Reviews

As a British born Indian, I wanted to see Boyle take on his version of a bollywood film with a good mix of his direction, all the charm that most of Indian films have. Result, a good directorial effort with an Indian version of City of God; far less brutal and replaces that sardonic hardship from City of God to the hopeful dreams of a young boy from the slums, very much a style common in Indian films today.

I've been to India before and seen what this film shows. It doesn't make it less dreary by sugar coating; that's not Boyle's style, he will show what is there and this film depicts India's culture, beauty, depression, poverty, lustre, greed, vengeance, corruption and all the moralities. You might be mistaken into thinking I'm being patriotic but the fact is Boyle has made a very good film, with keeping the actual Indian viewers of this film in mind. He has given it a love story like most Indian films while providing the action and tension that so many Indian-film lovers sitting on corner streets in Mumbai and Delhi will want to see.

I've lived in West London all my life and this is as close to showing India any European film has done in the last 20 years, that includes Bend it like Beckham, etc.

West-Londoner-born, like myself, Dev Patel made his debut on SKINS, and excellent UK drama series involving the life of College/Sixformer teens. A good choice since learning an language and accent is easier, but also a familiar face to those who watch Skins. The main focus is on him becoming more than he is, a subtle underdog story that doesn't boast of its pious superiority. He just wants to find the girl, Latika, he met when he was a boy, save her from poverty, prostitution and give her a life she deserves. Along with that, Dev's character known as Jamal Malik has a older brother Salim Malik who cares for money and the high-life, anyway he can get it. It's the Romulus and Remus tale with loads of morality. There are 3 actors per character of Jamal, Salim & Latika, each depicting the 3 main characters at different ages who are excellently cast, cute and innocent from the younger ages; to the older actors who play them as time and chance have made them into what they are now, with their knowledge of the world changing their day-to-day perceptions. Dev's character gets the chance to play on "Who wants to be a Millionaire" in India (Indian Version) with familiar host and legendary Indian actor Anil Kapoor. What could a slum-dog know of the world, more than most. He's graduating from the university of life.

Contrasting, political, brutal, and bitter-sweet. 8.5/10.

When "Six Feet Under" first aired in 2001, people were adamant about the idea of a Family- Run Funeral home, of which is supposed to make good television drama and with its satirical dark humour and very real characters. It seemed like a lot to gauge for a show that would constantly display death. Then again, death is a touchy subject to everyone, where do we go, what of the soul and more importantly, how we deal with it, and do we ever deal with it.

Funnily enough the idea for this show is original, who ever had the idea first wins in that respect; they get to clarify an unlooked upbringing of a Family Business and way of life for those who 'cater' the dearly departed.

Result; This great show has introduced us to the Fisher Family. A lovable, quirky, witty retort type of what can be called "dysfunctional" clique, which would evidently be used as a comparison for future generations of TV clans.

You may think it would be depressing, when in fact the show is surrounded in clairvoyance. The episodic structure follows that of some random loved (or unloved) person dying at the beginning of the episode through to the eventuality that the Fishers are the one who take care of the recently passed.

The Cast; An excellently played bunch of mishaps that are such a winning cliché with each other that they come together to depict an idea of family. Peter Krause plays older extroverted son Nate Fisher Jr., named after his dearly departed father who starts off the first series (season). Nate is not built for the job but finds that being drafted as funeral director may have its merits. Nate also introduces us to his on and off love of his life Brenda Chenowith (Rachel Griffiths) whom is an Australian actor with a killing worked state-side accent. She's a pious talking sexually inhibited deviant and we love her, and she develops into a wonderfully woven character.

Middle child now fully licensed Funeral Director David Fisher (Michael C. Hall) a character pushed into a business role vacated by a late father, but doesn't gloat and makes it worth something to him. He plays the in-closet Homosexual whom is seeing his supportive and well played character and partner to be Keith Charles (Mathew St. Patrick). The grieving mother and wife, quirky and lovable Ruth Fisher, played by Frances Conroy who's variety of theatre acting pays off every little bit. And finally the youngest Claire Fisher, played by the gorgeous Lauren Ambrose, who just about reflects teenage life without giving off the false sense of adolescence played by stereotypical teens in say The OC. The inevitable wild-child, whose dalliances with an array of class A substances give us a comedy and just all round fun experiences.

Families on TV, especially American TV could learn much from this, and have. It's easy to spot the similarities in shows like "Dirty Sexy Money", "Dexter" and "Brothers & Sisters". TV drama found a mark that explored more boundaries than Scott Bakula did in Quantum Leap, more frontiers than Star Trek. It's hard to go back to the atypical TV-centred families of so called modern life. A dark satirical backdrop of a Family-Run Funeral home opens up a more accurate approximation of current life and all its density.

Verdict:

Short but sweet, stays with you like the memory of a loved one. 10/10. Six Feet Under, you will be sadly and forever missed.

The Caped Crusader returns (Bale) with the help of District Attorney Harvey Dent (Aaron Eckhart) and Police Commissioner Gordon (Oldman) who join forces to combat the menace known only as the 'Joker' played by late actor Heath Ledger, from there the lines of the law, rules and good and evil blur to startling effect.

My Review:

Three years later, that's how long we've waited for the sequel that we were never fully sure would come to the re-invented comic book hero film Batman Begins, a interpretation that showed the darkest parts of the vigilante's attempts at justice. Here director Christopher Nolan injects some venom so to speak, in the form of the dark knight's nemesis, the villain, the Joker.

All former characters, apart from the deceased make an appearance including Gordon (Oldman) who takes a twisted turn of fate, he becomes more involved in Batman's dealing with the help of Harvey Dent, whom all form part of a trio of do-gooders. Whereas Harvey (Eckhart) seems reluctant to follow the Dark Knight's methods, his incredulity still lingers, but eventually his short lived morale takes a starling one-hundred and eighty degree spin when the Joker gives him a few home- truths; in drag, you'll understand later.

Everyone is wondering how well does Heath Ledger's portrayal rival that of the comic books interpretation, of which had help with novelists like Frank Miller on 'The Dark Knight Returns' and Alan Moore's 'The Killing Joke' which are renounced as some of the best comic books in existence, and of whom Nolan and Nolan took their source material.

Truth is it goes beyond physical and metaphysical interpretation; Heath gives an amazingly profound performance of which will have lint lickers and comic book nerds in withdrawal twitters. The Joker is badass, to quote our American neighbours. He is the most likable unlikable out there on screen, true to that fact that Nolan's direction and Ledgers acting go hand in hand to produce a monumental performance. He does steal the show, as much as Batman; and he should, all fans and readers have been waiting for a performance of one of the most depraving maniacal villains to make a re-appearance. He plays the sides with sporadic sense of humour, and punches his way in like of a force of f'cking nature. His quick wit, cynicism, depravity and humour all provide a catalyst to this amazing roller-coaster ride of 152 minutes of amazingly executed action scenes that work well because of the fact they integrate into the plot as plot rather plot devices, the characters make the plot, even if it leads to hospitals being blown up.

Maggie Gyllenhaal has made the replacement of Katie Holmes-Cruise character as Rachel Dawes, all we know is that Mrs Cruise was not interested in playing the part as she seems to be too busy playing Tom Cruise's wife. Watching Gyllenhaal, she makes the character wholesome and the fact that she bears a resemblance to the former actor of the character is merely of consequence, she also happens to play the love interest of both Batman and Harvey Dent (Eckhart); whom all know makes the brutal transformation to Two-Face. Interesting to note that Gyllenhaal happens to bring a stronger personality of the Dawes character and serves up her own moral compass when the revelation comes that Batman will one day retire to the likes of people like Harvey Dent, whom provides as much justice with a face as Batman whom wears a mask.

All in all this is startlingly action-stocked blockbuster with a hysterically twisted sense of villainy, with the lines of good and evil blurred to unrecognisable locality.

Verdict:

Summer's here and so is Batman, course the Joker gets his share, the bigger half. Watch out for the magical disappearing – pencil trick. 10/10.

This film isn't the standard comedy about average teens to young adults trying to get off, this is about young adults that have the same sort of mishaps and adventures exploring the different types of sex, yes believe it or not there are different types; whether it be about being in love, to a one night stand, two friends helping each-other out or just two ex-partners filling in.

Be it a rough topic to display on screen seen it's pretty full of sex at every angle, which is besides the point, the point is that it's about the deeper meaning, what do we discover about each-other in bed, what was there before and what's there now. The writing is spot on, the scenes aren't as you'd expect, the characters question themselves and their abilities in or out of the sack. An odd experience on screen, but a funny one.

Verdict: 90 minutes of sex on screen, could the internet provide better? Doubtful. This is sexual comedy at it's best, thinking that makes it a new genre of film-making to consider. 7.5/10.

Plot:

Laura (Rueda) returns to the orphanage that was once her home with the intention of reopening it, taking with her, her adopted son Símon (Príncep) and husband Carlos (Cayo). Shortly after a few sleepless nights in a new house that warrants comfort, Símon (Príncep) finds an imaginary friend who once lived in the same Orphanage prior to its closure; the funny thing is: the number of imaginary friends starts to grow...

My Review:

One thing to point out is that Guillermo Del Toro did lend a hand in this pictures creation yet as a producer; the directorial debut is given to Juan Antonio Bayona, credited as J. A. Bayona. However those familiar with Del Toro's work will be aware and should be aware of his presence throughout the film, that nostalgic sepia tone elements to the camera imagery that can be traced to 'Cronos' and 'The Devil's Backbone'.

Very astute is the idea that both Director/Producer Del Toro and J. A. Bayona have a great matching affinity for the tautly woven and darkly mingled fantasy 'slash' horror. J. A. Bayona may be considered as Del Toro's prodigy or quick understudy that shows even why with the help of Del Toro; Bayona will never be out of work.

The new found director learns the basic skills from his mentor, in a platonic sense of the same layout; a good scripted, great acted and a well-told story before the multitude of shocks, blood, and that sense of unease that Del Toro gives unlike Hollywood horror directors of recent films like 'Saw' or 'The Others'.

The film doesn't have anything new to give to scare the audience today; instead he takes his stand stead to the classical shock treatment through the use of making a murder mystery/thriller with the loose elements of horror. The location, the Orphanage itself plays like something that has occurred in the nuance of Hollywood horror before many times before, however the take (however common) feels new and fresh, even with the orphanage have the complete range of gimmicks and prickly on-goings like a groaning staircases and a squeaky outside carousel that moves to appear caught in a heavy winds grasp when anyone looks out the window. When the settings and the basic story is established, Bayona settles into telling his story, working through the finely tuned elements of fear that are unforeseen.

Belén Rueda's character' past life is revealed as a young resident of the orphanage, one of the few without obvious disability and so the only one to find a new family. She comes back to the place of her many disowned friends and homely stand stead either to rekindle the life she had and make it a home for other kids as a act of kindness or too help her understand her own inner dealings now passed down to her adopted son. Of which is apparent when the past of her son's life, Símon, is revealed through the friendship with an 'imaginary' lad who likes to hide in caves on the beach and play games with intravenous knowledge of Símon and his family.

Laura ends up in a desperate situation that takes her further into contact with the ghosts of her past, both literally and figuratively. The story plays out more through the use of a horrific sack mask covering that opens up old wounds and provides the steps towards traditional scares.

The brink of emotional degradation of Belén Rueda's persona is paraphrased with the ghost story and crime proceeding and is what makes her performance incredible, a desperate mother looking for her son though she doesn't really go round looking for him, she doesn't run outside with pictures to give to the public, she very much believes that the ghosts of the past of this old orphanage hold the key to finding Símon and begins to question if they mean any harm? Like most ghosts, are they trying to tell us something?

Verdict:

A calmly placed horror/thriller that provides the jumps through the mystery of finding a missing child, a brutal and emotionally sad ending that works to startling effect. 8.5/10.

A young girl named Ofelia (Baquero) living in Spain in 1944 during the Franco regime is taken by her pregnant mother (Gil) to live with her Fascist Franco loyalist and commander stepfather (López) in a remote part of central Spain. Her life becomes more interesting when upon she encounters a faun (Doug Jones) who tells her she may be more important to the realm of another world.

My Review:

Director Guillermo Del Toro gives his final film of the trilogy that really mixes and mingles fantasy and brute horror to unconventional ways. With 'Cronos' and 'The Devil's Backbone' now in the bag, his focus shifts from Mexican vampires and ghost children in orphanages to mythical fantasy and brutal war time horror.

With the recent success of European directors conjuring up landmark films director Del Toro has come back and delivered a sophisticated piece to his earlier Spanish film, it really is his finest hour.

We get to focus on young Ofelia (Ivana Baquero), who is nothing short of well played introverted child who' life is change at the sudden appearance of a faun. Del Toro proves his direction with child actors is yet again undiminished, his continuous efforts to weave great performances through younger generation actors that seem to have refined talent.

We need a baddie, and who is better than that of demented and paranoid dictator/stepfather Vidal (Sergi López). His personality equally matched in his commitment of a neurotic approach to ending the rebellion/resistance, as if he were Darth Vader in 1940's Spain. But being the stepfather of Ofelia suggests that with his current regime he'd rather care about passing on his lineage to an unborn son and half-brother to Ofelia. And you though step- mothers were bad.

Supporting Ofelia and the tyranny of Vidal is maid Mercedes (Maribel Verdú) whom is really known well enough for her impressive number of films in Spain. She supports Ofelia and her mother after a few distraught ordeals, however, never underestimate a lion is sheep's clothing, when given a chance so see what Mercedes can do with a knife.

The stunning taste of fate playing into effect as this seemingly young girl, who was assumed ordinary is now drawn into a bemused revelation of that she is to be a princess of a supernatural world. Del Toro plays with the actual and imaginary aspects of a child in a sense that they become blurred, is this actually real, or is it that her imaginings runaway with her? It's hard to guess, you'd rather not go for the latter even when she arrives at an old mill in cutoff Spanish woodland, clutching a parcel of books filled with fairy tales.

CGI delivers, it definitely delivers with magical sequences and real cringe-maker scenes. An adult tale dealing with the stuff of fantasy that is rooted in children.

Verdict:

You can never be too old for any fairytale. This one deserved the rare score: 10/10.

Plot:

Thriller dealing with the loss of innocence set in southern Italy. A ten-year-old boy discovers a young child chained up and starving in an abandoned farmyard. He befriends the boy and slowly discovers that he has uncovered a conspiracy that reaches into his own family

My Review:

Written by Niccolò Ammaniti, whose novel is so sublime and subtle in its creative use to describe sound, colour and imagery, comes the on screen version of one of his appraised novels based on a 1970's kid growing up in Sicily.

Director Gabriele Salvatores accrues together scriptwriter Niccol Ammaniti's simple words and tries to apprehend the panoramic imagery that encompasses the film in its finest and darkest hours. Sheer volume of words could not describe how the imagery grasps the viewers eyes, although as if you are standing upon a Sicilian cornfield, where you can almost feel the dry heat and smell the odorous of faint and distinctive Sicilian cuisine. The very imagery makes in an envious place to live, as if on some level that the pleasures of the idyllic rural existence is the very essence of a carefree life.

The story is of course a bucolic drama is set in 1978; the Basilicata region of Italy, you think with the title it suggests to be about growing up in the rustic keeps of Sicilian Italy. However, the sheer forceful blow comes from the fact that film is like the idyllic place that has more than meets the eye, of course it does with a title as suggestive as it sounds. It seems like a picture-perfect indigenous location that bears the likes of a tourist's idea of a traditional Italian holiday.

The real star is 9-10 year old Michele (Giuseppe Cristiano), the rurally kept pre-adolescent protagonist following his discovery of a feral blind boy Filippo (Mattia Di Pierro), who's chained up in a hole in the ground beside a ruined farm. The pairing of friendship and direction of these two herald by director Gabriele Salvatores shows its true appreciation in the interaction of these two very different children. The range of acting and direction shows the same level of mature child actors in league with other directors, i.e. Guillermo del Toro's work with child star Ivana Baquero in 'Pan's Labyrinth' or Alejandro González Iñárritu's direction of children in his trilogy from 'Amores Perros', '21 Grams' and recently 'Babel'.

One scene that particularly engrosses attention and shows true connection between these younger actors is a scene in which Michele tries to get Filippo to open his eyes and look upon the face of the young lad who has befriended him. The scene shows a glimmer and incandescent spark of light and Filippo's first look at Michele.

Nevertheless, underneath the pristine imagery and wonderful direct lies the superficial rendering of a thriller, less played out conventionally and more a tense coming-of-age light- hearted rigid story. Good stuff.

Verdict:

Unparallel drama and tightly woven plot with a wonderfully sublime script thanks to the novelist. Fancy a trip to Sicily? 8.5/10.

The Film is showing on Monday 7th July 2008 at 12:10 am. On Channel 4.

Plot:

America takes on their version of 'About a Boy', only he's older and wants to become a popular kid by selling drugs and counselling, working his way through the headmaster (Downey Jr.), his daughter and as the schools illegal pharmacist.

My Review:

After being kicked out of a private school, Charlie Bartlett (Anton Yelchin) is sent to a public school hoping he can fit in more than the likes of the Vaudevillian school boys of higher class status. Bear in mind this is no way to be considered in the same terms and likes of say 'Superbad', 'Knocked Up' or clever gem 'Juno'.

Charlie Bartlett is the type of character that is depicted that being rich and likable don't really work, even the rich and well-brought up crave a lower sense of likeness and popularity that doesn't come easy being higher-class, it's all about making a very simple and if naive rich kid become the most popular boy in school, in effect he does.

What do some teenagers wish for, security, comfort and the one thing in school: popularity. The film starts off with a scene that involves Charlie standing in front of crowds of adoring peers and strangers, which is an apt allegory to the films events that do eventually see the boy become 'the man'.

He starts off with the typical picked-on student look of a blazer and a briefcase in which most students carry joint for a quick buzz before class, through the eventual encounter of a bully confrontation, and through that uses the bully to help launder drugs and therapy sessions in the toilets to students who just need to talk, operating craftily, yet daft, plighting schemes to win their approval.

Hope Davis plays his atypical mother who blames his current school crisis, though Charlie wouldn't call it that, on her genial conditions that have seem to have been passed down. Davis is given a lot less substance for a 90 minute short but her subtle comedy of a dopey but stern character has resounding success.

Charlie Bartlett really gets going seeing the type of student is need of some relief through his fictional conditions of say 'panic-attack' prone or just in need of some Ritalin. Charlie's desire for acceptance range against the dangers of selling prescription drugs to his classmates. There is substance there to ponder and ponder you shall but not before you get a great laugh from Charlie's reaction to a dose of Ritalin.

Robert Downey Jr. is underused, although given a history for his character that could play out well, even on his part he puts on a big scene performance that doesn't really feel like it's the one you waited for. As a result the film is cut short like a class finishing too early for anything to sink in. It needed some more revision and maybe some homework to work things over. All in all, a good feel good short depiction of an exemplary teenage life.

Verdict:

it is an interesting premise that just doesn't tie up all the loose ends, however another witty comedy that also has a prescription of feeling good. One of those films that makes you wonder, what would you do to fit in? 7.5/10.

Weeds is about Nancy Botwin a working mum and housewife who gets into the darkest situations when her husband unexpectedly drops dead and she is left to raise two kids, a brother-in-law and rustic area's secret addiction to home-grown weed. Using this; as a way of dealing with her emotional collapse, in return for providing for the family by dealing marijuana to neighbours and spacey school-kids. Nancy is played with perfect pokerfaced- untelling-drug-seller mum by Mary-Louise Parker, ex-West Wing star who talks on a less political and more social tasks of day to day life. She is groomed for any social eventuality. Alongside the mum of two is youngest Shane (Alexander Gould) who played the voice of Nemo in 'Finding Nemo' who is less stutter and more into the wild flights of fancy. Older bro Silas (Hunter Parrish) who is eager to get his school life on the OC-type list by doing anything or anyone possible.

Yes, selling drugs makes good TV? Weeds outshines the morally ambiguous judgement on drugs. Some of the people who do drugs are good, some are bad. But it's the person we judge, not the substance. While it seems a bit Desperate Housewives, it's got a lot more going for it. With bitchy neighbour Elizabeth Perkins who makes the typical rich mum attitude take a leap forward.

Verdict:

With its entwined spontaneity, this is addictive and yet bizarrely enjoyable. Like most TV shows trying today: firmly planted in reality.

Plot:

In the not-too-distant future, the sun is about to smoke out. A crew is sent to re-ignite it with a nuclear bomb; when they fail, a new team sets out to finish the job. But they find that flying to the least hospitable place in the solar system and staying sane and alive is no simple matter.

My Review:

If indeed the film gave you time to ponder similarities to sci-fi movies past, which it does not try to show it's a blend of those you have seen, you might find yourself thinking, it's a mix of "Alien"/"2001"/ some "Event Horizon" & "Solaris" (The Original Russian film) ; if you're being particularly picky. Even some dark undertones of "Blade Runner" all apparent. However it does more that the latter half of those films listed. Adds a smidgen of horror to a beautiful piece of cinematography, light and incandescent effects.

Verdict:

Boyle's 2001, gritty, realistic and overall excellent. Most films like this focus on what's out there, in the vastness of space; on the inside looking out. This time we are given a bold look from outside looking in. Into our own world; the Star, the Sun. 8/10.

Plot:

A TV actor (Ryan Reynolds) goes on a bender before crashing his car after smoking crack with a hooker. Under house arrest, he hears noises and sees hallucinations that suggest a haunting. However, the truth is much stranger, and a portal to other dimensions is opened...

My Review:

The Nines is a more poetic version that questions Humanities existence. It is another startling and perhaps more original idea that bares the likeness of M Night Shyamalan or whatever his name is. It begs to answer on its own accord the simplest questions, like "What is going on? Why are we here? We've all thought these things?" providing an answer to our own inadequate answers.

Science Fiction fans will love this, with that in mind it has a beautiful intrinsic idea behind everything (literally everything) that seems to glimmer with its own inner-self incandescence. Mixes and mingles parables and plethoras of edgy indie realism with bizarre metaphysical surrealism, providing much needed provocation and genuine food for thought.

Verdict:

A well-cooked and interesting piece of 90 minute cinema. 8/10.

Plot:

Biopic of legendary singer Bob Dylan through seven different stages in the artist's life played by six different actors. The events that follow are drawn as much from Dylan's songs as from his actual biography.

My Review:

In short, 'I'm Not There' is restless, brilliant, and so far up its own arse. It's that kind of film: abundantly engulfing with its self-ego centric demeanour, with the subject that's wholeheartedly likable.

It's all about Bobby; it's a personal elegy to him, and all albeit an allegory that tells parts of his life through the use of several actors who prove to be a well ensemble of players. It's not in order, it goes from best to worst parts of his life, and it has to be; fractionally chronological as you are meant to see his life through a mix of good and bad times.

Each segment entwines with the rest, seeming almost unnoticeable. As if you almost wait to see two different Bobby's run past each other, like some corny way to go from one story to another.

The Man Dylan, who is it we suspect is his true self? Cate Blanchett, Heath Ledger, Ben Whishaw, Charlotte Gainsbourg, etc all play a part in Dylan's mayhem lived lifestyle. Heath Ledger playing the easily absolved actor who could have been bigger as apposed to the singer who was made. Heath is also the failed husband, and then there's Ben Whishaw's Dylan who fathoms and tries to connect his life with the poet Rimbaud.

Cate Blanchett's Dylan gives a depiction of his controversial years, where he seemed lost on what his direction of music would turn to. Blanchett is the one who most closely captures the familiar inner conflict and the more upstaged conflict that wasn't in public's eye.

Verdict:

Played by multi-talented actors, we are given a multi-faceted biopic of Bob Dylan in his prime. It may irritate, fine wined for some. Amazing plethora-ed depiction. 8/10.

Plot:

Skins follows a group of Bristolian (from Bristol) A-level students through parties, drugs and occasionally college.

My Review:

Shameless production team has made its version following the idea that under-18s were too stupid for decent programmes, for likes of Hollyoaks that doesn't really reflect life of modern teenager to early 20's UK life.

Then again this doesn't quite live up to it either; it's a fantastic enjoyably bitchy series. Full of fresh, fun, and subsequent fractures for a group of well made mates in Bristol. Staring in this extravagantly raunchy and comedy filled with 'laugh out loud' series is 'About a Boy' star Nicholas Hoult, who is a hell of a lot taller and more of the associated leader of the crowd.

It starts off very well, quick intro into the characters, things happen while you try to find characters to connect with. Each of which have some great quirks, from funny daily sayings to sexual habits and preferences of certain things; i.e. like sleeping nude. The cast is followed by Sid (Mike Bailey) who plays Tony's (Hoult) best mate, who is a shy well likable teen who one day dreams of having the same confidence in life and sex as his mate Tony. With the gang is the well known knob-end mate who loves drugs, constantly raves, occasionally nude, and with a fascination in his Psychology tutor; teenager Chris, played by (Joseph Dempsie).

Alongside Hoult's character is his characters' love/sex interest Michelle (April Pearson) who gets the focus is the latter half of the first season, seemingly unaware but bites back when things get out of hand. The more conscious part of the gang is played by Jal (Larissa Wilson) who gets the credit in her strong and matured performances, adds depth, advice and with some cunning whit to all the group's misfortunate activities.

Muslim, drug using, loves girls, party lover Anwar (Dev Patel) who somehow never gets the bollocking from his parents for his well hidden actions. Anwar's best mate is a likable gay lad teen (see irony) Maxxie (Mitch Hewer) who is a great dancer, tries to fit in and gets into the same likes of trouble of his other mates. Anwar and Maxxie complement each other so well that it's all in good fun when it comes to religious, sexual and or otherwise epithets. And finally the funny quirky almost 'Phoebe from Friends' like character that who is an instant hit and gets her share of classic comedic moments.

All in all the gang support each other in everything, wishing you had the same type of friends. The comedy is almost spot-on with some amazing charisma, flamboyant retorts, and everything they say bounces off each other from the raucous soubriquets to walking in on a mate who is 'giving himself one'.

The episodic structure is made up of segments that are character centric with the usual laughter and outside goings on. The quality and consistency of the series is one of the strongest points, amazing well executed scenes followed by snappy and witty retorts. There's never a dull moment, funny in every respect, throwing its opinions, and the middle finger, at conventional criticisms.

Verdict:

Exhilarating and fun for most people who are in their late teens and University students. This is one series that will certainly be welcomed back for the second series.9/10.

Plot:

When 16-year-old Juno MacGuff (Page) gets pregnant by her not-quite-boyfriend (Cera), she elects to have the child adopted by a wealthy suburban couple (Bateman and Garner). Then the problems really start...

Review:

Teenage pregnancy, tough note to some, more of a tough note to the parents of the supposed victimless teenager whose new found realisation is bestowed upon. Juno is a witty and very clever tale of a down to earth 16 year old who comes to age, so to speak of her really, really unplanned pregnancy, in a film which receives more coverage than the other two films put together.

The second film from director Jason Reitman, following from his smooth debut piece' Thank You For Smoking', and the first script from multi-careered Diablo Cody, of details we won't go into right now. Juno has the first trouble for being compared in the same demeanour and style as 2007's 'Superbad' which, in addition, stared Michael Cera prior to Juno. Some gloat that it tries to impress, but be like any other film loving viewer and go see it to judge. A three-act structure that follows the emotional highs and lows of Juno's winter-to-summer pregnancy, the film saves its aces for last.

A touchy subject is the main brunt from audiences to try to wonder why to approach a such a 'Serious' subject, all too common in the UK, which will cause some segregation. The first ten-fifteen minutes will possibly have you confused with ayes and nays.

Our heroine? She is our cool-old school- rock loving teen who happens to be more retro than todays rampant bunch, more so on Ellen Page' part for a playing a younger role. Thankfully she plays it well, showing perhaps maybe there is hope for the next generation. Juno has her cheerleader best friend Leah (Olivia Thirlby) to discuss to for the big news, offering support for the ride to come, the pace and tone shifts to a more floating setting and full of more warming scenes.

One of the surprises of Juno's character is her unwavering wit, it just so happens to act as a blanket for her insecurities and a strategic defence for people's opinions; she is definitely given the main spotlight for a reason, her witty, cunning and self-sufficient manner. This is the key to when she breaks the news to the old Step-Mum and Dad, (you knew it was coming) played by J. K. Simmons and step-mom Allison Janney, who add a lot of depth on their part to the story, not grief stricken about their daughters lack of control and immaturity but her maturity to give the unborn baby to adoptive parents, everything is planned out well, what's to worry about? Juno's up the duff, big time, the more is shows the more problems it brings, but carefully written scenes and moments show Juno's softer side, and is first glimpsed in her relationship with the baby's father, Paulie (Michael Cera).

Here come the crazy adoptive parents! The wife, and soon to be mother, Vanessa (Jennifer Garner), uptight high-class control-freak, leaving our sympathies to side with, albeit relaxed, father Jason Bateman's Mark, a former grunge musician who matches Juno's personality so well, from music, to living style.

"I'm dealing with things way beyond my maturity level," she tells her dad, as an example of the type of conversations Juno has with her understand father after she finds herself drawn to Mark and his collection of, music, gore movies and manga comics. This does really show how young she is. Scenes like this that gives the film depth, as Juno gradually discovers who's on her side in life's battle. The almost wholly without dialogue, scenes shows the greatest achievement in emotional impact and restrain from making it too dramatic, it also bodes well with Juno's character when in the midst of all hell on earth, she keeps that whit, that fast-talking loudmouthed mind to a closed silence.

Verdict:

Sharply written, funny in the right places, heart-warming and 'edge-of-your-seat' enjoyment. What you need for a great time. 8.5/10.

Plot:

1935, and 13 year-old Briony (Ronan) changes the course of several lives when she misreads the relationship between her sister Cecilia (Knightley) and housekeeper's son Robbie (McAvoy). Later, as World War II rages, she tries to atone for her mistake.

My Review:

This is Briony (Saoirse Ronan), forged by her family and aspiring to be an accomplished writer and playwright and pedantic know-it-all; who uses that same enthusiasm to run riot with her advocated mind full of plethora's that seem to lie down like a silver-platter full of misconstrued actions.

Her lucid creativity and lack of self-awareness; all too common with some kids these days, as she verges on the precipice of all too well known adolescence, adding a twisted sense of her judgement, in effect creating a series of shocking revelations.

Romola Garai plays the elder counterpart of Briony gets the more difficult less pungent role, a character that lives an almost entirely introvert life. Some screen mannerisms shows this gamut, she's overshadowed by Saoirse Ronan as her 13 year-old self, who seems more aware of herself and her surroundings.

Her sister on the other hand, Cecilia (Keira Knightley), with her sharp tones are exactly posh enough to fit Cecilia; lounges by the pool smoking with Brother Leon (Patrick Kennedy) all the while keeping her distance from nonentity Robbie (James McAvoy), a scholarship boy with little to recommend him than himself. The elder cast actors barely get a look in or even a second look - near-cameos from Brenda Blethyn, and Vanessa Redgrave aside, the three are in the centre stage. McAvoy astoundingly impresses, while Knightley who finally stakes her claim in a grown-up part and does more without a pirate's rusty blade.

Fantasy refined with a pragmatist sense of underwater scenes make the stately home feel like a home, heat, tension, sexual and or otherwise, cracking from under the marble floors. All leading to an erotic sex scene audiences' will not expect, but be stunned despite the fact that both parties remain almost fully dressed. All seems too well; time seems to be against them.

1940, as World War II rages around them, we see the central three characters - Cecilia, Robbie and Briony (now played by Romola Garai) a few years later. Cecilia and Briony are working as nurses in London, Briony giving the indication of following her sisters' footsteps to atone, while Robbie is part of the ill-fated British Expeditionary Force, trying desperately to reach the boat for home at Dunkirk in the last and darkest days of Britain's war effort. Innocence of youth has faded to something chilling, a world that's covered in veils and old faded photographs with impiety and an ever-present paucity of light. The second act sees Briony turn from self-righteous to stricken in the turn of a page. We have the chance to wallow in the mess she has left, and realise the full extent of the crime for which she must atone.

Some very neat and summer-tinged French countryside through which Robbie and his comrades tramp is already war-weary, provides some beautiful and some brutal detours that make the surroundings more of a shock than welcoming. Some have and have not seen clips and small sneak peeks about what's going to make Wright's reputation. In a gob-smacking (literally) five-minute tracking shot on the beach at Dunkirk, as Robbie's exhausted troopers stagger in to find not refuge but chaos. To incessantly babble of it would not give its full constructive meaning. This is as effective a World War II beach scene matching to Spielberg's Saving Private Ryan's opening.

The quality of the production as a whole removes any indication in flaws in the narrative; which are almost immediately overshadowed by the next esteemed scene. When on some level you are left with a crescendo volleyed ending, you are left reeling and wanting more. The end plays as a shock, is there ever a happy ending?

Verdict:

Delicately handled, goes from pure heavenly fantasy to brutal war-time drama. Well contrasted with gorgeous cinematography, a picturesque score and unquestionable performances. 8/10.

Plot:

Texas, 1980. Hunting in the desert, Llewellyn Moss (Brolin) comes across the wreckage of a drug deal gone wrong and takes the cash — without counting on the man sent after him, an implacable killer (Bardem) intent on recovering the loot at any cost.

My Review:

The Coens have been off their game, they have been off their rocker with a short number of okay flicks. This time, the genre they tackle changes format completely. The Coens have rediscovered their mojo; with added humanity and Viagra.

A from Pulitzer Prize-winning novelist Cormac McCarthy's violent neo-Western, No Country For Old Men encompasses blood, guts, gun galore, sharply and tense woven plot with a lusciously written script. It's got Blood and lots of Balls, sense of death lurking in the barren dry Texan landscape that has some flamboyant cinematography. And being a knotted tale of crime innately wrapped in circumstantial regards.

Surprisingly foremost is how the film remains both recognisably to McCarthy's allegory, all the while being soaked in oil-black humour. With the entire jazzy corollary that the Coen's use at their detriment, with witty deadpan comebacks. "If I don't come back, tell my mother I love her," Josh Brolin's anti-hero Llewellyn Moss tells his wary discerning wife Carla Jean (Kelly Macdonald) before he faces hell. "Your mother's dead," she retorts. "Then I'll tell her myself," he sighs.

Sweltering corpses cook in the thirty-plus degree desert sun, even a dead dog, and a trail of blood, with the same splinter of the recent ' The Assassination of Jess James by the coward Robert Ford' indomitable likeness, splattered like ink along the parched ground, leads Moss to a case containing two million dollars. He takes to the money and runs. We consequentially start eyeing the tremulous determination of Moss, a local hunter who happens upon the remains of a drug deal gone badly wrong. The plot is triple-headed, with the narrative shifting focus whenever one of the leads seems to be taking centre stage, some more than others.

The clean-up guy is Anton Chigurh (Javier Bardem), who is totally underestimated throughout. A killer with the implacable dedication and blend of a Cylon from 'Battlestar Galactica' and Terminator; with a haircut to match, with a psychopathic sense of hypocrisy, irony and striking intelligence. Even Carter Burwell's score is defined by its candid — made up only of groans and eerie whistles. Course with that being said, the score only builds up at the roll of the credits. Bardem's is the role with a unbelievable amount of possibilities — a stone-cold killer obsessed, leaving to fate and chance to decide the lives of the ones he holds to the flip of a random toss of a quarter. He is blank force made breathtakingly plausible.

A startling chase set of events leads to shootings shot to perfect, brutal and tense graphical scenes that really make that +18 or R rating stand out in a dry soaked red. Always two steps behind is the old man of the tale, Sheriff Ed Tom Bell (Tommy Lee Jones), a lawman up for retirement, facing an evil that he can no longer decode.

It is true to the book, even when the end is like a downplay and ambiguous laden message instead of a crescendo-ed glorified good guy v.s bad guy.

Verdict:

Colourfully and visually beguiling; as tense, sharp and brutal as some Western depictions. One of the best of 2007. 9/10. Watch for the coin toss scene with Bardem and a shopkeeper.

Plot:

As his gang and legend begin to fragment, train-robber and outlaw Jesse James (Pitt) is a haunted man. He can feel his death approaching, but can he foresee that fringe gang-member Robert Ford (Affleck) will be the man to pull the trigger?

My Review:

Brad Pitt's career takes an interesting turn in this idea of a modernised Western based on a legend. At the helm of a two-time director Andrew Dominik, it's fair to say that new Western has likely left perplexed studio execs somewhat long in the face. It's also fair to say that we expected Mr. Jolie at the back of a greasy gun saying some ponderous if not idiosyncratic line to a enemy facing the other end of the barrel.

The source is Ron Hansen's fictional recreation of the chaotic events that brought James-gang-hopeful Robert Ford (Affleck) to shoot his iconic leader in the back as he phased out of the frame of the picture. However, what Mr Dominik has given us is a unconventional thrill seeker, (all those expecting a thrill seeker may want to go get another thrill with more premise) a spurring yet slow and pensive poem-like film that makes existing luxuriant western outings seem less buzzing.

Director Andrew Dominik cultivates a not-unfamiliar revisionist aura of America's formative days, a period drama that feels very modern, with the borderline being on the precipice. It shares the unique blend of contemplative power and unmaking of myth from say Unforgiven and shares its sepia-hued authenticity and indistinct morality. This is almost the most unusual form for a conventional idea of a Western with a backdrop of a psychological landscape.

Andrew Dominik matches the book's shapelessness faithfully: messy like the throes of garbled history and hear-say with an undercurrent of the actual shards and slivers which is it's composite. Loosely weaved plot that feels more tangled than vague. With its few superlative undercurrents, and beneath a rambling exterior is a true immersing theme of death and assignation so foul that it makes you think of convention planned murder-outings being the weaker copies of this.

Pitt is very impressive as he is most effective stalking the fringes of sanity - seeing how he borderlines his 12 Monkeys and Fight Club twitchy-ness that made him luminous - so he is fittingly cast as Jesse James. Affleck also gets more to work with than most previous outings. Each man lives in each others shadow, James parses his infamy in newspapers and observes the edgy brutal loyalty of his gang, especially Ford (Affleck). And when Pitt loosens the hinges a fraction, he really loses it, maniacal laughs like a death has a new best friend.

A lot of weather-swept horizons and desolate farmhouses in post-Civil War Kansas and especially Missouri, float across the screen with less Western orientation, more like 'here is the countryside, look at it and "see" it'. There is no real colour, more like a bloated texture of a summers afternoon, left to some gold's, bronze's and faded styles of almost 'Deadwood' type haunts and well-dress gents who crave murder.

No momentum like any ordinary thriller, more like it's laced with a cruel menace; with an inescapable clash as scenes travel disturbing and unpredictable paths. On that note, no guns, no galore-ness of any kind, very suave and unpleasantly vindictive, but we do get one possibly statuesque of modern train-robbery scenes that you will ever see, brutal and very indicative of the gangs of old. Just how much myth creates monsters is a overall theme.

Verdict:

Edgy, dark and maniacal in all-sorts, not the Western we all have an idea of. 8.5.

Most people would be slightly weary of the idea of a new and re-invigorated version of the spectacle Science Fiction Drama series Battlestar Galactica (1978-1980) being up to the year in which the series became 'Galactica 1980', which lead to its thoroughly trashed downfall, was a bit of a surprise that a network had decided to re-fashion the show with a more updated and far more interesting story. Many fans would, should insist that this is a re- imagining not an intrinsic remake of a cheesy lovable, and to use a pun for a modern show, "That 70's Show". Many of the sci-fi fan-boys, and girls, were in need of a successful sci-fi drama series that had the ability to keep fresh interest and action with drama to top.

The show comes from that concept of a 2003 mini-series, a somewhat thorough and enjoyable close to 3 hr pilot. The principal point, machines are made by man, evolved, rebelled, and a war began.

Sci-fi rubbed off on this show, and it pays to respect it with homage's. With elements from novelist Philip K. Dick from his earlier works of "Do Androids Dream of Electric Sheep" now known as the film adaptation "Blade Runner" along with the dark twisted parallel of the humanoid Cylons, and that mirrored 'skinjob' reference. It also manages to match the dark allegory of P. K Dick' "Valis" a unique exploration of plethora's and universal metaphysics.

The virtuous and glamoured imagery bears the likeness of Kubrick' "2001: A Space Odyssey" with cross-cut scenes of Baseships in the sunlight of a nearby star, with a score to match. The score itself is very cinematic, in that it mixes and mingles with the imagery of the show to great exertion; continuously trying new techniques and new ways to give the eye candy. The score feels very dark, operatic and at the same time very tautly tense; it again has mirrored Vangelis' score in "Blade Runner" with the deep drum sound to hard hitting acoustics.

Battlestar Galactica is the best character drama that has the real dexterity of raw emotion; the acting shapes plot and vice versa. The characters are flawed and they should be, the situation creates the drama and evidently shapes the characters actions. It perhaps is the only show to bludgeon the scene with taut and well crafted dialogue and sharpest whit, measured writing that current shows like LOST and Heroes could benefit from. The dialogued scenes are spot on quality, the actors all themselves have unique range; perhaps currently the best acting troupe on TV. They have unique ability to play different parts of their personas during the course of a single episode, and still bring a sense of morality, logic and whit to the role; very much unlike a "space opera".

The acting troupe has characters including Edward James Almos' brilliant depiction of Commander/Admiral Adama; easily being a favourite. His slightly depressed attitude yet experience make him capable, if not slightly down heartened. His display as a commander of the pride of the fleet does show why he is the best person to have control of a superior vessel. He is quick to think, act and knowing what the cost is with the troubles of his confounded life. Two other characters change form and gender, the two now female, where the Galactica predecessor had two male characters, (when fans should not complain) Katee Sackhoff as Kara 'Starbuck' Thrace, is born into the role of a hard-headed female Viper pilot. As well as the other female candidate played by Grace Park nicknamed 'Boomer'.

One thing this show does well is giving the most unexpected outcome possible, real credit to the writers that show they have a lot of grenades to go certain ways and that their bold spontaneity will either be accepted or rejected by audiences. The writers of this show are very clever, in that you might think they plan out the show years in advance a la "Babylon 5" or "Lost" however you could not be more wrong. The show is written by boldly engaging the big issues currently on TV. You wonder how does a rag-tag fleet survive in the most logical and pragmatic way, scripted to show you that the real evidence of this is present in stories inspired by recent history and current events.

Truth is that many aspects of futuristic life may well be reflected on the current stand stead of today's socio-political and ethical conflict, that's if we decide to create robots that want to kill us. The themes themselves also reflect the big issues: drama, love, personal betrayal, post-9/11 parables, death, rape, murder, greed, religious extremism, depravity and also the antonyms when the situation lightens up (there is humour). In addition, unremittingly keeps putting forth the notion of what is exactly human. It's about genocide, war and the abyss after the precipice.

The special effects are not the only thing that shows high production value, it would put some of the current Trek franchise to shame. Everything is luscious, from the pure spot-on script and unexpected plots to the character actions and the big explosions going on outside.

The imagery splits from sporadic to perpetual, the effects are full of ardour CGI and digital FX, 'in the mind of the pilot/documentary' shot sequences. The new breed of improved and scary Terminator influenced Cylon centurions and human-looking Cylon infiltrators who's brutal degradation towards mankind reflects the worst parts of humanity. Is it pure hate, spite, jealousy or maybe because they have found a god to kill for; sound familiar? Moreover, what you have been waiting for, yes it does have graphic scenes of a sexual nature, but it's not for everyone.

Verdict:

The World is over. The Fight has just begun. 10/10.

Plot:

They thought they were like everyone else... until they woke with incredible abilities.

My Review:

What's that you hear? "A show based on humans with superpowers?" "Hasn't this been done before?" Well, yes; a new show created by producer and writer Tim Kring sees people all over the world discovering their newfound abilities in their own ways, more like X-Men for the common folk. Course with that being said, the characters are...well...common folk.

With several interesting plots that only seem to compare to the 'The 4400' which bares the story of people who are genetically enhanced and sent time-travelling to a specific place in time to alter history, it's fair to say that Heroes does neither of this, or travel in any direction in any shape or form.

The show itself has several interesting features that try to distinguish itself from other Sci-Fi orientated shows, with that in mind it plays along the lines of a comic book. It shoots in panoramic, comic book Neo-Dickenson visuals, all the while giving off a false sense of satisfaction. You don't feel hyped or excited by the scene, but a sense of need seems to surround it, a feeling of basic display and no colour; just to pass off a particular story section for the need to get to the next.

Hard-pressed sardonic values lace the screen time, with great belligerence that encompasses each episode with it trying to rival hard hitting drama like '24' or the recently successful 'Lost'. The score is unimpressive and feels downtrodden. It seems to play on depression; the characters themselves are not worth invested time as they don't have anything to connect with an audience with. They play on simple domestic, mellow dramatic exertion and struggles, far too two dimensional and that's with a big fat '2'. The overall themes are asinine and very juvenile, some cases it tries to push that boundary but untimely falls back into the skim of things.

With that also being said, the show has interesting CGI special effects the never really get the boot to amazing. The episodic structure fills the time with multiple story arcs of various characters; however it becomes a bit misconstrued as you seem to forget where the characters story left off when starting on a following episode. Some powers of the characters seem original, but focus is veered away on the idea on them dealing with a greater individuality and purpose on how they should face that fact that they are different; them adjusting, not on how they are different.

The stories are so bleak that they become spread across multiple episodes for filler value and farther spread than tiny amounts of butter on toast. There is nothing to clench, no particular purpose when literally nothing happens in the episodes. True that like most realistic stories; usually nothing happens, but it seems to reinforce that belief further and further. The main problem is hype, or the constant overbearing need this show has to bare its need for audience. There and never enough questions, or any pondering, in fact in some cases you just don't care about "Who killed who?" or "Why did he do that?"

Verdict:

Colourful, lacks visual beguilement, entertaining pop corn show, with a side order of dementia that you wouldn't mind having after each episode. Enjoy it while it lasts, savour it before it becomes tasteless. 7/10.

Plot:

A two-hour Battlestar Galactica special that tells the story of the Battlestar Pegasus several months prior to it finding the Galactica.

My Review:

With the recent news the possibly one of the most brilliant Science Fiction shows coming to its conclusion, producer Ronald D. Moore felt he owed Battlestar fans to a 2 hours short of a commemoration to the show in between Seasons 3 and 4, and with it he gives us the Battlestar Pegasus' history.

One can only construe that with the show ending on Moore's terms he does have the resources and realistic approach to make his ideas work. Albeit there will be no sixth or seventh season, he gives us a episodic filler that shows us the short spent life of a Pegasus office named Kendra Shaw (Stephanie Chaves-Jacobsen). Our focus encompasses her trial and tribulations associated with a unknown character. She passes the role of being likable in all aspects, even her darkest hours ascertain her character flaws but her hard-headed realist approach to a situation, even if it crosses a line.

For some it may be an uninteresting stop gap to fill in the void of the shows extended break, however it does remarkably well in providing some amazing visual treats. It gives us a crews account of tragic events as well as some character history, new and old faces reprise themselves with the same façade.

Whilst the story unfolds, we see flashbacks of Kendra's time on Pegasus during the chronological Season 2 episodes which the film is set and suggests that it took place during that time, while it flashbacks to her time under the command of Admiral Cain (Michelle Forbes); whom proves that she can smile. The contrasting hard decisions she makes and if or not to follow her Admiral. We are also treated to a flashback of Admiral Adama (Edward James Olmos) of which gets the shock treatment with a younger actor who portrays him right down to the voice and mannerisms. A revelation ensues the flashback, in which we are given a rather disturbing insight into 'those skin-jobs'.

We are given a trip down in the melancholy road, visually; as we get to see the classic Cylon and Cylon raiders that were ever-present in the 70's version, that fit the modern re-imagining as they were constantly mentioned throughout the series as have being been in first war 40 years prior to the current Cylon war. They are given a reboot with the same familiar charisma, even for a machine as old catch phrases make a reprisal.

Some may suggest and argue that it was never logical idea to make this 2 hour special; as it really only keeps the fans on edge before the fourth and final Season returns. Nevertheless, us fan boys, and girls, need something to take the heat off.

Verdict:

Filler; but a very good one, emotionally and visually enthralling as it keeps in tune with the series and keeps it fresh and fun. 8.5/10.