Rambo might be the worst film I've ever paid to see. Either that, or Danny Boyle's Millions. Or Leonard Cohen: I'm Your Man.

I haven't seen Rambo, and I probably won't now since I'm often a fan of bad movies like J Geoff, but the worst movie I've seen is Diary of the Dead.

I think it would normally be just another bad movie but because I've become such a big fan of George A. Romero's zombie movies I was so disappointed in his latest. Where Night of the Living Dead had a subtle social commentary, Diary just drills it into your head every second of the movie and it misses a chance to make another good zombie film. I could go on and on about why it's the worst movie I've ever seen but I won't unless someone actually wants to hear me complain for pages and pages.

Capo, I'm still waiting for WetDog's review. He surprisingly defended it without having seen it when I wrote my review over there. Have you seen it?

Just watched Darlin' Clementine with Henry Fonda and Robert Mitchum about Wyatt Earp. It's B&W and it has no score. The storyline is somewhat different from Tombstone and Wyatt Earp. For one, there's no exploration of the characters, their motivations, etc. In it Doc is killed and a woman gets shot on whom Doc operates. The gunfight at OK Corral is almost anti-climatic and is not staged in a very dramatic way, certainly without any of the suspense of the latter two films. I don't imagine that Fonda and Mitchum thought it was one of their better efforts. I'm surprised somewhat by that because the film was issued in 1948 which doesn't make it all that old.

As soon as you suggested The Wire to me months ago I put it number one on my queue and I still haven't received it yet. It is never available.

Netflix says it's available "Now" for me (tho it's in the 300's of my queue at the moment, but destined to be raised up soon)... maybe it's regional...

Well I still use Blockbuster, so maybe that's why I can't get it. I would switch to Netflix but I'm not paying that much more and with kids in the house it really comes in handy to take the online rentals and exchange them at the store at a moments notice.

The new mummy movie? Whether I'm right or wrong, please review Dead Alive (1992) if you haven't already. I would love to hear what you have to say about it

Actually, its not MUMMY 3...but just because I'm reviewing that this week anyway, alright a DEAD ALIVE review coming up!*

*=Whenever I get around to it.

TRON (1982) - ***1/2

http://www.getthebigpicture.net/blog/2008/7/27/comic-con-teaser-for-tron-2-now-online.html

The big surprise at this year's San Diego Comic Con, the Super Bowl for geeks, was Disney's unveiling of their teaser clip for TR2N, the sequel to their 1982 cult classic. Jeff Bridges, the protagonist from the original TRON, will return apparently as the villain who's gone off into the deep end of the mainframe with his IRON MAN evil beard, and is like now a digital Colonel Kurtz. The horror! The horror!

You know how with certain movies, the reviews always say the same stuff? With TRON, everyone writes that it is "a visual effects extravaganza that was a technological cinema milestone for a generation." What I'll add though is that for a film that was a box-office dud for Disney (so much that the vintage official arcade game made a bigger profit!)TRON left quite an impression on said generation, and you've seen them give homage from FAMILY GUY to Moby to KINGDOM HEARTS II to a Honda car commercial to the Tron Guy on YouTube to SOUTH PARK (Moses anyone?)

The picture was attacked at the time and still today by some as a shallow laser lightshow, yet surely if that was the case, would people still care about it, much less generate enough buzz to get a sequel produced?

Perhaps it's because TRON, along with WARGAMES and THE LAST STARFIGHTER, successfully translated the video game fantasy, where we the audience and our love and rather useless knowledge for gaming is delegated into a proxy hero who uses them to save the day. In this case, its computer programmer/game guru Jeff Bridges, who is hacking into the MCP (Master Control Program) mainframe of a corporation that stole his designs when the MCP atomizes him into the software as a hapless program set for deletion. Will The Dude escape in time?!?

Yet as a child, while I liked TRON and all, it was my least favorite of this "Gamer" trilogy. For a would-be summer blockbuster marketed to children under the family-friendly Walt Disney label, the first act of TRON is throwing people and environments into a static narrative, without quick linear explanation of who they are or what the hell is going on, and lots of dialogue. You know, plotting. Once the second act kicks in, TRON ties up everything nicely but with kids and their short attention spans, maybe that's why back then I always fast-forwarded my VHS copy (or "Skip Chapters" for you kids who only know DVD) to when Bridges entered the computer.

Watching TRON again with adult eyes, I was shocked to find that I actually enjoyed it much more now. The story combines two great spoiled plot devices of sci-fi fantasy: That of a self-aware super Artificial Intelligence trying to kill off humanity, and rebels within a fantastical setting trying to overthrow a tyrant. The script is forgettable, predictable, and its paper-thin characters are rather disposable, but dammit I found myself getting involved with this adventure once again.

Director/co-writer Steve Lisberger never did anything else worth a spit afterwards, but I must give him credit for making me sorta care about these cliches. I mean, with those poor programs from henchmen to prisoners killed or deleted, I really now feel like a Nazi for emptying my junk e-mail of pornography earlier today.

It's an understatement *cough* to say that early 1980s popcorn cinema like TRON was obviously inspired by STAR WARS (i.e. ripped off), but unlike say THE LAST STARFIGHTER, we must give TRON applause in trying for better or for worse, trial and error, pass and failure, to create on its own a unique visual aesthetic universe like George Lucas' masterpiece did.

The famed then-groundbreaking CGI animation is undeniably dated, but I say they're still enjoyably dated like Ray Harryhausen in that those old school effects still produce a sense of joy from within me. Take the legendary lightcycle sequence, still impressive and fun 27 years on, and just remember that they used editing to hide the fact that this was before they figured out how to combine moving CGI with live-action footage:

http://www.youtube.com/watch?v=-3ODe9mqoDE&feature=related

Would you believe that TRON was disqualified for the Best Special Effects Oscar because the Academy thought it "cheated" in using computers? And I thought CRASH winning Best Picture was ridiculous...

But what really surprised me, and doesn't get enough credit I suppose, is beyond the CGI. All the scenes within "the computer" were filmed in black & white, which were then traced with color by rotoscoping and photography in post-production. So as a result we have many bright livid garish lights contrasting with the dead gray blurry "ghost" faces of these electronic creatures, TRON just gives off a surreal as hell iconic visualization that was just intoxicating for my eyes. Then again, I guess this is what you would expect from an art direction designed by comic book artist Jean "Moebius" Giraud (he later stylized THE FIFTH ELEMENT) and famed futurist Syd Mead, who also worked on another summer '82 flop in BLADE RUNNER. My only complaint at this process is that since the backgrounds tended to be blue, the same color as the good guys, we get I think too many spots of unintended fading.

So yeah, it's nice to know that TRON was actually pretty good, and in fact I'm intrigued by this announced sequel, especially with news that PIXAR's John Lasseter is producing TR2N. If TRON was shot when most folks were technobabble useless, imagine that tale continued today when everyone is carrying around an iPod or drive with TomTom in their cars. Consider the utopian freedom of information promised in TRON failing into a nightmarish dystopia of slavery.

We won't get TR2N until summer 2010, but if that teaser shown at Comic Con indicates anything, to quote THE DARK KNIGHT: "You either die a hero or you live long enough to see yourself become the villain."

Don't expect an end to your wait. Rejoice if there is one.

I've not seen it; I saw Land of the Dead when it came out and thought it was atrocious. Really liked the other three, though.

I really like the first two, especially Dawn of the Dead. Day of the Dead was a snooze fest for about an hour or so in, it had pacing issues.


I saw Step Brothers the other day, I gotta admit...it was hilarious. The language is overly foul, some old women left the theater in shock. If you liked Anchorman or Talledega Nights then you'll probably enjoy this too.

Can Hollywood, usually creating things for entertainment purposes only, create art? To create something of this nature, a director must approach it in a most meticulous manner, due to the delicacy of the process. Such a daunting task requires an extremely capable artist with an undeniable managerial capacity and an acutely developed awareness of each element of art in their films, the most prominent; music, visuals, script, and acting. These elements, each equally important, must succeed independently, yet still form a harmonious union, because this mixture determines the fate of the artist's opus. Though already well known amongst his colleagues for his notable skills at writing and directing, Frank Darabont emerges with his feature film directorial debut, The Shawshank Redemption. Proving himself already a master of the craft, Darabont managed to create one of the most recognizable independent releases in the history of Hollywood. The Shawshank Redemption defines a genre, defies the odds, compels the emotions, and brings an era of artistically influential films back to Hollywood.

The story begins with the trial of a young banker, Andy Dufrense, victimized by circumstantial evidence, resulting in a conviction for the murder of his wife and her lover. After a quick conviction, Andy finds himself serving a life sentence at Shawshank prison, with no hope of parole. He exists in this prison only in appearance, keeping his mind free from the drab walls around him. His ability to do this results in the gaining of respect from his fellow inmates, but most of all from Ellis Redding. Ellis, commonly referred to as Red, finds gainful use of his entrepreneurial spirit within the drab walls of Shawshank by dealing in contraband and commodities rare to the confines of prison. Andy's demeanor and undeniable sense of hope causes Red to take a deeper look at himself, and the world around him. Andy proves to Red and the other inmates that in the conventional walls of Shawshank prison convention will find no home in his lifestyle.

By creating the film's firm foundation, the meticulously chiseled screenplay paved the way for this film's success. Frank Darabont outdoes himself with the phenomenal adaptation of Stephen King's equally noteworthy novella, Rita Hayworth and Shawshank Redemption. In this novella, King demonstrates that he can break free from the genre he dominates and still create a marvelous piece of modern literature. Though the film mirrors the novella in many ways, Darabont illustrates a focused objective of improving upon the areas where the novella came up short, resulting in one of the best book to film transitions ever.

While maintaining some of the poetic and moving dialogue of the novella, Darabont also proves that a film's score can generate a great deal of emotional response from its audience, as dialogue does. He employs the cunning Thomas Newman, son of the legendary Hollywood composer, Alfred Newman. Darabont shows recognition for the film's needs by employing Newman, who makes the gentle piano chords whisper softly to the viewer, as if a part of the scripted dialogue. Newman lends himself to individualism and tends to drive more towards the unique in the realm of score composition. His effort in Shawshank did not go unnoticed, as his score received an Oscar nomination in 1995. While unique and independent, Newman's score never once intrudes on your concentration or distracts from the film.

With work from vast array of talented scene designers, costume designers, composers, cinematographers, and various other Hollywood artists, the cast of The Shawshank Redemption had a strong foundation to work with. The marvelous cast of this film will dazzle you with some of the most convincing performances you will witness in a film. While both Tim Robbins and Morgan Freeman shine as Andy and Red, respectively, the true spectacle of acting lies within the plethora of amazing supporting actors who easily disappear into their roles. Most noticeable of these, the veteran film star James Whitmore, who portrays the elderly Brooks Hatlen. Brooks, a man incarcerated for an unmentioned crime for so long that he finds himself attached to the Shawshank and the daily life he has lead. Each of these actors show a true dedication to their art, and a focused purpose in their motivations, creating a convincing setting that never once caters to anything unbelievable.

With all of the aesthetic touches and attention to cinematic detail, the most beautiful part of the film lies within its thematic material, such as its focus on the human desires for the most abstract concepts, like hope and freedom. These themes, which concern things the human spirit undoubtedly yearns for, seem so intricately woven into the plot that it easily draws its audience in to its story. Though full of hardened criminals, your heart will go out to these men as they display the most basic of human emotions, and deliver some of the most quotable lines in a film to date. Like a great novel, this film manages to succeed at greater things than simply entertaining an audience. Darabont tells his story most masterfully, illustrating principles and inspiring his audience to think. He leaves us a poignant film with a powerful message of hope, and redemption, something we all seek.

This film manages to redeem Hollywood in the eyes of people who feared it long lost in a dark sea of clichés and predictability. Darabont shows us that artists still work in the Hollywood studios and production facilities. These artists show their capability to produce art; real art that inspires you to look at the deeper aspects of life and the world around you. The Shawshank Redemption delivers much-needed breath of fresh air for anyone who realizes the capability of film. It proves that masters of the craft still live on this earth, and still bless us with timeless masterpieces that we will never forget.

Finally watched DIE HARD 4.0

Obviously a bit far fetched,but plenty of action and laconic Bruce Willis funnies.

The kids loved it.

Kept them quiet the whole way through and thats a good enough endorsement for me

Yeah I had to watch my brother's kids, and they seemed to enjoy it, though it didn't really feel like a Die Hard film, you get that feeling too?

Having seen the Unrated edit, with F-bombs and bloody gunshots galore....I think LIVE FREE OR DIE HARD is a Die Hard movie.

Hell, its better than DIE HARD 2.

Probably all that computer and hacking stuff don't fit well into the series.

These PG-13 sequels to R franchise really bother me, fuck little Johnny and his pre teen friends, I want a real movie! There is talk of making Terminator Salvation PG-13.

I saw the Un-Rated version of Live Free or Die Hard, it was just some cgi blood and dubbed over f-bombs added in to an already average film . Probably put together in a week.

I couldn't agree with this statement anymore! But from the studios point of view, it's f*ck BDuff and his older buddies because they feel they can cater to a wider audience with you AND Johnny (then release the unrated DVD for those seeking a "harder," no pun intended, film)

Hopefully you get around to it by Halloween . That would be appropriate I think. I'm looking forward to your review.

When I saw Live Free or Die Hard in theaters it was packed with thirteen year olds who thought they were hot shit because their mommy wasn't there, disgusting. These tame sequels alienate the orignial fanbase, hopefully the studio will keep Terminator an R franchise.

Watched The Bank Job (2008) last night, which got pretty good ratings on both IMDb (7.6/10) and Netflix (3.6/5). I really like heist movies, and complex thrillers like the Ocean's series, The Italian Job, The Score, etc, are fun to watch. This was less complex of a heist, but that was excused being this was based on a true story. It's not something I would purchase, but it's worth a rental....

Why?

Mate, it could be worse.

Remember the R-rated CONAN THE BARBARIAN, then its PG-rated(!!!) sequel CONAN THE DESTROYER?

Wowzers.

Because I said so.

I'm not a "reviewer" by any means, I was just saying if you like the capers I mentioned, this is also worth a look. I didn't notice any glaring flaws, so I guess that's a plus. :shrug: lol

I agree. I was pissed off during my theaterical experience of TRANSFORMERS because of all the kids in their who wouldn't shut up. But again, the studios don't care. It's more money in their pockets. They're not out to make "quality" films, just to make as much money as possible (hence the reason so many of these 80s franchise movies are being revived for "a new generation" see ROCKY BALBOA, RAMBO, and INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL).

I'm also hearing a sequel (this is an old rumor by the way) that the GOONIES is going to get a sequel, RED SONJA is being remade by Rose McGowan and Robert Rodriguez, and THE BREAKFAST CLUB may get remade as well. Ah, how I love movie studios and their originality!

Caught Juno a second time on DVD yesterday, still easily my favourite Best Picture nominee from this year's Oscars. Reitman's direction is playful and subtle without ever coming close to being overly artsy. First timer Diablo Cody's witty script eventually reveals a deeply moving, and very human story - not to mention characters you really come to care for, and are sorry to see go as the credits roll on a sweet soundtrack. Much has been said of Ellen Page as the titular character and rightfully so - spouting those wordy witticisms with incredible ease - but all the cast are gold here: Cera, Bateman, Garner and most especially an excellent JK Simmons as Juno's gruff, but loving father.

I agree. I was pissed off during my theaterical experience of TRANSFORMERS because of all the kids in their who wouldn't shut up. But again, the studios don't care. It's more money in their pockets. They're not out to make "quality" films, just to make as much money as possible (hence the reason so many of these 80s franchise movies are being revived for "a new generation" see ROCKY BALBOA, RAMBO, and INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL).

I'm also hearing a sequel (this is an old rumor by the way) that the GOONIES is going to get a sequel, RED SONJA is being remade by Rose McGowan and Robert Rodriguez, and THE BREAKFAST CLUB may get remade as well. Ah, how I love movie studios and their originality! [/quote]

A few months ago it came out that there is gonna be a re-make of John Carpenter's The Thing, a film I loved as a kd because it was the first really gory film I watched. It has aged very well, the effects are still quiet good and the paranoia facot was cool. My guess is the re-make would include some lame young actors.

I remember hearing that FOX told James Cameron and Ridley Scott to stop working on the Alien 5 script because the script for Alien vs Predator had better box office potential. What could have been...

I gotta ask, what's it like living in 1998?

I just watched the 2003 remake of "The Italian Job" on Blu-ray. It was an OK, entertaining movie. I didn't see the 1969 original, so I don't know how it compares. My biggest disappointment was that I thought the Blu-ray transfer wasn't great.

Saw "Journey to the Center of the Earth" last week and while its not the height of cinematic achievement or anything and its pretty much a kids movie, the technology used to create the 3D effects was quite impressive.