Top 11 of 2010

These are the films that brought me the most joy all year. Granted, they may not be the best films, they may not be classic films, heck, some may not even be very good films. But I love them and I believe in them. Some made me smile, some made me cry, some even made my desire to have random fist fights increase dramatically, and for that, surely, they are worthy of praise.

Disclaimer:

I have not seen all the films this year had to offer!!! Some notable omissions would be The Social Network (for which I missed a vomit-inducing grand total of 3 preview screenings!) and Toy Story, which I have no doubt would be well up there.

Also, all titles must be on general release before the end of 2010, hence not including films like Black Swan and The King's Speech - both of which are highly likely to make next year's list.

Agree or disagree? Let me know!

11 - Predators
Look, it doesn't deserve to be in the top ten but certainly deserves honourable mention for not being a hideous train-wreck of a movie. Also, a deserved 11th place for going a long way to clear our minds of the abominations that were Alien vs Predator and Alien vs Predator Requiem. It may also play a large part in Ridley Scott's decision to return to the Alien films, which will be a very welcome homecoming indeed!

10 - Expendables

Granted the majority of it is disappointing, charisma-lacking dross, but Sly's dream project can make it into the top ten for three reasons. 1 - The cast is "freak-me-right-out awesome"! 2 - The last 30mins are the most outrageously entertaining from this or any other year. 3 - The cast is "freak-me-right-out awesome"!

9 - The Town

Ben Affleck (yep, the guy who wore red spandex for that film that no-one liked) should easily win the Oscar for "most surprisingly brilliant director of all time ever" (new category for 2011). A layered, gripping portrayal of life below the breadline in Charlestown, Boston, and a showcase of the current hot-list in Hollywood (Jeremy Renner is pitch-perfect and WILL be great!) The Town is a mature and exciting crime-caper.

8 - Shutter Island
Whether you will like this or not really depends if you like having your head metaphorically placed in a blender. Tricks and turns and unresolved questions will leave you ultimately gazumped, but the journey is definitely worth the fare. Leo is as good as he has ever been, and while it's not classic Scorsese, it's certainly a whole heap better than The Aviator!

7 - Robin Hood
Probably the one on the list most likely to cause much wailing, gnashing of teeth, and exclamations of "WHY?!?!". However, such uneducated Philistines are no doubt those who believe this should have been a Gladiator in the woods, and so were miserably disappointed when it actually turned out to be quite good fun.





6 - Buried
Ryan Reynolds in a box for a couple of hours would keep most people happy (male and female, for entirely different reasons). However, the genius of Rodrigo Cortes' debut English feature is that he couragesouly sticks to his initial premise. Never leaving the box - not for introduction, flashback, or shots of loved ones/embassy members furiously working to "Get him outta there" - Buried is nail-chomping, surprisingly dynamic and very, very claustrophobic. Plus, best promo poster of the year (see left)!


5 - Catfish
Don't let anyone tell you what it is.
Not much more I can say, other than make sure you see it so you know what it is, because to know what it is is to know why it is, and to know why it is is to thoroughly confuse oneself to the point at which it is simpler to tell you what I initially told you, which is WATCH THIS! Got that?!




4 - Monsters
Much has been made of the fact - by myself - that this entire film was made on the same budget as the costume budget alone for Tron: Legacy, and is roughly 500,000 times better (stats may vary). Ignore the title, as a Hammer-esque alien schlok-fest, this is not. What it is, is a splendidly beguiling romantic road trip, punctuated by the occasional attack of alien creatures. It's aces.




3 - Up In The Air
Clooney has rarely found a role like this that suits him like...well...a good suit. Ouch-sharp dialogue (what else from the director of Juno?), brilliant supporting performances, and the universal theme of "Why life?", set this apart as far more than just a Clooney vehicle, which it also is. Easily one of the most moving and damn-hard-to-shake films of the year.




2 - Scott Pilgrim vs The World
Eye-melting, ear drum-pelting, crazy-as-a-spanish kukubura, and the best fun you can have without pogo-sticking along to the Chicken Song in a Spiderman outift - though combine the two and it is ON!







1 - Inception
Nolan is my favourite director of all time - there, I said it. No-one makes films that are more consistenly entertaining, utterly unique, with perfect casting and mind-boggling set pieces. Inception is UNDOUBTEDLY the cream of Nolan's incredibly healthy crop (I must stress, to date!) and stands head and shoulders above anything else this year - except possibly The Social Network, which I think I mentioned I haven't seen yet.



There you go - argue, scream, curse, laugh in pity, or comment.

Narnia Competition

COMPETITION!!!



Narnia: Voyage of the Dawn Treader, is out now. Here is a whole heap of goodies you could win - perfect for kids/really immature adults.

To enter, either:
1 - Tweet this: RT @alibianchi Win some really cool Narnia stuff - http://j.mp/f43OHY
2 - Facebook message - Ali Bianchi
3 - Comment below

Tron Legacy

Take what is real as reference, then manipulate, extend and fantasise until it becomes something wholly new and yet strangely familiar. This was James Cameron's philosophy while creating Pandora, and is the inspiration for Tron: Legacy, the belated sequel to digital fantasy Tron. While Avatar took the natural world as it's inspiration, Tron: Legacy instead builds a corporate landscape, now far more advanced than the 1983 version, and imbues it with a digital, luminescent quality that is both beautiful and devastating. Light-cycles race around clear multi-level race tracks, skyscrapers highlighted in neon reach impossibly high, and a simple game of dodgeball becomes something far more dangerous.

It is in this alternate dimension that Kevin Flynn (Bridges), the protagonist of the original outing and creator of the digital world of Tron, has been missing for 20 years. His son Sam - a strong enough performance from Heglund - finds his way into the system, only to be greeted by Clu, the digital counterpart of his father, who has his own agenda.

The first half hour sizzles with energy, and creativity, culminating in the film's centrepiece, a breathtaking spectacle of light and sound, as light-cycles weave in and out of each other at impossible speeds.

Unfortunately, that is the first half hour. After such a promising start, even the reintroduction of Bridges fails to bring extra inspiration to proceedings. Too much dialogue, confusing plot contrivances and the lack of any further creative flair, mire the production in a paint-by-numbers, save-the-world, get-the-girl retread of recent sci-fi efforts (perhaps the best comparison being with the Matrix sequels, including the irrelevant participation of a "Merovingian"-type character who serves no purpose other than to be annoying).

While the original is certainly dated, at least it centred on a unique and imaginative central premise. There is very little of that flair apparent here, with key characters reduced to footnotes (including an inexplicably brief and inconsequential appearance of the title character Tron) and attempts to expand the myth coming out contrived. There is enough eye candy to pull it out of average but could have been so much more.

6/10

The Girl Who Kicked The Hornets Nest - Comp

The Girl Who Kicked The Hornets Nest (TGWKTHN- if you ever feel the need to shorten it) is released this Friday. To celebrate, the lovely people at Momentum Pictures have sent some lovely merchandise for you lovely people to take home with you, so you can be someone really cool and stuff.

To be in with a chance to win, finish the sentence:

My wife/girlfriend/person i proper fancy, can best be described as "The Girl Who....".

Best answer wins!

Go...

Skyline Review

Skyline – (15)

Director: Colin Strause, Greg Strause

Cast: Eric Balfour, Donald Faison, Tanya Newbould

Colours to the mast – Independence Day is one of my favourite all time films, and so, unlike the rest of the world, I was quiet excited about Skyline. So imagine my disappointment when it turned out to be a load of tosh.

In fairness, the odds were stacked against it; a relatively unknown cast who previously made their pay in the likes of Scrubs and 24; a media embargo until the day of release, usually a good indication that bad press is inevitable; and worst of all, the directors are the Strause brothers, best know for the AVP (Alien vs Predator – shortened to save space) debacle, and sadly this sees a return to form.

Opening with a scene of mysterious luminous blue lights landing in LA in a very ominous manner, the promise from the trailer of a special effects laden apocalypse-fest seems to be justified.

Promising indeed.

Until, fade to black, followed by the words “16 hours earlier”. And downhill we go…

Cue scenes of an LA thus far unaffected by alien invaders, and cue also efforts to introduce a series of boring, uncharismatic yuppies, none of whom possess any kind of empathy. The appearance of the alien invaders is most welcome, if only for the opportunity to see as many of the key cast have their brains removed as possible. The aliens do attack in spectacular fashion, giving the film it’s one redemption, in that the special effects employed are top drawer.

The Strause brothers show little flair - witness the comical use of slow-down/speed up shots to add “drama” - or awareness of character development, or even a logical script. The initial intriguing premise of alien ships abducting humans via a hypnotic blue light is soon sidelined, while the final scene is ludicrous, firmly planted in the region of sci-fi channel, low budget dross. Skyline is a depressing, meaningless affair which would be best served on the small screen at some ungodly hour.

Rating: 3/10

Unstoppable

Review: Unstoppable (12A)

Director: Tony Scott

Cast: Denzel Washington, Chris Pine

Speed was a bomb on a bus. Speed 2 was a bomb on a boat. Speed was brilliant. Speed 2 was not. Proof then that not all types of transportation system, heading at speed toward inevitable annihilation, provide good entertainment. Buses are cinematically dynamic, with all sorts of potential hurdles and obstacles to overcome. Boats have very little to disturb momentum, bar the occasional iceberg or porpoise.

Unstoppable finds itself somewhere in between these two poles. The inevitable difficulties of leaves on the track or poor timetabling aside, there are few dramatic incidences that can happen to a train. That is, unless you are Tony Scott. Director of Top Gun (plane), Days of Thunder (car), Crimson Tide (submarine) and Domino (Kiera Knightley), Scott is something of an expert in getting performances out of inanimate objects. Based loosely on a true story, Unstoppable is a surprisingly tense experience, centering on the actions of two railyard workers (Washington and Pine) who attempt to stop a runaway train carrying explosive chemicals from derailing in a highly populated area.

Leaving the actions of the heroic leads aside, Unstoppable is an ode to cliched stupidity; arrogant network bosses refusing to listen to logic in order to maintain the bottom line; Pennsylvanian police attempting to save the day by shooting at the train's stop button; and worst of all the runaway train is not a result of some terrorist attack, but rather the careless actions of a mindless redneck!

The action moves at a fair pace, despite the ridiculous stuttering effect of using news reports to provide entirely unnecessary exposition (Denzel - "I'm going to try and couple the trains", New Report - "It would appear he is going to try to couple the trains"!). While there is no question of Scott's ability to entertain and set up an action set piece, the film does run out of steam (sorry) by the final third and dies with more of a whimper than a bark.

Rating: 6/10

In-depth Tron Legacy sneak peek analysis

I went to see Tron Legacy 26min sneak peek last night. Below is my in-depth analysis of said footage:

It looked wicked bad cool and really pretty. I like the pretty lights and how sweet the bikes looked. Also the music was really tinky which is sick!

I hope you can keep up with the technical jargon. Definitely looking forward to the full film!!!

What to see from London Film Festival

London Film Festival is over for another year.

While it will never reach the status of Venice, Toronto or Cannes, this year shows that London is still able to attract a wealth of talent from across the board. At festivals, as you would expect, there are inevitably the arty, self-absorbed ego projects which are of no interest to anyone other than "real" film fans. However, there were numerous stand out films this year, which no doubt will reach a wider audience as well as becoming inevitable Oscar runners in the new year's reward season.

While none of the films on offer are comparable to the Marvel films or Tom Cruise for mass appeal, those included below should be of interest, even if it is a LoveFilm purchase rather than a full-on cinematic excursion.

The big hitters at this year's festival were uniformly well received.
Black Swan, Aronofsky's new film about the rivalry between two ballerinas who eventually form a twisted alliance, continues the director's rise into the public awareness, further solidified by rumours that he is set to direct the new Wolverine film (new direction is an understatement!).
127 Hours, the true story of Aron Ralston who became trapped under a boulder in the Utah mountains, is perhaps best known for the now infamous scene where Ralston has to cut his own arm off, the camera never leaving the spectacle for a second - Danny Boyle ladies and gentlemen!
Speaking of Boyle, Africa United has been much touted as Slumdog set in Africa, following the adventures of a group of Rwandan children who walk 3000 miles to the World Cup in South Africa, with adventures and feel-good factor aplenty.

Never Let Me Go, Mark Romanek's follow-up to the brilliant One Hour Photo, is an excellent film about children growing up to discover what it really means to live an ordinary life, despite the extraordinary circumstances surrounding them.
The King's Speech has already garnered much Oscar attention for Colin Firth as King George VI, portaying his fascinating relationship with his speech therapist.
Added A-list weight comes in the form of George Clooney in the slow burning but interesting spy thriller The American, Matt Reeves' Let Me In, a study of coming of age within the context of a vampire story, and The Kids Are Alright starring Annette Benning and Julian Moore in a funny story of modern family life.

European films were present in force this year.
Carlos, the story of the infamous assassin Carlos the Jackal, received wide praise, thoug also tested patience with it's running time of nearly 6 hours!
Perhaps the biggest surprise hit of the festival was Catfish, a provocative documentary about the effect of social media, getting almost universal praise from critics.
Other international highlights included Leap Year, an examination of social alienation, Blue Valentine, and Uncle Boonmee Who Can Recall His Past Lives, a mysterious and slightly odd film which defies categorisation.

The British house was also well represented.
Submarine, a coming of age comedy following a young boy's attempts to win the girl, is genuinely funny and original.
From the old guard of British cinema comes Another Year, Mike Leigh's new film, starring the wonderful Jim Broadbent and Ruth Sheen, examining family, friendship and ageing.
Brighton Rock was the surprise film (though actually no surprise at all) at this year's festival. Starring Dame Helen Mirren, John Hurt and Andy Serkis, it charts the fall of a disadvantaged teenager with a death wish.

Please comment below and let me know which films you are excited about or which ones you will probably give a miss.

Let Me In - Review

Let Me In
Director: Matt Reeves
Cast: Chloe Moretz, Kodi Smit-McPhee, Richard Jenkins
Rated: 15

In 2008, an unknown Swedish Director, Tomas Alfredson released Let The Right One In, an adaptation of the best-selling book by John Lindqvist. Featuring two astonishing central performances from equally unknown Swedish kid actors, the film become a huge critical success. Beautifully shot and wonderfully acted, Let The Right One In defied genre convention, being ostensibly a horror film, but instead choosing to focus more on the story of young love and the trials of coming of age, linked to universal themes of obsession and revenge. However, given the highly inconsiderate fact that it was in another language (and Swedish of all things), the film did not make a significant dent on box office takings.

Hollywood, however, never one to miss a cash cow, felt the film should be made more available to a wider public - bless their hearts. Let Me In is the first in the new class from the revitalised Hammer studios, most famous for the camp classic Dracula films starring Christopher Lee. Warning bells start ringing, but with Matt "Cloverfield" Reeves at the helm, and the considerable talent of Chloe "Kick Ass" Moretz and Kodi "The Road" Smit-McPhee taking the roles of vampire girl and weird kid respectively, Let Me In is at least intriguing.

Those uninitiated to the original can enjoy this for what it is, a story of two children, brought together by their shared ostracism, finding love and companionship, in among some gruesome vampire head-chopping, neck-biting, blood-letting gore. With Hammer involved it was never going to be subtle, and sadly the mystical, almost ethereal quality of the original gives way to a more aggressive, classic horror film. Reeves version does hold some surprises - a nice car crash scene filmed from the perspective of the back seat is a great touch - but the film, like it's central protagonist, struggles to find it's place.

That said, the two leads are superb, handling complex emotional scenes with a naturalism and maturity beyond their years. Whether Kodi will become another Haley, consigned to the dustbin of failed adult crossover, remains to be seen. But in Chloe, there is a distinctive aroma of a Jodie Foster, a born star who will crossover with ease and stay around for some time.

Inevitably living in the shadow of the virtuoso original, Let Me In clings too rigidly to the same formula, without the same sense of atmosphere. Despite this, the quality of the leads, the originality of the story, and the confident direction mean this should have the desired effect of presenting the tale to a wider audience.

Rating: 5/10

Content advisory: Some fairly graphic violent scenes (limbs thrown etc). Whole tone of film is quite intense. As always check IMDb for full content guide.

Tron Legacy Sneak Peek



Set to be even more visually stunnning than Avatar, Tron: Legacy will be the big event of the Christmas releases.

I've got three tickets to a sneak peek of the film in 3D in Sheffield. To get one just comment below saying what you love about me. I don't need your empathy but it would be nice to think I am going along with friends! The 3 loveliest comments will win.

Love you all!!!

Never Let Me Go Spectacular

Never Let Me Go is the new Mark Romanek film coming out in January next year. Starring Keira Knightley, Carey Mulligan and Andrew Garfield, it tells the story of three friends who grow up to discover the realities of love and the haunting future that awaits them.
A full review of the film will follow (in essence, it's great!) but since it's not released for a while, here are some pics, comments and vids from the LFF preview and press conference to whet your appetite.

Andrew Garfield - Actor
(Social Network and soon to be Spiderman)




"It's rare to find a script so full of what it is to be alive and all the struggles we go through. I had no hesitation in being part of such a beautiful story."


Carey Mulligan - Actor
(An Education, Pride and Prejudice, and surely an Oscar this year?!)




"It was so difficult not to cry. Seeing how these characters just quietly assimilate the horrendous truth of their future is heartbreaking"


Keira Knightley
(Atonement, Pirates of the Caribbean, and absolutely certain she winked at me!)




Here is her talking about her character:

Mark Romanek - Director
When asked about the stunning cinematography.

"The visual approach was initially intuitive, influences strongly by the Japanese aesthetic and cinema. While the story is delivering disturbing truths about our condition, this was overlaid with a pleasing beautiful look, to avoid becoming too harsh and naturalistic."

Finally, the man who wrote the book upon which the film is so lovingly based:

Kazuo Ishiguro - Writer

"What is most important to humans when time is running out, when we realise we cannot escape mortality? The story puts a positive light on human nature, the importance of friendship and love. It is about learning to accept fate, not about trying to run away or escape. It is learning to acknowledge and embrace love, even if it is just for a short time."

And that's it. Saying so much and yet so little. Review up soon.

Let Me In - Interview

Let Me in – Interview

Back in sunny Sheffield after my shenanigans at London Film Festival. By far the highlight was getting the opportunity to interview Director Matt Reeves (Cloverfield) and star Kodie Smidt – McPhee (The Road). Co-star Chloe Moretz unfortunately stood me up do to work commitments with Mr Martin Scorsese (that old excuse hey!).

Let Me In is a remake of Swedish critical hit Let The Right One In, a story of a young boy befriending a young girl, who turns out to be a vampire. Full review will follow.

Matt, your remake follows the original narrative almost to the letter, even to the point of setting it in a snowy town. Were you not tempted to tell your own version of the story?

This was our attempt to do another telling of Lindqvist’s story, which is what first attracted me. I didn’t want to change the story, I was moved to tell this coming of age tale as Lindqvist writes it.

This version is more of a horror that the Swedish version. Was coming under the re-invigorated Hammer company an influence on the film?

It was more a influence on ME! As a kid, the old Hammer films, with Christopher Lee etc, always scared me. I remember watching them on late night TV through my fingers. However, in style this film is more naturalistic, along the lines of the Shining and The Exorcist, rather than the gothic feel of the old Hammer films.

What was your favourite Hammer film?

Horror of Dracula

Given that the success of the film rests largely on the two central performers, how difficult was it to find the right actors?

It was very difficult. They needed to be able to handle the emotional complexity of the role, so that adults will relate to them. There is a key scene that I had Kodi read, where he is on the phone to his dad. It could have easily descended in to melodrama, but he read it in such an understated and believable way that I cast him immediately.

Is it true that you hadn’t seen either The Road or Kick-Ass before casting Kodi and Chloe?

Yes, that’s true! Both films were in post-production and so were unavailable. But their auditions were in another league.

Kodi, you were brilliant in the film, standing out for your genuinely disturbing and brilliant portrayal. Who inspires you most in your acting?

Definitely my dad. Him and my sister are both actors and so it was kind of normal for me. It started off as fun and then got places really fast.

How much preparation did you do for the film? Did you see the other film or read the book?
I didn’t know there was a book until halfway through filming! Matt didn’t want us to see the film – he didn’t want us to copy anything. We were doing our own take on it.

Matt, could you identify with the coming of age aspect of the film?

I was massively bullied. My parents were going through a divorce, I was really confused, and had a real sense of isolation and humiliation. Its hard growing up, trying to make an identity for yourself.

How did you manage to find your identity?

I started making 8mm films as a way of making friends. I got them to act in my movies. That was my escape – I could be James Bond or anyone I wanted to be.

Did your experiences affect your telling of the story?

I think it meant I didn’t shy away from any aspect of the story. I wanted to show the love story, juxtaposed onto the violent vampire story, as well as this sense of innocent childhood alongside fantasising about revenge. The power of the tale is that the actions aren’t excusable but you can see the humanity in them. It is disturbing, provocative and beautiful all at the same time.

How far did you push the young actors?

Matt: I like to do a lot of takes which they enjoy but it is exhausting

Kodi: It was hard but doesn’t even compare to The Road. I had to sit in freezing water for hours on that movie!

Kodi, Chloe is pretty, which you must like, but she could also kick your butt! What was it like working with her?

Awesome. She always has so much energy and is always happy. She would be working late and covered in blood but never stopped being happy.

She ever show you any judo moves or anything?

Matt/Kodi: She did!!!

So she threw you around a bit?

She scared me! She’s a ninja!

Finally, Matt, any news on Cloverfield 2?

No news!

Oh, ok.

The Social Network - Guest Panel Review

The Social Network – Guest Panel Review

Rating: 15

Director: David Fincher

Cast: Jesse Eisenberg, Rooney Mara, Andrew Garfield, Justin Timberlake

Due to my London trip (see previous 5000 tweets on the subject), I sadly could not make the preview of The Social Network, which is set to be one of the films of the year. Instead, I enlisted the help of 3 trustworthy(ish) friends to review it for me.

Science part – concentrate:

Each guest reviewer was set the task of providing a 140 character review, along with a rating and their top 3 films. The status given to their rating was determined by the quality of their favourite films, which I gave a mark out of 10 for based on my perfect judgement. This defined how much weight I gave to their overall opinion, leading to an estimated value of the review. Comprendez?! Thus:

Sarah Adams – 10/10

An enjoyable and endearing account of a genius idea. Hilarious, aggravating and downright brilliant

Top 3 – Up – 8/10

Dear John – 1/10

Speed – 9/10

Total status allocated – 7/10

Estimated review value – 8.5/10

__________

Esther Cheale – 8/10

Excellent film. Totally relevant. Loved the switch between court cases and story telling. Slight “is he the bad guy” aspect throughout.

Top 3 – Inception – 10/10

Save the Last Dance – 3/10

Jurassic Park 1,2 & 3 – out of respect I will take first answer only – 9/10

Total status allocated – 7/10

Estimated Review Value – 8/10

__________

Jon Gorman – 8/10

A well written, lively script, Social Network manages to impress the non-geeky audience, disclosing the rise of Facebook. A must see film.

Top 3 – Shawshank Redemption – 10/10

The Bourne Identity – 9/10

Gladiator – 10/10

Total status allocated – 10/10

Estimated Review Value – 8/10

________________________________________

Total Review Panel result – 8/10

Ok, despite some good reviewing, I am quite aware the scoring system is completely arbitrary and makes no sense, and has not helped you decide one way or the other. For that I am sorry. However, I know that you will be going to see it anyway, along with myself – so enjoy!

Review: The American

Director: Anton Corbijn
Cast: George Clooney,

There's no denying it - Gorgeous George is getting old. It's over 25 years since he first came into the public arena as the dreamy Doctor Ace in ER. Despite being on a collision course with the ripe old age of 50, there is no denying that Mr Clooney has aged very well. And he has certainly not slowed up. Where most of his generation would be signing up to the nearest Shakespeare Company, Georgie Boy goes and gets himself a starring role in a spy film!

This, however, is not an effects laden, adrenaline pumping Bond movie. Come expecting that, and expect to be disappointed! Unlike 007, Jack/Edward (Clooney) is a craftsman, an expert who has refined his art over years of experience, to the point of becoming almost mechanical in his efficiency. Years of bitter experience have led him inevitably to a life of loneliness and exhaustion, culminating in his decision that this will be his final bow out of the game for good.

Depending on atmosphere, rather than action, Director Anton Corbijn certainly knows how to frame a shot. From the sweeping icy panoramas of snow-covered Sweden, through to the gloriously vibrant hues of northern Italy, Corbijn's fine eye never misses a scene.

But the undisputed star here is Clooney, turning in a performance easily rivalling his previous best of Up In The Air, and surely cementing his position as one of the greats. While supporting cast never feel fully fleshed out, he gives the character of Jack/Edward pathos and depth, which perhaps only the Cary Grants of yesteryear could rival. In a script short in dialogue and full of lingering close-ups of both his face and abs (for the lady-audience no doubt), he carries demanding, wide-ranging emotions effortlessly. Jack/Edward is a man increasingly yearning for a normal life, seeking meaningful relationships that his job would deny him, finding solace and a redemption of sorts in a priest and prostitute, the latter finally becoming his reason to leave his former life - if his enemies will let him.

The slow pace and lack of action may prevent this reaching a wide mainstream audience, but with a powerful central performance and compelling character-driven story, The American fills a gap missing in many, more superficial, espionage capers.

7/10

Content advisory: The film is rated 15 largely due to sexual content. A couple of fairly explicit scenes. Check out IMDB for full description.

London baby

If i haven't mentioned it already, i'm in London for the Film Festival as accredited press. Proof:


I also managed to squeeze in to the outside of the premier of Despicable Me. Not really that impressive, but I did manage to see -

Russell Brand



Steve Carrell



And, most thrilling of all, Jason Donovan



Decision - Im getting a better camera!

Day 2 - Just got back from screening of The American with George Clooney. Sat near Mark Kermode which was nice. Review up shortly.

The Incredible Suit: A Town Called Panic

The Incredible Suit: A Town Called Panic

A town called Peace

Despite my earlier slanderous slurring of the name of A Town Called Panic's favourite talking French horse, @mr_cheval has decided to let bygones be bygones, and has generously given his blessing to my blog (kind of). God bless him:

@mr_cheval: @Alibianchi I love sicklist.blogspot.com and all that Ali does. I also love the listsick blog that lists places people find pools of sick.

Salutations @Mr_Cheval

Star of the absolutely stone-cold mental "A Town Called Panic", was on Twitter being interviewed by LoveFilm today.

In response to my wild and totally baseless accusation that he must be on drugs to be involved in such a psychadelic, overtly nut-job movie, he responded:

"@Alibianchi the only time I had drugs was after a case of foot and mouth broke out on Stephens farm"

So there you have it folks, directly from the horse's mouth. Check out the trailer below:

Uber-quick Film news - 24th Sept

Every Friday I'll post the big news you need to know all in one place so you can look like you know what you're talking about:

The winner for most mental film of 2011 will without a doubt go to A Town Called Panic - starring a horse, Indian and Cowboy, and stuff. Seriously, check it out. It's a real film:



Keanu Reeves is all ready to go for Bill and Ted 3 - Excellent!

Duncan Jones - the man who made Moon, is in the running to direct the next Superman film, being mentored by Chris "Actual Superman" Nolan.

Black Widow (from Iron Man) is getting her own movie.


The new Harry Potter trailer was released, it is obviously darker (again) and actually does look pretty good:



And finally...I got my press accreditation for London Film Fest and am currently salivating over the films I will see before any of you! Most Excellent!!!

Best of what's left

So, Summer Blockbuster season is over, but there is still heaps to look forward to. Here is my list of the top eight (because nine is silly) films you have to see before I bury you alive. Speaking of which:

1 - Buried - Released 29th Sept

Ryan Reynolds is buried underground (probably for his role in The Proposal) with only a phone and lighter. Guarenteed to give you the heebie-jeebies as the camera never once leaves the confines of his coffin. See it before Reynolds literally hits the stratosphere as Green Lantern next year.




2 - The Social Network - Released 15th Oct

David Fincher does Facebook. Charting the rise and rise of Facebook creator Mark Zuckerberg, this already has killer reviews. Fincher (creator of Se7en, Fight Club & Benjamin Button) is one of the best Directors around. Trailer also features best choice of backing track this year!

Like this.




3 - RED - Released 22nd Oct

Dame Helen Mirren with a machine gun. 'Nuff Said.




4 - Let Me In - Released 5th Nov

The Swedish "Let The Right One In" - about kid vampires - was one of the most affecting and beautifully shot films of last year. The remake is from Matt "Cloverfield" Reeves, which is promising, and stars Chloe "Hit Girl" Moretz, which is promising, but it's probably fair to say I'm more nervous than excited about this one.




5 - 127 Hours - Released 5th Nov

The true story of Aron Ralston who's arm got caught under a boulder while climbing alone in Utah, and who eventually escaped by cutting off his own arm. Danny Boyle (Slumdog Millionaire, Trainspotting) is great. James Franco (Pineapple Express, Knocked Up) is great. Concept sounds pretty dull. Let's see which wins out.




6 - The American - Released 26th Nov

Come on, admit it, everyone fancies George Clooney. Playing a retired assassin brought back into the game for one last assignment (yeh, yeh, yeh), the concept may not be original but Georgie boy is always worth the ticket price. Plus it's filmed in Italy which is, y'know, nice.




7 - Black Swan - Released 1st Dec

The buzz from Venice Film Festival about this is huge, so will probably have a look when I'm at London Film Fsetival as an official member of the press (ahem!). There may be an advisory attached for sexual content. I have to say, however, this isn't usually my thing - bit arty and intense for my taste...




8 - Skyline - Released 11th Dec

...which is why Skyline looks right up my street. Apocalyptic news flashes, cities being destroyed, aliens doing funky things with bright blue lights, hundreds of people being swallowed by city sized spaceships. This is real art people.




And then there's also that Harry Potter and the Overlong Farewell if you're interested in that kind of thing.

The Town

The Town – 15
Director – Ben Affleck
Cast – Ben Affleck, Rebecca Hall, Jon Hamm, Jeremy Renner

Charlestown, Boston, the capital of carjacking, kidnappings and armed robberies, is a neighbourhood built on loyalty to friends and family, where crime is passed down through generations. It is also the town where Ben Affleck grew up, the film riding between a genuine affection for the town of his youth, as well as it’s ability to destroy the lives of those who struggle to escape. The pain of a trapped life is felt in every single mother, drug-addled blue collar worker and disaffected young person on screen. Doug MacRay (Affleck), leader of a successful group of bank robbers, feels this pain more than most, committing reluctantly to the last score that will finally release him from his life on the edge, and bring him out of the shadow of his family’s past.

The Town is Affleck’s second foray into directing (happily, all memories of Daredevil and Gigli far behind him). Fresh off the back of the superb Gone Baby Gone, The Town shows a maturity and respect for his craft usually reserved for those several years, and multiple films, down the line. The grit and brutality of the street is brilliantly brought to life by a cast of “they so hot right now” young things who are given a script that allows them plenty of space to flex their acting muscles. Utilising the considerable talent of cinematographer Robert Elswit (Salt, There Will Be Blood), Affleck is equally at home with action, played out with energy in the confined streets of Boston.

Sure, the idea of one last score to get out of the game is not a new one, but in the hands of Affleck and friends, it becomes an involving and exciting crime caper, with moments of real humanity and emotion.

Rating – 8/10

Certified Copy

Certified Copy
Director: Abbas Kiarostami
Cast: Juliette Binoche, William Shimell

Set in the stunning landscape of Tuscany, Certified Copy follows a couple who appear to have just met as they spend a day discussing life and art while appearing to be getting to know one another. After being mistaken for a married couple in a coffee shop, it gradually emerges that perhaps there is more to this relationship than meets the eye.

With long lingering shots of emotional interaction, philosophical debates whilst meandering through the Italian countryside, and being paced out almost in real time, this is not one for the adrenaline junky. However, once you can see beyond the pompous talk and, at some points, energy-sapping debate, what emerges is a sensitive and well-balanced examination of marriage, sexual politics and relationships. Juliette Binoche as an un-named woman, justifiably won the Best Actress award at Cannes Film Festival for this performance. While often the dialogue takes place off-screen, Director Kiarostami is not afraid to let the camera remain on Binoche, picking up her every emotion and expression, peaking in a wonderful café scene where a single tear seems to sum up a full life.

Dismissing any kind of overt drama, the film is at it’s best when it focuses on the simplicity of a look or gesture, being used to convey the deepest of emotions. Patience is a virtue, and when you manage to stay with it beyond the admittedly fairly boring opening act, that patience is rewarded with a surprising and sensitive story, challenging you to discover what is real and what is fake.

Rating 5/10

The girl who played with fire

The Girl Who Played With Fire 
Release date: 27 Aug
Director: Daniel Alfredson. 
Starring: Noomi Rapace, Michael Nyqvist, Lena Endre
Rated: 15

The sequel to the brilliant Girl With the Dragon Tattoo, this Swedish film continues the story of hacker Lisbeth Salander (Noomi Rapace) and journalist Mikael Blomkvist (Michael Nyqvist), as they delve into an the criminal underworld, uncovering a sex trafficking ring and a trail of murder along the way. This, the second of Stieg Larsson's Millennium Trilogy books, sees the story begin to focus more on the intriguing character of Salander, a girl with a mysterious and troubling past. 

Salander is wonderfully and sensitively played by Rapace, who is undoubtedly a major talent. However, she is an extraordinary splash of brilliance in an otherwise rather un-extraordinary film. While undoubtedly the success if the book it is based on proves the story works in a literary format, unfortunately here, the pacing and energy of the film feels lacklustre. The raw edge and depth of the first film that made it such a huge critical success, here is softened and simplified. One potentially interesting thread about the sex trafficking industry is frustratingly reduced to being a sideline issue. There is little character development - if you have not seen the previous film, you would find it difficult to care for the people involved. 
Some of the film's later revelations are poorly handled, feeling cliched and, with one twist in particular, fairly inexplicable. 

Compared to the excellent first film, this is disappointing, being essentially reduced to an adequate crime thriller. Despite this, there is enough both to keep the viewer engaged, and to build anticipation for the third of the trilogy being released later this year. 

Content advisory: One particularly violent scene and a fairly graphic sex scene, as well as references to a rape. 

Rating: 5/10

The Expendables

The Expendables
Rating: 15
Director: Sylvester Stallone
Cast: Sylvester Stallone, Jet Li, Jason Statham, and Sly’s entire phone book.

The 1980s were the golden era of the action icon, with true classics like Rambo, Terminator, Die Hard, and Masters of the Universe (?!), all being forged in this epic period. Compared to the spandex-covered, emotionally-compromised Marvel stars of today’s cinema, the heroes of the 80s felt no pain, no remorse, and they absolutely did not stop, ever! That is, until the 90s which introduced a new breed of insipid superstar who acted with their brains rather than their trigger finger.

When Stallone announced he was bringing together the ultimate fighting team for a grunt-fest of epic 80s proportions, those of us with a violent disposition who model ourselves on Arnie’s physique (in my case, successfully) had our hope rekindled.

The opening scene sets the pace nicely with all the loud noises, flexed biceps and blood letting you would want and expect. However, being constructed around a very simple and mainly irrelevant plot (go in, save the girl, blow stuff up), when the action stops and the talking begins, the Expendables seriously loses pace. The much touted scene featuring the Big Three of Stallone, Willis, Schwarzenegger is just plain uncomfortable, with dialogue that is forgettable at best, and at worst makes the skin crawl.

Thankfully, coming out of the mid-section slump, the last half hour more than makes up the mileage. With some beautifully executed deaths, brutal fist fights, lots of big guns and exploding stuff, mixed with a dash of lovely little one-liners, The Expendables finds it’s purpose. Reportedly, Van Damme refused to join the team because he didn’t get the joke. And this is exactly why it works. Populated by a cast grateful to be doing what they do best, and clearly loving every minute, it never gets weighed done with a sense of its own importance or takes itself too seriously, focussing instead on a testosterone driven performance with barely an ounce of grey-matter in sight.

And I, for one, am grateful.

Rating: 7/10

Inception

Inception - 10/10

Inception is officially my favourite film of the year. Which, given the offerings to date, isn't that impressive. If I say it's the best since Dark Knight (ooh, hang on... theme?) that gives you a better idea. Avatar - yep, incredible world, mind blowing effects, and totally immersive. But as a complete film, Inception is the one on another planet.

Synopsis? Nearly impossible without losing you. Basics - Dom Cobb (DiCaprio) is an expert at invading people's dreams, though it has made him a fugitive. In an offer at redemption he is tasked with planting a thought in a man's subconscious, a dangerous process which requires him to delve deep into the dream world - where things go mental. That'll do.

Top Five reasons to see Inception TODAY:

1 - Chris Nolan - The most imaginative, creative and entertaining director working today. Has never done a bad film and keeps getting better. With a film that has more layers than an ogre, Nolan never loses contact with the central premise, weaving an intricate pattern effortlessly, leading to a most satisfying conclusion. Nolan is also believed to be the only director made entirely of gold.

2 - Effects - When rooms spin and cities fold, you are witnessing some of the most original and exhilarating action sequences since The Matrix.

3 - Ideas - Key to Inception-viewing - Concentrate! In a summer of Marvel and A-Team rip-offs, Inception makes you think, think, and think some more, but never once stops entertaining. It is very rare to find such truly original work in Hollywood these days.

4 - Leo and co - Once again Nolan has assembled a brilliant ensemble cast. With lucky charm Sir Caine fulfilling his now traditional mentor role, the cast list also boasts Ellen Page, Ken Watanabe and Cillian Murphy, all turning in fine performances. The movie, however, is centered around a confident performance from Leo who, Titanic days well and truly behind him, is fast becoming a talent to rival the De Niros and Pacinos. DiCaprio keeps the constant movement grounded, providing an emotional centre to a film which could so easily lose sight of it's heart, but never does.

5 - It's really good - Inception really is a complete movie. Despite the necessarily heavy exposition, the film moves along at great pace, interweaving multiple timescales and locations seamlessly and often simultaneously. Sweeping, expansive shots of vast city-scapes, an evocative and beautifully positioned score, compelling action mixed with compelling characters, all mingle to create a movie that truly is a dream.

See it once, then see it again.

Predators

Predators - 5/10

Black ops guy Royce (Brody) finds himself dropped (in one of the film's few original sequences) into a jungle which also happens to be the game reserve for the Predator race. Joined by a handful of suitably cliched cannon fodder (silent Asian assassin, murdering swine, Danny Trejo), their one purpose is to be game for what turns out to be a more advanced race of Predator. And so let the bloodfest ensue, complete with aggressive posturing, waving of big guns and the certainty that few will survive.

Anyone who really dislikes suprises will be pleased to hear that Predators does exactly what it says on the tin - Predator with an 's'. Which isn't neccessarily a bad thing. After all, the original (and we will avoid all mention of any other predator films here!) is a strong contender for "Best damn action film ever". If something is worth doing right, it's worth doing right twice.

Comparisons with the Alien/Aliens model are inevitable. But while Cameron reworked the Alien premise to become something more epic and dynamic, here Director Nimrod Antal fails to deliver much more than a simple retooling of the original - complete even with a topless hero finale (though seeing an admittedly buff Brody can only draw unfavourable comparisons with Arnie!)

If you like your films aggressive, mindless and wildly entertaining, mixed with a bit of Laurence Fishburn as an out-and-out loon, then look no further, your popcorn delight is here. While left wide open for a sequel, any further outings for our fanged friends will have to have a little more creative bite to them - perhaps Predators take over an prison colony filled with extremist religious fanatics?

Robin Hood - 8/10

The story of Robin Hood is one of the most familiar of English legends, and has been brought to film more than any other historical figure, bar perhaps Jesus. The part has been played by multiple actors, including a fox, and has explored almost every aspect of the famous outlaw's derring-do's. So how does a director bring a new dimension to the well-trodden story? The answer - the now established guaranteed success of an origins story. 

Before he gathered his merry men, before he became an outlaw, and before he robbed his first penny from the rich to give to the generic poor, Ridley Scott's version joins Robin Longstride on his way back from crusading with Richard Lionheart. Robin, a common soldier, is disciplined for his "honest and naive" nature, and soon finds his way back to England and into favour on the Loxley estate in Nottingham. From here, the story moves toward the impending French invasion and Robin's role in the battle, as well as his newfound relationship with Marion, played with familiar fiestyness by Cate Blanchett. 

Despite the fear of obvious comparisons with Gladiator (same director, same leading man with the same unintelligible growl), fortunately this is not Gladiator in the woods! What emerges is an uncharacteristically lightearted Scott movie, which fizzes with energy and heart throughout. While there are moments of Maximus-inspired, highly quotable philosophising ("Rise and rise again, until lambs become lions"), the tone is light and the inclusion of a brilliantly cast band of merry men provide easy comic relief, while never descending to farce.

It is suprising however, that this is the work of the master innovator Ridley Scott. To say the plot is formulaic is perhaps unfair, but coming from the man who gave us Alien, Blade Runner, and who redefined this kind of epic character piece with Gladiator, it feels remarkably familiar. Scott's magic hands when it comes to the cinematography are still apparent - England has never looked so rich and glorious - as is his ability to choreograph some of the most spectacular battle sequences around. What this film lacks is the creative flair and touch of genius we have become so used to from one of the most significant filmmakers working today.

This minor gripe aside, Robin Hood is still by far the most effective and gripping telling of the story, miles ahead of the turgid Prince of Thieves and even more entertaining than the Disney fox. Crowe is impressive and entirely believable as a common outlaw who stood against a king. The traditional antagonists of King John and the Sheriff of Nottingham have dissapointingly minor, and in places overly comical roles, making way for Mark Strong to once again take up central bad guy duties, a part of the market he seems to be cornering quiet confidently at present. Writer Brian Helgeland, who is enjoying a return to favour after 10 years of decidedly average screenplays, manages to keep the story flowing even through a fairly static mid-section. 

A consistently entertaining, lovingly shot piece of summer fare which will stand out as one of the hits of the year. While not scaling the heights of some of his previous offerings, an average Ridly Scott film is still leagues ahead of most other's best.  

Iron Man 2

Rating: 7/10

The first Iron Man sits easily alongside the Dark Knight and X-Men 2 as one of the freshest and most enjoyable comic book movie adaptations to date. Heralding the revival of the brilliant Robert Downey Jr, as well as a superb supporting cast, and some inspired action sequences, Iron Man became an instant hit, leaving the sequel with the unenviable challenge of equalling or bettering its performance.

Just to add pressure, Iron Man 2 is the film which really begins the Marvel master plan of a franchise of superhero movies building to the Avengers film scheduled for 2012. With the Thor and Captain America films already underway, Iron Man 2 begins the process of SHIELD assembling the Avengers unit, with Nick Fury (Samuel L Jackson, signing an unprecedented 9 film deal with Marvel) taking an active role in developments, having been introduced in a teaser at the end of the first Iron Man film. This is perhaps the best context within which to view Iron Man 2 – as the beginning of a bigger story. The prospect of at least nine films of inter-connected superhero stories, culminating in a grand superhero mash-up, is certainly tantalising to even the most reluctant geek.

Inevitably, this means that there needs to be a certain amount of scene setting, and some nods and winks to the coming franchise (of which there are plenty here). It also means that Iron Man 2 does lack the pace and flair of its predecessor. Having said this, the opening twenty minutes is a complete pleasure, with some superb performances – in particular, the film’s second come-back kid Mickey Rourke as Russian protagonist Ivan Vanko – and a beautifully worked car crash sequence on the Monacco circuit.

It is, however, the middle section where the script loses it’s pace. Despite the best of work from the cast, there is simply too much talking. This wouldn’t be too bad, other than much of it feels insignificant. While the tone of the film is light and fun, this means that when trying to deal with some of the darker issues such as Stark’s drinking, sickness and isolation, they lack the emotional tug required to keep the momentum. Even the usually brilliant Sam Rockwell, here as Stark’s main business rival who is attempting to build his own army of iron men, begins to get quite irritating.

Once these issues are dealt with, and characters inevitably get back on track, the last stage sizzling with action packed sequences. Don Cheadle takes over the role of Col. James Rhodes from Terrence Howard (who backed out due to “creative differences” – isn’t it always!), and adds more metal to the mix with the introduction of War Machine, essentially doubling the firepower and explosions to full entertaining effect. The only gripe being that the final battle seems to be over before it really begins, a flaw common in numberous Marvel finales.

While not equalling the success and flair of the previous outing, Iron Man 2 does a solid job of setting the stage for a world we are going to become very familiar with over the next few years. It is perhaps inevitably weighed down by it’s responsibility to a franchise and the expectation to give significance to proceedings. Nevertheless, Iron Man 2 manages to avoid the dud-sequel curse and just about manages to keep the attention, largely due to the charisma of an outstanding cast.

Kick-Ass

Kick Ass - Rating 7/10

It's such a simple and potentially brilliant idea, it makes you wonder why no-one has thought of it before.

Geeky teen, Dave Lizewski, the lead character in Matthew Vaughn's (Stardust, Layer Cake) newest offering asks the same question, wondering why no-one has thoght of actually being a superhero. Aided by a scubo suit from ebay and deadened nerve endings meaning he can take more of a beating than most - and he does - Dave takes on the criminal underworld. After a youtube video of Dave taking on a street gang propels him to internet stardom, Dave - now called Kick Ass - collides with slightly psychotic daddy/daughter crimefighting team Big Daddy and Hit Girl , who are waging their own private war against the city's criminal underworld.

Its such a great idea, it just doesn't quite work.

Much has been said (mainly by the Daily Mail) about the fact the star of the piece is a foul-mouthed, knife wielding 11 year old girl Hit Girl. Played brilliantly by "one-to-watch" Chloe Moretz, there is undeniably something quite disturbing about the way her father has stripped her of a normal childhood, in order to become a killing machine. There is, though, something undeniably entertaining about an 11 year old girl taking on an entire group of mafia gangsters. Any violence in the film - and there is a lot - is far from gritty and real, with a taste of comic book super-splatter along with some very clever set pieces.

The second revelation of the piece is Nic "Crazy" Cage. Its been a long time since he has done anything worth singing about, but with the character of Big Daddy, a blatant rip-off of Batman even down to the use of Adam West speech style, Cage has rediscovered something of the wild, manic genius of former glories Face Off and Con Air.

The acting talent on display is undeniable, there are some great back stories (Kick Ass is chasing a girl who thinks he is gay) and the plot races along at a high pace. There are some brilliantly entertaining points such as Big Daddy training his daugther by shooting her point blank. The final scene in particular is the movie's salvation with what is essentially a reworking of The Matrix's lobby scene, and is uber-cool, super violent and very, very funny. The soundtrack choice is sublime, using Elvis in ways you would have never dreamed, and mimicking The Dark Knight's pulse-racing one note strings to build tension very effectively.

It just feels like it could have been more - kind of like a 99 ice cream without the flake. With a great initial premise, and some brilliant characters, the centre of the film seems to lose itself, getting into all sorts of cliched existential talk of "why am i here/what am I doing?", which was the biggest weakness of Sam Raimi's Spiderman/Peter Parker. Vaughn's temptation to go darker in a fairly harrowing torture scene, screened on the internet, also feels a little out of place and unnecessary.

Kick Ass does deliver on many levels, and certainly keeps a frenetic pace while still leaving time to delve into some interesting characters. There are some wildly entertaining moments, but it feels like there is more fun to be had with this idea. Perhaps the inevitable sequel would develop this further.


Sex/Nudity - opening scenes show Kick Ass fantasising over his teacher and a couple of topless internet images. There are a few references to breasts, with some close ups on cleavage. One sex scene where characters are clothed.

Swearing - Lots of uses of the f-word. One use of the c-word by Hit Girl.

Violence - Quiet graphic but comic book style. Mainly blood splatter.

Sick List

I love movies. Always loved movies, but I think now it is staring to border more on an obsession. So, not to bore you, but just to let you know this will be a movie blog, highlighting the DVDs I watch, cinema trips I do, and any kind of movie news you may like to know about. Not that my movie tastes are flawless, but hopefully it will help you see the good movies and avoid the bad ones.

Also, I will try to be brief, as let's be honest, who really wants to read these?!

First Blog: Sick List
There is nothing good about being sick - I get very very bored. However, the inability to move or do anything else other than sit/lie there means movies are the only real option. Here is my sick list of movies I watched over the last few days and rated in terms of whether they made me feel better (10) or sicker (1). Enjoy (oh and please do comment. I get so lonely!):

The Conversation - Tight, twisty, brilliant little plinky piano score, Gene Hackman(!!!), and kind of hypnotic. Brilliant examination of obsession. Sick Factor: 7

Die Hard - What can I say?! Greatest action film ever!!! If you haven't seen it and loved it, please stop reading now! Sick Factor: 11.5 - Yippee-kai-yay!

Amelie - I weep when I think of this film. Just stunning. Vivid colours. Beautiful story. Beyond quirky ideas and images. It's in French but I recommend you turn the subtitles off and get immersed! Sick Factor: 9.5

SWAT - A cast that should have had a better movie really. Solid escapism if a bit shallow on character development. Sick Factor: 6

The Pledge - Chris Nolan is one of my favourite Directors and this is one of his best. The back-tracking trick of Memento. Exemplary performances from all leads. Micheal Caine(!!!). Shocking twists and turns. Sick Factor: 8

Predator - Arnie fights and alien with big guns and stuff. Worth watching for the 3min sot that pulls out more one-liners than any other Arnie film combined. "I ain't got time to bleed" Sick Factor: 8

Good Night and Good Luck - Good. Clooney directs a superb cast. A nice little snapshot into the responsibility media should have during a significant historical event. Its also in black and white - which makes it arty. A little boring - which makes it arty. Sick Factor: 6

Stealth - Fighter planes doing fightery kind of stuff, paper thin plot, gung-ho American attitudes and annoyingly arrogant leads. But it does have fighter planes! Sick Factor: 4

And that's it. Hope this whets your appetite for more opinion.

Im seeing Kick Ass next week so will let you knoW about that.

Also, check out my Flickster account on Facebook.

Cheers.