, you use your imagination, and unless you are severely withdrawn, this works. Harris gives a superb performance as a lonely spinster embarking on a study into terror, and unlike Lili Taylor's performance in the 1999 version, strays well away from 'camp'. Bloom is excellent as the ambiguous Theodora, and Richard Johnson exudes rumpled class as Dr Markway. Pulsating doors never seemed so scary.

Meirelles viewed first hand the destructive lives of the citizens of the City of God, and his appreciation of their difficult existence is evident from this supreme piece of Brazilian film-making. The story flows fluidly as we follow the lives of young residents of this harsh social domain. The use of 'real' people to fill major roles in the movie is a piece of inspired cinema, with exact, mesmerising performances from the young stars. True, it is violent and very dark, but there are moments of black comedy that make this 'coming of age' tale highly watchable. It is as unpredictable as it is compelling and the film editing belongs in a masterclass of its own. Superb.

Almodovar strays from his usual female-orientated storylines to deliver a sharp, crisp study of two unlikely friends.The dialogue is tidy and attractive, punctuated with moments of dark humour, and for non-Spanish speakers, easy to follow and appreciate. The central characters seem quite diverse and separated by a social gulf, to begin, but as the plotline flows, their lives become entangled over the love of two women who share medical trauma. Almodovar fans will not be disappointed as his storytelling qualities reach dizzy heights once again.

The horror of the Warsaw ghettos and the untold misery inflicted on many thousands of Poles by the Nazis, is indeed a dark part of world history, and Polanski attempts to portray the effect of such horror in this film. However, Brody fails to give his character real emotional depth and the story fails to deliver any real insight into the mind of the pianist Szpilman. Giants of the English stage lend a helping hand and Lipman and Finlay give good if a little caricatured performances. All in all though, this film is highly watchable as it tells the story of how different people coped with the Nazi horrors, some more valiantly than others.

With top-notch performances all round, this emotional rollercoaster delivers punch. Tom Wilkinson and Sissy Spacek deliver heart-rending performances as their world gradually falls apart, with warts and all there for us to see. As the story develops the intensity keeps pace, and one cannot help fill deep empathy with characters that struggle to adapt to a world that has robbed them of something most precious. An explosive finale is delivered, and the film may not have won a clutch of Oscars, but has won the minds of the cinema-going public. Excellent.

CGI effects have lifted many a drab action flick to satisfactory levels, but their use in this horror remake is laughable. The makers took one excellent 1960s psychological horror film and remade it as a tired, emotionless wreck (just as I felt on leaving the cinema). Characters are one-dimensional and the viewer is left wishing them untold misfortune as the film stumbles from one cliche to another. This is one film that Catherine Zeta Jones, Liam Neeson et al would be forgiven for wishing that it could be computer graphically erased from their CVs.

Gritty, raw performances set this urban gay love story above others. The film may not boast a host of top names, but the actors' sensitive portrayal of two teenage boys falling in love, gives this movie an air of reality. Thankfully absent are the predictable gay stereotypes, present is the feeling that the makers have an understanding of the reality of coming to terms with sexuality. A fabulous soundtrack compliments the pace of the film which never descends into camp, and it is a film that makes gay love seem so wonderfully 'ordinary'.