Superman Returns

Superman, the last surviving alien from the planet Krypton with god-like powers, has left the city of Metropolis that he has protected for decades to return to the last known whereabouts of his destroyed planet. Upon discovering nothing to be found where his planet used to be, he returns back to Earth, and re-assumes his alter ego of Clark Kent, a mild-mannered journalist for The Daily Planet. He attempts to rebuild his relationship with Pulitzer-prize winning co-journo Lois Lane (Kate Bosworth), but is annoyed to discover that not only is she engaged to their boss' nephew (James Marsden), but she has a son, Jason (Tristan Lake Leabu). Meanwhile, having recently been released from prison, Superman's former nemesis Lex Luthor (Kevin Spacey) is busy hatching a plan involving crystals found in Supe's mysterious Fortress of Solitude.

Gimme Shelter

I was quite looking forward to this film. Although I'm not a massive Rolling Stones fan, I can often be found listening to their greatest hits, amongst which there are many songs I'm rather partial to, in particular Paint It Black, You Can't Always Get What You Want and Honky Tonk Women, and I haven't heard too many of their songs that I've particularly disliked. Also, the only music documentary I'd seen prior to this was Anvil, which is pretty good if you ask me. 

The Shining

Jack Torrance (Jack Nicholson) is a writer suffering from writer's block. He takes a job as an off-season caretaker at the Overlook Hotel, deep in the Colorado Rockies, where he will stay for five months with just his wife Wendy (Shelley Duvall) and their son, Jake (Danny Lloyd). Whilst at the hotel, all three members of the Torrance family experience otherworldly visions that slowly send Jack insane. Meanwhile, Danny's 'gift' of the shining - the ability to see and hear things that haven't happened yet or that happened a long time ago - grows stronger.

Nosferatu: Phantom der Nacht

As opening shots go, footage of dead, decomposed babies and children, their faces contorted into richtuses of terror and howls of pain is probably one of the clearest projections for the tone of the ensuing film that I've ever come across. Couple this with slow motion shots of bats flying in the dark (used repeatedly throughout the entire film whenever director Werner Herzog takes his fancy, regardless of it's relevance to the plot) and a woman (Isabelle Adjani) waking up screaming to said bat flying around her window and you're left with no uncertainty that this isn't quite your average vampire film.

Top 5... Dinosaur Movies

Dinosaurs! It's no surprise to anyone that I love me some prehistoric beasties. I can probably trace my love of dinosaurs back to the child I've never really stopped being, but there's something about the fact that these giant, terrifying creatures once ruled the very land we walk upon that captures my imagination. Sadly, dinosaurs have become somewhat scarce out in the real world in recent millenia, so the best place to see them at their finest is in the movies. This list is probably one of my least surprising, especially the top 2, as they're films I rarely go a day without mentioning, but the list was an inevitable one, and I was at a loss for what else to do this week, so here it is:

5. Ice Age 3: Dawn of the Dinosaurs
I think the Ice Age movies have been cruelly ignored, deemed 'lesser animation,' and basically dismissed by many people who haven't seen them. Whilst they're certainly nowhere near as good as most of Pixar's output (but then, what is?), the Ice Ages are actually worth your time. Part three, The Dawn of the Dinosaurs, though not technically historically accurate, is probably my favourite of the bunch (I've not seen part four, Continental Drift, yet), and whilst including dinosaurs probably didn't hurt it's cause, the main reason I like it most is Simon Pegg's deranged one-eyed ferret Buck. I'd also like to use this opportunity to complain about Ice Age 2: The Meltdown. At one point, the herd (comprised of Ray Romano's Manny the mammoth, John Leguizamo's Sid the sloth, Denis Leary's Diego the sabre-tooth tiger, Josh Peck and Seann William Scott's possums Eddie and Crash and Queen Latifah's Ellie the mammoth-who-thinks-she's-a-possum) encounters an expanse littered with erupting geysers. Manny wants to cross, but Diego warns him that "It's a minefield out there!" The one part of this film's suspension of disbelief - of which quite a lot is required - that I just cannot overcome is how exactly does Diego know what a minefield is? Small gripe, I know, but it never stops annoying me whenever the film is on TV.

Hell Is For Heroes

1944, Montigny, France. At a rest area near the Siegfreid Line, Sergeant Larkin (Harry Guardino) is desperately trying to find a pen amongst his small band of men. Everyone is either using theirs, sees no need for one, sells dodgy ones or are in a similar state of searching for a writing implement. This scene, which does a good job of introducing the main characters and their various skills, roles and personalities, is one of very few scenes that sets it apart from essentially every other war film ever made.

North By Northwest

This is the last review I've got left unposted from the recent reviewing competition at the Lamb, I hope you enjoy it.

Is it really possible for North by Northwest to live up to its hype? It’s rare to find a Top Films list deprived of its inclusion, it features scenes that have become the stuff of legend, that also tend to top Best Scene lists, and it’s one of the greatest movies ever made by one of the greatest directors who ever lived.

If you haven’t seen it yet, then I strongly advise you to stop reading anything about it and go and watch it now, for North by Northwest is truly a tremendous film that is best enjoyed with as little outside knowledge as possible. When Cary Grant’s Roger O. Thornhill quips shortly after being kidnapped into the back of a car, “Don’t tell me where we’re going, surprise me,” this is not merely Hitchcock’s intentions for Thornhill, but for all of us watching as well.

Top 5... Time Travel Films

After my recent cinematic adventures with Looper, this list was going to be my Top 5... Fainting Scenes, however I couldn't think of any good ones outside of Sleepy Hollow. So, to celebrate Looper and my finally remaining conscious throughout its entirety, here's my Top 5... Time Travel Films. Also, apologies for posting a day late, I wanted to sort out my thoughts on Looper to see if it would be on the list, and I was out last night, sorry about that.

Time travel in films has always had one major problem - paradoxes. To my knowledge, no film or franchise has successfully made an entirely plausible and plot-hole-free time travel story. They either travel through parallel universes in ways they shouldn't be able to (Back to the Future Part II), ignore ways in which the present/future would change because of events in the past/present (Deja Vu), or conveniently forget the existence of the time travel device when it could be incredibly useful elsewhere (Harry Potter and the Prisoner of Azkaban). This is generally the most important aspect I look for in a good time travel film, although occasionally sheer entertainment value can often outweigh this.

Looper

Regular readers will know I've had a tumultuous relationship with Looper, the third film from writer/director Rian Johnson. I loved Brick, and even wrote a post expressing my excitement and fears for the upcoming film, but alas when I went to see the film the first time around I passed out half an hour in, for reasons as yet undetermined. There's an entire team of doctors and medical students currently scratching each others heads just trying to work out what - or rather, how many things - are wrong with me. But failing to fully see the film first time around gave me an opportunity to see The Brothers Bloom, Johnson's second film, before watching the rest of his third. I have now managed to successfully see the entire film, in one sitting, having paid for a total of four cinema tickets (me + girlfriend first time around, me + friend second time around, Aisha didn't want to see it again). And, personally, I think it was worth it.

Top Gun

There are some films out there that seem to be universally adored, so much so that were someone to come along and start slagging them off they'd automatically be written off as hipsterring, pretending not to like something incredibly popular to appear cool or ironic. Now, I'm fairly sure I'm not a hipster, even though I ride a bike and own a scarf (that I very rarely wear, and even then when its freezing), but I just can't get behind Top Gun, a film that as far as I can tell everyone else seems to generally love.

The Magnificent Seven

A small farming community is being terrorised by a band of thieves and murderers, led by the charismatic but ruthless Calvera (Eli Wallach, previously only known to my girlfriend as the elderly neighbour in The Holiday). He and his gang steal almost everything worth taking from the villagers, leaving them just enough to carry on farming for another year, at which point Calvera will return and repeat the process over again. Sick of this injustice, three villagers head to the nearest saloon and recruit someone to either train or protect them, finding Yul Brynner's Chris as the perfect fit for the role after he volunteers for something that could get him killed, and offers no reward - a situation very similar to that of defending the village. Chris then goes about assembling a team - you can probably guess how many - of similarly minded men based on Chris' previous dealings with them or their reputations. 

Holy Smoke

Hurrah, another Jane Campion film. I can't say I was much of a fan of The Piano, so I wasn't much looking forward to this, the next available film featuring Kate Winslet (Hideous Kinky and Faeries are as yet out of my reach).

Winslet plays Ruth, a young Australian girl (with a distinctly English accent) who has travelled to India to find herself. As well as finding that, she discovers and becomes willingly entangled in a mass marriage/suicide cult, and her understandably concerned family would rather she just came home. After Ruth's mother (Julie Hamilton) manages to persuade her daughter to come back to Sydney with her, utilising a fake illness for her father and a very real asthma attack for her mother, the family bring in P. J. Waters (Harvey Keitel), a professional 'exit counsellor,' an expert at convincing people to give up their new found cultish beliefs and return to their previous lives.