Reviews

The film is about a bunch of kids(as they are supposed to be attending schools) who are rich and carry a devil-may-care attitude. A 'rebel without a clue', 'KC' ,who has a rich god-fearing dad, doesn't mind stealing his mom's jewellery when he and his friends are in trouble and need money. Amy an NRI joins the 'gang' later ,has a destructive mentality because she lost her mother at an early age and holds everyone in her family responsible for that. Tanya,a forced model who does a saree ad because her sister wants her to. Dash is the guy we know least about and 'Zubin' played by Neil bhoopalam an ex channel 'v' video jockey a gadget geek who sheepishly smiles when he gets caught by his mom giving himself a hand-job and finally Rajeev Khandelwal as Inspector Mathur who impresses again as 'tough as nail' cop who would rather kick an auto-driver than arguing when he refuses to go to a certain place .

First time director Bejoy seems to have done his homework well and impresses with innovative camera techniques. proves his talent with a strong grip over the performances, camera angles and presentation of the movie. He shows a remarkable sense of shooting tense sequencs and action packed chases with interesting musical tracks being played in the background. There's a shot through a beer bottle during a song and the introduction of Insepector Mathur which is done in POV camera style. The story has nothing new to offer but when a filmmaker like Anurag Kashyap is involved even if only as a producer, he makes sure we get nothing but the best. Producer Anurag kashyap is a prolific director himself and some of the scenes in the film seem like they've been lifted straight from his previous films. He has his own unique style of storytelling which keeps you hooked till the very end. The movie is a cinematic achievement and is a must watch for every cinema lover.

'Shaitan' scores some extra points when it shows some real gory and bloody scenes and creates a feeling of horror in the viewer who by so far was enjoying good music and trying to relive his own college days by watching the gang's juvenile antics. This film does, what 'Dil chahta hai' and 'Rang de basanti' did for the decade just went by,which is, showing another facade of the youth which can be all fun-loving at times but has the potential for being the most turbulent when its expected to be at its best.

The other worth mentioning merit of the movie apart from its impressive treatment and striking Cinematography, is its interesting Soundtrack including the background score. Although the film should have been a song less thriller, but still the intelligent use of the songs in the backdrop add a different perspective in its narration which really works.

The movie however isn't free of some faults. The storyline has nothing we haven't seen or the length of the mvovie could be less by at least 15 minutes. But nevertheless the fast paced action, the haunting music, Rajeev Khandelwal's grit and Kalki's neurotic expressions when she is high, makes you want to forgive all the negative aspects of the movie and makes you an instant fan. Remarkable scenes :- the accident scene(of course), the crashing of the beer bottle and a TV set, by KC and Dash respectively, on the heads of two guys who were 'teasing' and 'more than teasing' their girls, Khoya Khoya Chand(thats already a rage), the shot where Inspector Arvind Mathur flashes from behind a bed and kills a junkie(though you can't possibly save yourself from machine gun fires with a mattress) and Amy's hallucinations of her mom when she is high in the 'Church' (thats Anurag Kashyap).

SHAITAN has an ensemble cast and offers ample scope for each character to perform. Rajeev Khandelwal, playing a cop who's fighting his inner demons, nails the role, giving a tight, focused performance. Kalki is excellent. She's sure to wow and shock the audiences with her act. Neil Bhoopalam is first-rate. Especially towards the latter moments of the film. Shiv Pandit gives a good account of himself. Kirti Kulhari is super efficient. Gulshan Deviah is top notch. The peculiar behavior comes across very well in several sequences. Rajat Barmecha(Udaan) appears in an interesting cameo.

The supporting cast also delivers fine performances. Pavan Malhotra is first-rate. Rajit Kapur leaves an impression. Nikhil Chinnappa is good. Rukhsar makes her presence felt. Rajkumar Yadav gets it right yet again.

Watch the movie for the brilliant camera work, indeed. Cinematography. The music, especially Bali and Fareeda. The acting – all of the actors have done a very very good job, but special credits to Rajeev Khandelwal and Kalki.

Humor is relative. What's humorous to one might not be funny to other and while one laugh on something, the other might not laugh on it. However, there is some humor which is universal and is acceptable to everyone. If we apply the same theory on modern Hindi films, Andaz Apna Apna and Munna Bhai series might be the only films to go in universally accepted humor category. Some other humor examples that worked on the box office but were not universally accepted are Singh is King, Ajab Prem Ki Ghazab Kahani, Phir Hera Pheri, Ready, Dhamaal and Golmaal etc. Then there is another kind of humor which does not go well with the masses but has its own cult following like that of Wesa Bhi Hota Hai, Mithya, Bheja Fry etc. Delhi Belly (DB) is somewhere in between the universally accepted form of humor and the subtle cult following kind of humor. Through DB and other such efforts, Hindi cinema is coming out of romantic comedies and running around the trees.

To start with, the film is hilarious. It leaves you with one laugh riot after another and does not give you a chance to fully recover from the previous one before sending you through another piece of joviality. It's mostly tongue in cheek humor but at times goes very physical as well. What works in favor of the film is its dialogues and wonderful acting even though the story does not have ground breaking stuff to offer. DB could very easily go as the best casting of the year 2011. Another thing that goes in favor of DB is its short duration and fast pace.

Still from Delhi Belly Abhinay Deo, in his second directorial outing after a painful Game, has made sure that he doesn't go wrong anywhere even if he does not create a masterpiece. He has focused on technical side more to make sure that the editing is crisp and background score goes in line with the action despite no songs. Nonetheless, it's more of an actors' film rather than a director's film and the actors have handled their responsibility with utmost satisfaction of the director. Nobody goes overboard in humor and specially the sidekicks stick to their jobs and cinematography is as per the need.

The lead trio, which has a distant similarity to the trio of The Hangover, has carried the film well on its shoulders. Imran Khan has done a very good job. This is his best performance since his debut. He looks in control and has a much improved dialogue delivery and comic timing after two lowly performances in Break Ke Baad and I Hate Luv Storys. Kunal Roy Kapoor is a welcome addition to the comic brigade. Vir Das is fantastic. A highly underrated actor. If someone needs more exposure for his talent, that's got to be Vir Das. The debutant Poorna Jagganathan surprises. She might not be the best looking new comer, but she surely is a good performer. An then there is Vijay Raaz as the underworld don. He is in terrific form and outdoes himself. We all know what a brilliant actor he is but here he takes charge and delivers an outstanding performance as the villain. His scenes with Vladimir in the hotel and with the trio in their apartment are to die for. Aamir Khan also appears at the end for an item number but that's after the film has left its mark.

Overall, a nice break from all those shitty wanna-be humour like Ready. I rate it 7 out of 10.

In India, since star worship is the main guiding force towards film- making, therefore READY would surely be seen and loved by all Salman fans as a must. But the film certainly would not get a unanimous positive response as earlier enjoyed by few Salman releases. And for this I don't blame SALMAN and neither I blame the producers or actors of the film. For this feeble and unexplainable kind of attempt I entirely blame its director Aneez Bazmee who constantly keeps giving us films like these.

Indian cinema is at a crossroad of modernization whereby new breed of directors is taking Indian cinema into world platform. With big stars like Aamir Khan moving into meaningful cinema it is sad that few stars are coming in between development. Yeah I agree there are different genre of films which caters to different taste but there is a thin line between commercial and tasteless. While Dabang had something new to offer in terms of execution thanks to Abhinav Singh Kashyap, Ready relies on orthodox potboilers which are on the verge of obsolescence. Ready has a paper thin story line which begins with rich spoil brat Salman Khan (as Prem) whose profession was probably "helping people" and like any "unique" story he falls in love with beautiful Asin (as Sanjana) but wait like any original love story there is a twist in this tale. There are evil uncles eyeing for Sanjana's wealth and Prem goes on to save his lady love. In the meantime there is moral knowledge of perfect families and all expected possibilities in an Hindi film from the 80s. It is sad that Aneez Bazmee scripted (rather remade) such a bad script only to cash in Salman's star status and sadly the film might become the biggest grosser of all time decelerating Indian cinema to the backwardness from which movies like Satya, Dil Chahta Hai, Dev D and lots of young directors did their best to change the notion of Indian cinema. The film trying to be a supposed family entertainer is full of double innuendos and toilet humour. In a particular scene a guy runs and in the motion farts out loudly. Can this be termed as a comedy ?

Salman Khan as usual repeats himself and he was nowhere near his earlier Chulbul Pandey act which had freshness in it. Instead Prem is a typical rich brat with a heart of gold, a character types which has been repeated since time immemorial. Asin looks pretty but doesn't shine. The supporting including Mahesh Manjrekar, Manoj Joshi & Manoj Pahwa are first-rate. Sharat Saxena & Akhilendra Mishra are loud, but that's the demand of their characters. Arya Babbar is wasted. Anuradha Patel, Gargi & Eva Grover are passable. Paresh Rawal is Fantastic, like always. An Actor who never disappoints! Sudesh Lehri of Comedy Circus Fame is brilliant. He has his moments. Sanjay Dutt, Ajay Devgn, Kangna & Zarine Khan in brief cameos are fine.

For all the directors and producers out there, please don't overdo the 'Only Salman and no Storyline Genre', as it does seem to provide profits to the producers and makers but it might not be the wise choice in the long run.

So if you love Salman, then do watch READY only to satisfy your star- love. However, the movie is not worth being No.2 top opener in India….but thats the fact, and its only cause of Salman Khan and his previous Dabangg. Salman Khan is having his time now, so even if VEER did open next month it would have been Blockbuster Hit.

I rate it 4.5 out of 10 which is me being hugely generous.

Based upon the novel by Alex Flinn, Daniel Barnz directs and writes the screenplay for what is firmly a tale for the teenage demographic. Pettyfer plays Kyle, the son of a wealthy news anchor named Rob Kingston (Peter Krause). He's always been obsessed with looks and himself like his father taught him 'beautiful people have it the best'. After playing a prank on a fellow classmate (Mary-Kate Olson) and humiliating her, for being unattractive, he's cursed by the student into being 'as ugly as he is on the inside on the outside' until he can find someone to love him and state it.

Now a 'scarred monster' he drops out of school and is home schooled by a blind private tooter (Neil Patrick Haris) his dad hires for him. He's shut away from society at a private condo where his dad initially agrees to stay with him until he eventually neglects him there permanently.

So now before the curse gets permanently set in 12 months time, Kyle has to seek out true love in order to be rid of it, and to get the person to say those 3 sacred words. With absolutely no social graces or skills to talk about since everything about the teenager is money and manipulation through his appearance, he finds it terribly hard to try and connect with others, obliterating his past smug life, until he hatches a plan to try and seduce Lindy, played by Vanessa Hudgens, to make that goody two shoes fall in love with him, or at least that's how director Daniel Barnz made it seem like. You know you'd come to expect true love that will eventually take over, but somehow that rang quite hokey and convenient, since Alex Pettyfer made it seem like he's really the master manipulator, scheming and planning for sparks to fly and chemistry to be exploited in order to work toward Kyle's selfish objectives.

So the redemption didn't actually feel sincere, and that's why this film failed in its wanting to tell a moral story that all that matters is the beauty in one's heart and intention. After all, the Beast here did quite the unthinkable, in blackmailing Lindy's dad to send Lindy into his abode in order to stay safe since she's wanted by some thug, and of course to fall into his plan of slowly romancing the lass in order to be rid of his hex.

I don't see Kyle getting much upset turning from such flawless face (as he thought) to a seriously scar-faced; and Lindy not being surprised when she saw Kyle's face – as Hunter, a total stranger – this just doesn't quite make sense. The acting plays an important role in terms of touching audience's emotions and connection to the movie, but the casts in Beastly fail in such area. The leading casts maybe good with simple teen love story, but the storyline in Beastly seems to be a heavy topic for them to handle, so now it just appears to be a shallow love movie with no sentiments triggered. The two characters that held on its own were of Neil Patrick Harris who did what he does best. Putting his Barney Stinson persona on the movie. whose comic timing is impeccable. And Mary Kate-Olsen who nailed her character which includes a crazy wardrobe. She was creepy & totally sold out the witch role.

The script didn't give their characters any depth which is ironic for a movie which tries to convey that the style is not nearly as important as substance. Even disregarding the clichés and the poor line delivery, the story itself veered too much from the original without being inventive or interesting enough to make it worthwhile. The story was so under- developed, the director missed some good opportunities for humour, excitement, drama, romance. It really lacked anything emotionally. The whole movie seemed too rushed, particularly at the end, and filled with filler that was either corny or didn't need to be there.

The only part that was interesting was the version of the "beast" in terms of appearance, which was perhaps a little too interesting to be "ugly" but worked fine for the film.

I rate it 4.5 out of 10.

The trailer held so much promise, but this really is a half-stinker half-brilliant film about a child assassin that goes from preposterous to intriguing to ludicrous to thrilling.

Hanna is the story of a teenage girl who has been brought up by her father figure in isolation. He has trained her to fight, survive and kill. She decides to leave and sets out on a mission they have been planning for years, to kill the woman who has been hunting them.

Although this type of film has been done to death it is an interesting story which had it been developed better then would have made a fantastic film but it just falls short on all fronts. Even the fight sequences are slow and boring. There are also a lot of plot holes. One for example, and most noticeable, Hanna is frightened by electricity, TV, phones…. which is natural since she grew up in some cottage without any gifts from modern civilization… but she can enter a netcafe and browse internet immediately.

However, some of the details like the running scenes and the way Hanna's hair is never tied, depict that the director has his own unique sense of style and has used it quite effectively here. Also, the girl-girl kiss does not look gratuitous at all, but rather a good signifier of how grateful Hanna is to find a friend.

Ronan, who plays Hanna, is someone to look out for in the future. She's an amazing actress. Cate Blanchett's performance as a villain was also refreshing, although her fluctuating accent did take away from her performance a bit. Also, all of her dialog seem to be half-finished, whether she was talking on the phone or interrogating the family that Hanna befriended. Eric Bana's performance is fine, but then he does not have much to do except 'unleash' Hanna onto Merissa.

All in all, a disappointment. I rate it 6 out of 10 for the beautiful cinematography, the background score and Saoirse Ronan's performance.

Astronaut Sam Bell, who has spent the last few years on a solitary assignment on the moon, watch-dogging a mining conglomeration of machines, is nearing the end of his shift. He's fallen into a decent, if claustrophobic routine, sculpting a small village, checking the machines, chatting with his computerized nanny, GERTY (voiced by Kevin Spacey). But he starts to have some problems. Spiraling deeper into what may be insanity, Sam starts to question almost everything, including his very existence.

This movie was fantastic. Jones directs this with a calm hand, swooping through the abandoned base smoothly, giving the entire movie a bit of an alien feel. It's a small film telling a small story where psychological science fiction meets character study. A very welcome addition to the science fiction genre. Sometimes you really can do so much more with less. Duncan Jones does a beyond promising feature film debut for this film. The plot has many twist and turns but nothing too confusing. The Screenplay is great somehow doing a nearly impossible task of freshening up the film with only one actor for the whole film. But that is where the film really shines, the acting. Sam Rockwell is fantastic. His ranges of emotion from both of his characters is very complex. He seems to somehow make the characters the same yet very different, personality wise. He is amazing and funny and tragic, sometimes all in the same scene and GERTY, with it's animated emoticon screen and deadpan voice is pitch-perfect.

Science fiction is invariably a fairy tale nowadays. You can probably connect with a handful of movies showing a fictional future. Most just serve to entertain with cheap visual thrills. Moon is an exception to this degradation of scientific imagination in our modern day script writing. Instead of pondering over the power levels of imaginary "cores" and flashy laser weaponry, this movie strives to ask difficult questions from the audience. Questions that will leave you with no clear answers long after you have seen, dissected and digested the movie.

Script is remarkably simple and there are no "big" secrets except one, which is revealed around the middle. The rest of the story is what gets the gray cells all juiced up. Instead of delivering a complicated plot, the movie delivers a complicated premise.

Soundtrack is excellently suited to the pace and texture of the story telling. Visuals are clean and precise, and most importantly believable – without being boring. The dialogs are also well – real ! No flamboyance or theater grade facial mannerisms here. Just plane and simple acting, done in a most convincing manner.

I rate it 8 out of 10 for its brilliance.

Duncan Jones' sophomore directorial effort after the sublime Moon further proves he has a knack for intelligent, emotion-filled sci-fi's. Source Code is one of those movies which make you think and really make you realize that unlike some filmmakers there are some intelligent and creative brains out there who still believe in quality cinema. In a nutshell, the movie is a Sci-Fi action thriller and is brilliantly shot. I said brilliant because of three reasons:-

1.The way of storytelling. 2.The visibility of the scenes, dialogs and the overall script. 3.The quality of the direction.

The technical aspects of the movie are not too hard to understand and you are always captivated and captured by the somewhat volatile happenings. The action in the movie is first-rate and does provide the buzz expected of an action thriller.

Here you follow the main character. When the movie starts, you know just as much of what's going on as our main character does: Nothing. The movie starts out with a man (Jake Gyllenhaal) waking on a train not knowing where he is. The girl in front of him is Christina (Michelle Monaghan) and she thinks she knows him, even when he insists that he is actually an army pilot named Colter. Going into the bathroom he checks his appearance and sees that he has someone else's face. When the train explodes Colter awakens inside a freezing cold container. He's addressed on a computer screen by Colleen (Vera Farmiga), a military captain who explains that he is part of a program called Source Code. It's administered by Dr. Rutledge (Jeffrey Wright) and allows a person to inject themselves into someone else's body to relive the last eight minutes of their life. It is said not to affect the past but to address the future. As such, Colter's mission is to go back in time and find out who has placed a bomb on the train so that the bomber can be identified and stopped from setting off a second explosive in the city.

The Story reveals itself in a rapid pace from the beginning to the end. It is a thriller that values its heart and its mind more than velocity or adrenaline. Working in the action genre, it's a more accessible film than Duncan Jones' leisurely paced sci-fi debut Moon. But with a solid screenplay from Ben Ripley the depth and the intelligence have not been forgotten. This is a highly economical film, working in just a few locations and moving vigorously over its lean ninety minutes. Jones is concerned foremost about the misuse of technology but equally the paranoia that terrorism imposes on ordinary people: an intelligent and timely theme, which surprisingly gives way to brief moments of humour. The human responses from the passengers as Colter interrogates them, turning their bags inside out, are quietly funny. Even more fascinating is the way the film touches on how racial assumptions are born from paranoia, like when Colter stalks a man of Indian appearance. These are issues visualised with intensity and originality. There are a couple scenes of gorgeously shot, tear-jerkingly beautiful brilliance. That, and the cinematography is worth noting- It is very slick and tone- setting.

The acting is fantastic by everybody. Gyllenhaal is in this movie for nearly every frame and he's great in every scene. He proves he can stand his ground as a lead in an action feature. He succeeds in this role, where other actors may have failed. Gyllenhaal had the perfect persona for this role. He's got a forceful attitude with a sympathetic face. Michelle Monaghan has this innocent charm with her character. Vera Farmiga and the very underrated Jeffrey Wright give very interesting and complex performances as well.

Despite all the positive comments above, I was a bit disappointed. The movie, performances, cinematography, script everything is great. It's just, I had a enormously huge expectation from this, which was a mistake. I wanted to feel the same way when I felt after watching Inception, which did not happen.

I give it 7 for being a deeply enjoyable experience, although it should be noted that considering what was said above, it isn't revolutionary.

New variation on 'SINGLE WHITE FEMALE', this one revolving around two college freshmen living on campus together at ULA. It stars 'GOSSIP GIRL's Leighton Meester as the psycho student and Minka Kelly as the good girl. The film is directed by Christian E. Christiansen and written by first time writer Sonny Mallhi. It's mildly amusing at times but for the most part it's routine and devoid of thrills or any real action.

The story of The Roommate has nothing special. It was your average teen horror/thriller set on a college campus. It had the usual characters: the new girl in town, the party girl, the cute guy who just happens to have a crush on the new girl, and the crazy phsyco. Some things I wished were different are: the kitten side-story and the background. The kitten story brought nothing to the movie except a cute little kitten and to show more of Rebecca's psycho side (as if we don't have enough of it from the other encounters in the movie). I wanted more background on Rebecca, more of an explanation of why she was the way she was then just a bottle of pills and the word crazy hung out there. That part of the story is weak with just the "crazy explanation." I was also hoping that they would draw on the background when they introduced Nina Dobrev's character and Rebecca's obsessive drawings. I just felt that the background was missing, making the movie weaker than its potential.

This movie is humiliatingly bad. Sara Matthews gets to college, sets up her stuff and then one of her friends, Tracy steals her away to go to a party. Once there, she runs into Stephen and instantly starts to fall for him. The next morning, Sara meets her new roommate, Rebecca. The fixation starts innocently enough and of course, Sara is oblivious to all of it because that's what these kind of movies need: incredibly stupid characters. Then an ending that's so anti-climactic and just plain ridiculous you will actually cringe and maybe even yell at your TV.

Still of Minka Kelly and Leighton Meester in The Roommate The movie felt terribly forced. So many plot elements were left unexplained when they could have been used to help the audience understand Rebecca's character. "We were never friends." At one point, a mysterious girl confronts Rebecca with this hurtful comment. Is anything gained from this besides a stupid ass one-liner later on? No.

Kelly plays Sara Matthews and Meester plays Rebecca Evans. When the two first meet in the dorm room they've both been given they immediately hit it off. What Sara doesn't realize is that she's made too much of an impression on Rebecca and she quickly becomes obsessed with her. Sara is also troubled by an ex-boyfriend (Matt Lanter) who keeps calling but has met a new love interest in drummer Stephen Morterelli (Cam Gigandet). This doesn't sit well with Rebecca who wants Sara all to herself. Her obsession turns to creepy and dangerous really fast.

The film is very light on thrills and violence (for a thriller). The first two thirds of the film actually play out more like a depressing character study drama leaving the viewer feeling more sorry for Rebecca than afraid of her but then of course the end turns to routine third act 'B' movie trash and we finally get some action. Meester is good as the troubled student. She looks gorgeous and she manages the difficult task of making her character frightening but also sympathetic in a way. You realize that shes insane but shes also sad and very lonely. Kelly looks beautiful but for the most part the movie has no real acting to speak of. The dialogue is weak and scares and thrills, like I said, are nearly nonexistent.

I didn't understand the bit with the parents and why they were so afraid of her. The same with the old friend with whom she ran into. It didn't really explain anything and it left me thinking why they even bothered.

"The Roommate" is irredeemably awful, and not just because character motivation is out the window, or because it couldn't scare a six year old, but because it isn't even fun. From the belabored exposition to the clumsy, unmemorable finale, first-time screenwriter Sonny Mallhi (credited executive producer of "Shutter" and "The Strangers") fails outright. He's either in the wrong line of work or trying to make a quick buck—I'm not sure which is worse, but neither paints a very flattering portrait.

This movie had so much more potential of being a true psychological thriller had the writers allowed Rebecca's deranged character to shine, instead they focused on the dullness of Sara which brought true dullness to the movie. Their targeted audience obviously was the teen audience which for this particular movie was a mistake.

Perhaps it would have been better, or at least more exciting if the story would have concentrated on Rebecca as oppose to Sara. There should have been more of a back story written for Rebecca, because the audience really could have benefited from knowing what happened in Rebecca's pass. Though there was the brief unannounced trip to her parents house during the Thanksgiving holiday, the scene briefly eluded to the parents being quite afraid of their (un)medicated-behind daughter, as did a trio of young women she probably attended high school with, there was no real insight or depth to that portion of the movie, or what part those characters played in Rebecca's past life or present condition. This back-story, had there been one, could have been a serious opportunity to push the story forward and would have provided a more anticipated climax.

I rate the movie 3.5 out of 10 for the pretty ladies in the movie…You can give this miss

Rango is filled with funny and slapstick moments.But it also has some real serious sequences. This is the surprising element that should not work and still it does..

The film stars a chameleon (Johnny Depp), who thinks he's an actor, going through an existential crisis, as he has lived his whole life in a terrarium. When that life is quickly—and literally—shattered, he finds himself walking in search of water. Instead, he finds a town called Dirt, where all the residents are plagued by outlaws and a severe lack of water, which is used as currency, it's so rare. Rango, seeking acceptance, assumes the role of sheriff, a role that has been played before, but with more unfortunate results. To make matters worse, someone is dumping water in the desert and draining all of dirt's resources. Rango is now in no-man's land and must escape from a Hawk who wants him FOR A MEAL! Tons of action awaits the viewer. Who could it be, what is their diabolical plan, and is Rango really the unlikely hero of his own story?

In case it wasn't obvious enough from this summary, the film's tone is surreal, complex and almost shockingly mature for an animated picture. It blends in so very many movie references, blending the gritty, revisionist western with the surrealism of Fear and Loathing in Las Vegas, a too-obvious comparison on the latter's part. Director Gore Verbinski had a unique way of producing and directing this picture: he gathered Depp and all the other actors on a sound stage, in various costumes, acting out their scenes, as a sort of visual reference. Depp affectionately—and appropriately—called this 'Emotion capture,' as it gives the movie a more natural, organic feel, as if the reactions were believable. When it's put on screen, it's full realized in both interaction and appearance.

Still of Rango What most people have touched on when talking about the pros of this movie is, indeed, the stellar animation…and, boy, is it stellar. Granted, some of the human cameos are kind of on the flat side, but our animal heroes are textured and expressive, which is important in this kind of movie. We can reach out and touch these sets if we were able; the roughness of the scales, the harsh desert heat and the sponge and spikes of cacti that crop up throughout are just a few of the details in this grand visual experience. The characters that make up this floundering town are actually interesting to look at and listen to, as the animation and awesome voice work give them all distinct and likable personalities. The voices are great with each voice actor doing a fantastic job bringing these characters to life.

Resident include old prospector mouse Spoons, large, but quiet tomcat Elgin, morose, trigger happy little aye-aye Priscilla (Breslin), and, my favorite, the kind, but no-nonsense Beans (Fischer), a rancher lizard who finds herself falling for the goofy, but sincere hero. But, by far, the biggest fan favorite has to be Bill Nighy's rogue, Rattlesnake Jake, who is hands-down, flat-out scary in any scene he is in! How any kid will survive his scenes is beyond me! However, that made him more of a threat that Rango needs to overcome, which is more satisfying in the long run.

For movie fans there are references throughout. One that really stands out is an epic scene involving a man with no name and a golf cart.Ultimate coolness. Don't make the mistake comparing this to CGI movies like Ice Age,Kungfu Panda or similar. Approach it like it is fully fledged western that has everything and more of that genre.If you get past that than you will have the pleasure to see one of the most funny and entertaining movies made this year.

However, the story has nothing new to offer. The fake hero plot is old, we've seen it in animated movies too, like Chicken Run. The liar with a potential good heart returns to save the city…The rotten leader who sells out his people is not a bright and blossomy idea either, only in this here movie, we have the tortoise, usually an animal of wisdom, representing the corrupted character, in a rather uninspired association made out of negligence or just to avoid a more clicheistic animal. While that may seem rather unoriginal you have never seen the "new place, new identity" gimmick done like this.

This animation is a great way to introduce children to the classic western theme.

The landscape is beautiful, the enemies are great and the soundtrack is perfectly suited to the film (there is a fantastic version of ride of the Valkyries). The film is packed with satirical humor that helps to keep the film fresh and helps the elements of the film to come together perfectly and you can tell that everyone was on the same page when they made this film.

I rate it 7 out of 10.

Adapted by Bo Goldman from the novel Il buio e il miele (Italian: Darkness and Honey) by Giovanni Arpino and from the 1974 screenplay for the movie Profumo di donna by Ruggero Maccari and Dino Risi, Martin Brest's 'Scent Of A Woman' is evergreen classic from the early 90′s. Movies often have lines that become part of our culture. The line from this one is hoo-ha!

This film may look plain but it isn't: it's a very strong one, showing us how someone who lost all faith in life (Frank – Al Pacino) can learn from someone whose life may end by doing something right (Charlie – Chris O'Donnell): not selling himself for his future. At the same time, Charlie will learn that sometimes you shouldn't trust everything people tell you: usually it is easier to speak the right thing than actually DO the right thing. It is a beautiful film, to be watched peacefully: believe me, if in the beginning you will wonder how it is possible that someone like Colonel Frank Slade, by the end you will like him more that you thought possible.

SCENT OF A WOMAN (1992) is an outstanding piece of work! The legendary Al Pacino FINALLY took home the coveted Best Actor Oscar for his brilliant work in this film and he shouldn't have to apologize for it. Yes, he should have won for his work in THE GODFATHER and SCARFACE, but too many actors to be named have been sadly overlooked for their best work.

Pacino perfectly essays the role of retired Colonel Frank Slade, who was compelled to retirement being blinded during duty(due to his own stupidity and drinking habit). Stuck living with his niece and her family in their guest house and drawing monthly stipends from the government, Col. Slade is an embittered man of late middle age. Slade's niece has hired local boys' school student Charlie Simms (young Chris O'Donnell in a very underrated, genuine performance) to take care of Frank for the weekend during the Thanksgiving holidays. Slade opts to take Charlie with him on a weekend of luxury and reckless abandon in New York. Meanwhile, Charlie must wrestle with the moral dilemma of "should he or shouldn't he" squeal on his fellow classmates, who he along with another student saw commit a punishable act prior to the holidays. Charlie is to go before the disciplinary board upon his return. Charlie and Frank are two extraordinary actors in the film, "Scent of a Woman." They are a perfect pair, one who has always stood firmly for what he believes in and the other one who is learning how to do just that.

Still of Al Pacino and Gabrielle Anwar in Scent Of A Woman

Al Pacino is extraordinary, he steals every scene he is in, truly crafting a superb and incredible performance. One of his greatest performances ever and in the history of cinema. Chris O'Donnell is marvelous, a great performance. It's absolutely unforgettable and flawless. The supporting cast is golden, too .Gabrielle Anwar (charming as the beautiful young lady that Slade gets to tango with!), the always reliable James Rebhorn (pitch perfect as the stern headmaster of the boys' school), a young-looking Phillip Seymour Hoffman (terrific as Charlie's shifty "best friend" at the boy's school, who was his fellow witness), Richard Venture (as Frank's older brother W.R. Slade), a young Bradley Whitford (wonderful as Frank's resentful nephew Randy in my favorite scene of the film!), Ron Eldard (winning as the NY cop who stops Slade and Charlie for speeding), and a young and vibrant Frances Conroy (as an English teacher at Charlie's school who I always imagine that Frank ends up with!).

There are great scenes in "Scent of a Woman" from the ruckus at Thanksgiving dinner when Frank takes Charlie, both uninvited, to his brother's house where the relatives don't think much of him to at one point driving a Ferrari despite being blind. But the most wonderful moments are the few on the dance floor. The scene of Frank(Al) and Donna(Gabrielle) doesn't get out of my thoughts. From the moment he catches her perfume, through the introduction, till the sweetest tango dance ever. Of course, the choice for Donna – Gabrielle Anwar, is perfect, she plays the shy (very) pretty woman very good. The scene when the colonel wants to shoot himself and suddenly decides to shoot the boy,too is brilliant. The fight between the two men -as well as Charlie's attempt to convince the colonel give up his plan- is full of suspense and very well structured, so it's impossible to anticipate how the things will work out. The climax scene in the disciplinary meeting, though a bit clichéd, is wonderful. Pacino's speech is absolutely amazing. He delivers it with a panache.

The big lesson from SCENT OF A WOMAN is about the true meaning of honor. I like the dichotomy of Slade's situation with Charlie's and how Charlie, the student, inadvertently teaches Slade a valuable life lesson, that through the toughest of times and situations, it is the human SPIRIT that must remain intact if one is to truly LIVE!

Riveting, electrifying and satisfying. A magnificent film. A heartfelt, funny and outstanding experience. Powerful and very touching throughout. An excellent movie in every way. Superb storytelling and stunningly crafted. A towering and masterful drama. Wickedly funny and spectacular. A film you cant turn away from. You cant stop but smile when you think of this movie. A two and a half hour pleasure from start to finish.

Nominated for Best Picture, directed by Oscar nominated director Martin Brest (MIDNIGHT RUN, BEVERLY HILLS COP) and starring the one and only Al Pacino in his Oscar-winning role, SCENT OF A WOMAN is a film to enjoy over and over! I refer it to everyone, everyone who want to watch a beautiful movie with great performances. I rate it 9 out of 10.

I Watched the movie 16 years after its release. I must admit that i watched it out Of curiosity for its being on the top of the IMDb list. I wasn't disappointed. Rather felt a sense of victory. It doesn't have any action sequences or any romance or Anything of the sort. But it is one of those films that makes you feel Happy inside and yet sad that you may live many more years and watch Tons of movies but never feel the same climax or emotion that you get Out of this movie. This movie had the most powerful cast and amazing script, and all based on an awesome prison drama novel by horror-master Stephen King!

Andy Dufresne (Tim Robbins) is sent to Shawshank State Penitentiary in 1947 for the cold-blooded murder of his wife and her lover. Over the next 19 years, he does what he can to stay above the mire, consisting not only of the cruelty of his fellow inmates but the heavy hand of a brutal warden, Norton (Bob Gunton), a sadist who thumps his Bible while telling his charges that "salvation lies within." Andy's stubborn refusal to give up hope in the face of his incarceration engenders the wonder and friendship of several inmates, especially "Red" Redding (Morgan Freeman), who nevertheless wonders about Andy's state of mind.

Robbins depicts Andy Dufresne to be a reserved, humble protagonist. It is well-known that other actors were considered to play this role, such as Tom Hanks, but I believe Robbins's presence works wonders for the storyline, allowing Andy to have a quiet temperament that lets him seem at peace with himself. He has nothing on his resume close to his performance here. Freeman puts on arguably the greatest performance of his lifetime in this movie. His narration lets the viewer connect even further with all the characters, and has a poignance that stays with you long after the credits roll. His "rehabilitated" speech ranks right up there as one of the all-time great movie moments.

Character development is greatly utilized here. Pop culture references (Rita Hayworth, Hank Williams, John F. Kennedy) help give one the impression of the passage of years, and Andy's brave, witty exploits make him a likable hero. Violence and death are also put to use, with several characters dying within the story. We are made to embrace these seemingly real individuals during their airtime, and are hence moved by their tragic deaths. The failures of these characters make the final scenes of the film all the sweeter.

Another standout feature of The Shawshank Redemption is the music. Oh, the music! Thomas Newman's musical score shines brightly and lends another dimension to this heartfelt tale. The triumphant piece heard at the end is one that you've likely heard before — as it has been used in movie trailers all over the world. The fact that The Shawshank Redemption did not win an Oscar for its musical score (or in any category for that matter) is almost incomprehensible. Though in a '94 class along with Forrest Gump, Pulp Fiction, and The Lion King, I suppose it can be understood.

I will note that it is a definite 'must see' for all those who consider themselves "movie connoisseurs". There are not too many negatives (if any) that can be said on the film. I will state, however, it's current #1 ranking on the IMDb Top 250 is a little bit high though.

I guess I'm a little nit-picky, but my main beef is with the ending. The whole movie is about hope. *SPOILERS ALERT* If you wanted hope, then you should not have ended on a cheesy last scene where the old friends reunite and everything is alright. *SPOILERS END* It was touching, no doubt about it, but then the message of hope is dwarfed by our excitement that the two friends are together again. We leave the movie smiling instead of thinking. What I'm trying to say is that to make the core message stick to the viewers, the movie should have ended the scene before, when Red boards the bus and says, "I hope I can make it across the border. I hope to see my friend and shake his hand. I hope the Pacific is as blue as it has been in my dreams… I hope." And as the bus drives away from the camera, the credits roll. But again, that's only an honest opinion.

Watch this film alone and with attention and it will really get you involved and thinking and thats the beauty of it. I recommend it to everyone who enjoys watching beautiful cinema. I rate it 9 out of 10.

For the end i leave Andy Dufresne's quote "Hope is a good thing, maybe the best of things, and no good thing ever dies"

If there's one thing I dislike more than a bad movie it's a bad movie with aspirations of greatness. This movie wants to be great. A work of art. Possibly a masterpiece. I have no doubt that Oscars were whispered of at some point during production. But here's the catch: it's no good.

Something strange happened with the adaptation of Alice Sebold's novel "The Lovely Bones" by Peter Jackson and his collaborators. The book was one of the most read in the country after it was published. Unfortunately, what comes out on the screen is far from what Ms. Sebold wrote about, so the finished product is, at times, irritating, at best. The mere thought of translating the text into a motion picture, must have been a daunting work on the part of Mr. Jackson, Fran Walsh and Philippa Boyens.

The story is a very intriguing one, but it is quite slow complete with holes and any parts that strived to be heartbreaking came across as mawkish. The script is quite weak often. But what hurt the film most was some aspects of Peter Jackson's direction. Jackson is a good director don't get me wrong(he was the main reason that I wanted to watch the movie), but he does make some decisions that detract from the impact of the story rather than enhance it. Especially with the CGI, not that it was bad CGI in fact it looked quite good, what I mean was that there was a complete overload of it and I think some of it was unnecessary. The movie is overloaded with fantasy scenes with too-loud sounds, and it omits much of the thoughtful narration of the murdered girl. The movie veers from mystery to fantasy, back and forth, satisfying neither format. And the small love-story between Susie and Reece is not portrayed with panache and it feels nothing more than a puppy love.

The Lovely Bones

However, the film does look absolutely beautiful, with beautiful scenery and cinematography. The score gives a haunting, eerie and intoxicating quality too. While the story is flawed, there is a good atmosphere especially in the more chilling scenes, where they are quite chilling and that's an understatement. Apart from two performances, the acting is quite good. The best performance comes from the very promising child actress Saiorse Ronan, who is just tremendous here. She was perfect for the role. She has a beautiful spirit about her that makes you embrace her. She's so likable that that you care about her character and what happens to her. Thanks to the sweet-faced and deeply affecting Ronan, you'll never forget Susie Salmon. Stanley Tucci is very chillingly effective too, and Mark Wahlberg is surprisingly good. The two performances I wasn't so taken with were Rachel Weisz, who is wasted. She would have had a lot of scope for acting out her grief if the movie had stuck with the book, instead of rushing her out to the wine country of California and making it look like she had been away for just a few months. And then there is normally solid Susan Sarandon, who overplays quite badly. She plays the child's Grandma Lynn who appears early in the movie and does not really help the weak screenplay. Mark Wahlberg as the grieving father is just adequate. I believe the weak screenplay limited both him and Rachel Weisz.

The music, as opposed to fantasy sounds, is excellent. The locales are authentic and well-shot. The writing of dialog in the real-life "mystery" scenes is good. But there is an abundance of fantasy scenes which for us added nothing and frustrated our enjoyment of the plot and good acting. There's also a thriller aspect to the movie, and this part is well-done, but it's also overwhelmed by the excessive fantasy scenes.

Instead of focusing on how Suzie's feelings evolved while she was in the in between place, after her murder, Jackson resorted to inordinate amounts of special effects. The CGI worked well in Lord of the rings and Kingkong, but this movie needed a different kind of handling, with CGI being used only where essential. The special effects in this movie are overpowering and they eclipse the movie.

So, a movie that could have been a masterpiece which sadly isn't. Loads of plot holes, Unsatisfying ending and the unnecessary use of CGI spoils the movie So I rate it 5.5 out of 10.

Unknown was a really solid action thriller. It seems like Liam Neeson has done a lot of these types of movies lately, but I enjoyed this much more than Taken (which though I loved it, was a bit clichéd). Unknown is much more than the story of a man who lost his memory and seems to have been replaced by someone taking his identity. In fact, the sheer amount of plot twists and complexities keep building up, but you never feel too lost (the exposition bordered on making things way too obvious, but always hid something from you). The action scenes are clear and well done, and there's tons of suspense and gasp-inducing moments that keep the film's momentum going.

The story told in "Unknown" is one that is not easily figured out, because it keeps taking twists and turns along the way. And it works so well, because you are constantly kept in the dark, and fed small glimpses and pieces of the bigger picture. Yet when everything becomes revealed, you will be in awe, because it was just not what would have been the most obvious outcome.

Part of what made this movie different from your usual thriller was the excellent cinematography. Unknown takes place in Berlin, and the gloomy, snow-filled streets and mix of modern and traditional architecture is a really cool environment. There's a bit of CGI that looked somewhat cheap, but for the most part, the visual effects nicely complemented the story.

The film is fast paced with plenty of action and it will have you scratching you head, but it does slow down from time to time to give the viewer a chance to pause for thought. That said, it's not difficult to follow what is going on ( why it is going on is another matter), so you won't have to watch it again to understand it.

The acting was better-than-average for a thriller on most parts. Neeson did his usual bad-ass job, and really pulled off having lost his memory. He, like with other films he's starred in, carried it on his shoulders till the end.Diane Kruger played a cab driver pulled into the mystery, and she did a great job portraying a sympathetic character and was a strong female lead (also, incredibly beautiful). Bruno Ganz is fantastic as a former secret police officer trying to make sense of what has happened to Liam Neeson's character, Martin Harris. Frank Langella brings his customary restrained dark menace to the screen. The only one actor to disappoint is January Jones who played his wife. Her expressionless and robotic face is a big let-down. Either she had a very straight bored look on her face while she delivered her dialogs or she had a broad smile in other scenes, just trying hard to look pretty on- screen and this was it(though I must say, she looks really gorgeous and sexy)

*SPOILERS ALERT* Though the movie is very entertaining, its sometimes patently absurd. I'll give one example at the start–he forgets his briefcase at the airport and realizes this at the hotel and instead of just popping his head in the door to tell his wife he's going back to get it, he just hails a cab and is gone. Then, in the cab, there is no cell service. In downtown Berlin. Okay, it's a conspiracy, and they've tampered with his phone and his wife is really a double-agent plant and so it's all logical. Except not quite. You'll see.*SPOILERS END*

A lot of people have criticized the movie being similar to Taken, but the only comparison that this film has with 'Taken' is the star and the way the makers of the film have wanted the poster to be designed. After this, there is nothing else, but two good movies.

"Unknown" is a quality thriller that hooks you in with intrigue and suspense and then keeps you waiting right till the end before it delivers its knockout twist. And I'll wager that you won't guess what that twist is. I rate it 8 out of 10.

Who doesn't know the classic fairy tale of Red Riding Hood? Now, it must be said that even if there are people that haven't heard of that story it doesn't matter too much – The story of the film bears very little resemblance to the original fairy tale. Or perhaps you could say that in this version the original has been very considerably 'fleshed out'.

The premise for this is actually rather pleasant, it takes the Red Riding Hood story and kind of twists it around a bit. In this version the town Red Riding Hood (Valerie) lives in a village that has been cursed with a werewolf for two generations. For the last few years the town has been able to appease the beast by offering it livestock during the full moon. Then a young women is killed and then the town goes on the hunt.

Reading that paragraph it sounds that this should be a good entertaining movie, but it falls horribly short of that. This one is what i would like to call a miss-shot! It had a lot of potential and the re-write of the classic story had many ways to become a good thriller. But somehow it fails to suck you in the story. *spoilers alert*(some may find this as a spoiler) The plot that comes as a surprise (sort of) Due to the attention you'll give the too lover boys you forget there are others suspects who could be the Wolf! *spoilers end*

Even though the identity from the werewolf is kept in mystery for a pretty long time, there is not too much suspense or any sensation of danger, anguish or horror. Due to that uncertainty, Red Riding Hood lacks of identity, because it is frightened of being too violent for the teenage girls, and it does not entirely delivered to the romance in order not to drive away to fans of horror cinema either. The result is that the film fails in every aspect. Otherwise, while I like the idea of reinterpreting tradition fairy stories in darker films, this movie is a chaotic mess. It simply doesn't know what to be or how to be it. I would have loved to like it, but it is a couple of hours of tedious nonsense with a thread of "Guess who is the werewolf?" running through it.

A still from Red Riding Hood Concerning the actors, especially the younger cast, beautiful as they might have been their acting was most lacking, with the exception of Amanda of course, who delivered the role of Valerie spot on. she's the perfect Red Riding Hood: sweet, goth, dark and just perfectly beautiful! Shiloh Fernandez, who plays her love interest Peter, looks continually perplexed by everything, almost as though he is trying hard to remember his lines. Max Irons as Henry, the man Valerie is betrothed to doesn't impress as well. Let's put it this way when you're out acted by a computer generated wolf there is something wrong. However, the senior cast did not disappoint. Julie Christie perfectly cast as Grandma. Billy Burke is great as the drunkard Cesaire. Gary Oldman is brilliant as always, however, his character Father Solomon feels too lightweight. He should have been let off the leash and allowed to take the character to the edge of madness. More should have been made of the men he brought with him to fight the beast but they are generally glossed over.

Nevertheless, the filming style and the way the town is depicted is beautiful. The cinematography is enchanting. There is also a twilight- esque feel to the relationship triangle characters as the movie is directed by the same director. The rawness of the soundtrack works to good effect, helping to create a fraught atmosphere.

Overall, not terrible, but deeply flawed and over-ambitious. Teenagers may find the movie pretty good. I rate it 4.5 out of 10 for being beautiful and mind-blowing cinematography.

Director Peter Weir, who also wrote the screenplay and produced this movie, has managed to create an epic film with some marvelous landscapes where the main message here is the constant struggle for life and freedom. He explores extreme situations lived by the characters in a very effective way. You can almost feel all the desperation and the great effort to keep going even in so many radical circumstances like the climate changes and starvation. In addition, I found interesting that Weir focused more on the philosophical and reflexive state of the characters instead of just showing us their day-to-day relations and interactions.

About the story, after being accused of espionage in Russia during the height of communism, Zoran (Dragos Balkur) finds himself wrongfully imprisoned in a gulag in the heart of Siberia, his only thoughts ones of escape. At the gulag he meets Valka (Farrell), a thug and gangster with a knife that Zoran needs to escape. He also enlists Mr. Smith (Ed Harris), the only American in the gulag, to help with the escape and together with a few others they manage to break free from the gulag, but that's only the start of the story. From there they need to travel, on foot, thousands of miles into India, the only communist free country anywhere near them. Ronan stars as Irena, a Russian girl the escapees pick up along the way.

This is a moving film, based on a true story, told beautifully by Peter Weir. The locations are gorgeous. From the harsh snow-covered trees of Siberia, a terrifying blizzard blowing through the trees, to the stark, barren landscape of the deserts between Russia and China as they travel over the sand. The viewer gets the full brunt of the harsh conditions these men needed to survive to get to safety.

There are moments of rye humor, and deep emotion. And a quietly growing bond between men who have nothing in common but the journey, and their individual capacity to endure it. But some may find the film a bit slow in a number of parts so it helps to have a great interest in the subject matter. The film isn't boring, but I can see some people seeing it that way, especially if you're used to today's action movies.

The finale is the most intriguing part of the movie. Tricky almost but it resonates with the sadness of these broken humans, how the woman has stood in place punishing herself for a lifetime for her betrayal, the man having to wait a lifetime to absolve her. But everything said, I just felt the emotional factor was a bit less.

The performances are also great. The director took a huge risk casting Sturgess as the main lead because he is new to this game, but he did an amazing job as a man that needs to escape inescapable odds to right a wrong he didn't even admit. Farell as Valka is as brilliant as always and shows his versatility again. His scary performance as a killer and psychopath that loves the people who put him in the prison he finds himself in, is a treat to watch. He carries that menace and unpredictability around with him with great aplomb. He and his distinguishable accent are remarkable. Ed Harris has also given a solid performance as always. Ronan is great as a girl who gets help from men that shouldn't be able to give it. She has the right balance of vulnerability and strength to make her great to watch. She is great actor and a worthy Oscar nominee for her performance in The Atonement. This great cast including every other supporting actors really makes you care about the slowly bonding group as they travel mile after mile through harsh conditions and dangerous environments.

One should also mention the make-up done in the movie. The make-up crew did an incredible job on how the aspect of the human body changes along such a hard journey and they certainly deserved the Oscar nomination they received.

All in all, this is great inspirational movie that anyone that who enjoys a good prison escape film should watch. Big production, excellent actors, big scenery, extremely cold weather, extremely hot weather, lots of suffering by everybody involved, it's worthy to watch this movie just because of the landscapes, so vast and majestic. After all these praises, some may find my rating a bit low but the movie just lacked the heart-wrenching emotional moments that this kind of movie should have. Besides that, its a must see the movie for the amazing cinematography and commendable performances. I rate it 7.5 out 10.

The movie in general is good, the plot and design of everything from the animals to the city is really good, but...I just felt that there was something missing. There's not a lot of laugh-out-loud moments like there was in the director's previous Ice Age movies which are one of my favorite animated movies of all time. This movie lacked the humour which should have been given the main focus. But nevertheless, the most astonishing side of the film is the luminous vision of Rio de Janeiro and its carnival.

Blu (voiced by Jesse Eisenberg) is a talking baby macaw, who is taken from his habitat in Brazil and smuggled in a box to the United States. Falling off the back of a truck, he is given a home by Linda (Leslie Mann). They grow up together in a domestic environment and by copying her he never learns how to fly properly. Years later and a scientist named Tulio (Rodrigo Santoro) finds Linda working in a bookstore. He tells her that Blu is one the last of his kind and that he should be taken back to Brazil briefly so that he can mate with a female macaw. Linda reluctantly agrees. When placed in a cage Blu meets Jewel (Anne Hathaway), a feisty bird who is intent of escaping and is impatient to Blu's dithering. When the breeding facility is raided by smugglers, Blu and Jewel are caught and chained together in a cage. They have to learn to work together so that they can escape and find Blu's owner again.

Rio Rio" is set in the exotic Brazil, amidst the world famous carnival. However, the film does not capture the same uplifting spirit. There is only enough excitement for young kids, but little for adults to enjoy. Sure, the visuals are very good, with great colours and smooth animation. The aerial scenes of Rio de Janeiro is breathtaking, but the visuals alone are not enough to make "Rio" a success. The movie is a colourful one, but unfortunately not in a metaphoric manner. It is watchable, one can give it that, but also forgettable.

Eisenberg and Hathaway are just perfect as the leads. So are all the all the supporting characters, especially my favorite Nico and Pedro voiced by Jamie Foxx and Will i Am, they were really funny. The soundtrack is one of the main plus-point of the movie. Some tunes are really catchy.

This is a simple animated film for children who are going to love the monkeys and the birds, but they are also going to be nicely demonstrated that birds are so much better off and nicer in their natural environment. All the animals are cute and are likable, so are the human protagonists. Its a fun movie, not just that great as it could be. I rate it 6.5 out 10 for the beautiful scenery and awesome animation.

If you don't know, The Road is based on a Pullitzer-prize winning novel of the same name by Cormac McCarthy. There's been some kind of apocalypse, causes unknown, and a father and young son try to survive on the road to an hypothetical better place.

The movie is relentlessly grim, dour, somber, depressing and, well, add your favourite dark adjective. However, it's also quite good and fascinating provided you watch it not expecting spectacular action scenes. There are a few intense action scenes based on survival but they're quick, unheroic and unglamorous. Actually, it seemed often better to avoid or flee the dangers in this world. The Road didn't have any of that somewhat cool post-apocalyptic stuffs that other movies of the same genre had. That being said, there are a few tiny glimmers of hope and we come to care about our father and son duo. It's one of the best father and son relationships shown on film.

Someway, somehow, following the father and son in their normal daily life was pretty interesting. It was also quite interesting to see how the father dealt with each unforeseen problem in often unexpected yet logical fashion. The main threat comes from cannibalism (as the father tells us) and as a viewer I felt that omnipresent danger even though it was represented in sometimes subtle ways. It also made me think as to how most people would react in such extreme conditions. Who would cling to standard humanistic ideals? Deep down, who are we really? Is it even worth surviving in such a hopeless world? The movie is deep, sad, horrifying and bleak, with an oddly optimistic finish. While this film might talk about 'good guys' it also says so much about the contemporary world. What do YOU / ME become? A cannibal? Or keep hold of your humanity? Let us hope it is the latter.

The "lighter" moments of the movie in which the man dreams of his woman are nothing short of brilliant yet underplayed, with the one with piano is one the finest cinematic pieces of recent times. There are ample tear-jerking moments in the movie for the weak and the tough of heart, but anyone with a heart will find it skip a few beats in the sequence where Viggo Mortensen lets go of his love.

Viggo Mortensen as the father was simply amazing. This (probably) method actor went so far as to starve himself and dress up as a homeless man in public places to prepare for his role. Cody Smit-McPhee does well as "Boy", and whilst his role in the film is, for the most part, rather unremarkable, and it is Mortensen who carries the relationship in this piece, Smit-McPhee shows enough potential as a young actor for me to say he might be one to watch out for in future. You know you have a master actor when their cameo role can almost steal the film, which is exactly what happens when Robert Duvall appears as "Old Man". Barely recognizable at first, and only on screen for 10 minutes or so, he is astonishing and delivers 100%. Charlize Theron is brilliant as always in short role as the mother.

Cinematography was at its best. The movie was beautifully filmed, highlighting the colours grey and white to show a world that died long ago. It is very depressing, and brilliantly engages the audience into the world and suffering of the protagonists. Literally everything is dying. The trees are all falling down, the sky and the sea are constantly grey, and even the land itself has lost it's colour. This may make it sound boring, but it will shock you.

This is one of those rare movies that has acting, emotion, and realism rolled into one. There is gore and blood, but not to make the movie look cool for theaters. It seems realistic, such as when he pulls out the arrow he was shot with. Though being of the post-apocalypse genre, this actually is a love story between a man and his son. It also is a story about what makes us human.

After all these said, I don't recommend this to everyone. Some may find this movie very slow and boring. Just don't expect anything glamorous or some great action sequences. So give it a watch for its beauty. I rate it 7 out of 10.

Co-written & directed by Patrick Lussier Drive Angry was originally shot & shown theatrically in 3D however the version I watched was plain old 2D so will be commenting on that rather than the 3D one, I had high hopes for Drive Angry from the trailers but I was left feeling very disappointed after having watched it. Drive Angry looked to have all the ingredients need to be an exploitation classic, hot girls, nudity, blood, gore, violence, big guns, fast cars, one liners, Satanism & a good versus evil battle with an anti-hero. However I thought Drive Angry tried too hard to be cool, it tried to hard to be exploitative & appeal to a young male audience. The title and the trailer just felt like a movie I would enjoy...man was I disappointed. The movie had horrible nonsense graphics. The Hydrogen truck flipping over for instance looks terrible as do some of the bullet shots where the camera follows the bullet through the air. Even the action scenes are poor with some very forgettable car chases that don't amount to much more than cars driving along the road.

Drive Angry starts in Oklahoma where restaurant waitress Piper (Amber Heard) quits her job, while driving fiancés 69 Dodge Charger it breaks down, a man named John Milton (Nicolas Cage) offers to fix the car in exchange for a lift to which Piper agrees. Milton is trying to catch up with Jonah King (Billy Burke) who happens to be the leader of a Satanic cult, he murdered Milton's daughter & now plans to offer Milton's baby grandson as a human sacrifice in order to open the gates of hell. Chasing Milton is the Accountant (William Fichter) who is a demon from hell sent to Earth to reclaim Milton who in fact escaped from hell in order to avenge his daughter's murder. With everyone trying to kill everyone else things get violent as car chases & shoot-outs break out all over the place as King tries to turn Earth into a living hell while the undead Milton tries to stop him & his cult followers...

Say what you may about Cage's films, but the actor's dedication to solemnity in the face of the film's trashy grindhouse formula is truly admirable. He makes his character work, just as Heard pulls off her no- nonsense character with gumption and gusto. Heard pretty much steals the show which isn't too surprising. You have a gorgeous blonde with a strong personality, not to mention a southern accent on top of it, who would you rather see on screen. Another actor who standouts is Fitchner. He comes off somewhere between a bad guy and just a plain weird one. The actor delivers his lines with a deliciously dry wit that easily steals almost every scene he is in. He takes his role and knocks it out of the park, and makes the movie that much better. You've seen Finchtner in Heat and The Dark Knight. Finchtner is a fantastic character actor and on many accounts saves this movie, or just gives it that extra special something. He has one liner after one liner and you will remember and laugh at every single one of them. Quite possibly the best is when he runs a Nitroglycerin tanker towards a wall of police cars and simply walks out of the car and stands on a police car hood, as the tanker goes "boom". He steals every single scene as suit wearing The Accountant. One moment he's a menacing figure who can kill you with no mercy, the next he's cruising in a truck with liquid hydrogen listening to KC & The Sunshine Band. Billy Burke is good as the cult leader.

What's really missing here is the 'Midas' touch that the genius Quentin Tarrantino himself would have provided and had this been his creation.

I rate it 4.5 out of 10 for the gorgeous looking Amber Heard and the witty one liners of William Fichtner. You can give this a pass and utilize the time watching Cage's earlier better films.

The Machinist is a psychological thriller directed by Brad Anderson, based on a script by Scott Kosar, and produced and shot in Spain after most American production companies rejected the project as weird. The Machinist plays out like something David Lynch or Stanley Kubrick might have made, but most of the strength comes from Bale's performance. It should be noted that Bale lost 60 pounds in preparation for this role, and the result is disturbing to look at. We see this man reduced to a mere skeleton, not just in body, but in mind. The whole film has shades of dark and is reminiscent of something, which we discover towards the end when the mystery unravels. Simply put, the film shows what can happen if one tries to hide something from self long enough.

Christian Bale is unbelievable as the insomniac paranoiac steal worker Trevor Reznik, and one wonders why he wasn't nominated to the Oscars that year. The fact that he bothered to get so thin, a walking skeleton really, shows how committed (or crazy) he is about acting. The viewer has to be thankful, though, as his decayed physique helps his character and the movie immensely. Bale just doesn't act, he psychologically splits himself to become Reznik. And anything he does in this movie is believable, raw and authentic.

Bale's counterpart Ivan is played by John Sharian, who is cheekily disturbing in his performance. You hate him immediately, physically, the way the moves, the way he dresses, the way he smiles, still, there is something appealing and warm about him. I think his performance and his physique add even more interest to the theme of Raznik's quest for identity. Aitana Sanchez Gijon and Jennifer Jason Leigh are good as Marie and Stevie, respectively. The rest of the cast are all believable in their respective supporting roles.

This is a terrific movie, with a great atmosphere, a thought-provoking script, and a brilliant performance by Christian Bale. The Machinist is one of those multi-layered stories and movies from which you get new details each time you see it. The stylish cinematography and washed out colors are very effective in adding to this nightmarish atmosphere. The art direction and special effects are brilliant. Even though it starts off a little slow, the gradual building of tension is very well done and the mystery is properly revealed in the end.

I love films that make you think, and this one certainly does that. Yes, at times it does get a little ponderous, but I can forgive that because it does all tie up in the end.

So, over all, a well made, dark mystery thriller with a great score and a brilliant performance from Christian Bale…His appearance shows the guy's tremendous determination towards acting and everyone must appreciate that. I wonder why din't he get an Oscar nomination that year. I rate the movie 7.5 out of 10.

Hot Fuzz is the second film in the planned trilogy; Blood and ice cream, directed by Edgar Wright, featuring Simon Pegg and Nick Frost. It is the follow up to 2004 film; Shaun of the dead, featuring primarily the same cast as Hot Fuzz, which is not strictly a sequel to Shaun of the dead, since the two films have completely different plots and characters.

Simon Pegg plays Nicholas Angel, a talented young police constable in London's metropolitan police service, who is very dedicated to his job. He gets called to the station one day, and is offered a promotion to sergeant, the downside being that he has to leave London, to take his sergeant post in the crime-free, idyllic country town of Sandford, Gloucestershire. When he declines the offer, stating that he enjoys his current job, it turns out that it is no offer after all. The reasoning behind this is that he is so good at what he does, that he is making the rest of the police look bad. He is left with no choice but to take the post and leave London.

In Sandford he is partnered with fellow police officer Danny Butterman, played by Nick frost, a childish and naive man, with whom Pegg's character gradually builds a friendship with. Danny and Nicholas are polar opposites. Nicholas is a perfectionist and a workaholic, while Danny is a slacker who longs for a more cinematic, action filled life. Against all odds, their personality turns out to be a perfect fit, as Nicholas mentors Danny to become a better officer, while Danny teaches Nicholas to "switch off".

As the days go by, strange deaths starts to occur, and while Nicholas suspects murder, the rest of the force brushes it off as accidents. Maybe this town is not so crime-free after all.

This all leads up to a very satisfying climax, one that I do not wish to spoil. All that I can say is that it is action packed, hilarious and exquisitely put together.

Edgar Wright's comedies rely heavily on timing, and this film is no exception. The movie moves fast, and the jokes move along even faster. You can watch it over and over, and always find something new to laugh at. It is filled to the brim with jokes, each joke funnier than the last one. He has a very distinct style of cutting, with fast scenes used as transitions or visual gags. These scenes are usually very clear and straight to the point, such as the scene when he travels to Sandford, a very fast sequence of clips, primarily highlighting the facts that not much is happening.

After writing, starring and directing "Shaun of the dead" Edgar Wright and Simon Pegg turn their sights to the action/comedy genre, transposing the usual American fare and bringing it to a rustic English setting. Simon Pegg has once again proved that he is not only good with zombies but also has a Cop, oh sorry!- Super Cop. This movie is not just a master piece but also a treat of comedy, action and a real sense of humor. Simon Pegg decides in this film to take more of a straight man role and leaves most of the comedy to his friend Nick Frost, who does not let him down giving what could just have been the stooge role of Danny Butterman a great deal of charm and pathos. Simon Pegg and Nick Frost are both great in their roles, delivering their dialogue perfectly. They are a perfect duo. The rest of the supporting cast do their jobs supremely well, from the Oscar-winning Jim Broadbent, through to Olivia Coleman, Kevin Eldon, Anne Reid, Adam Buxton, Bill Bailey and the supremely brilliant Timothy Dalton who excels as the seemingly obvious villain of the piece. The script and the direction are superb and the film switches effortlessly between comedy and action and occasionally horror. The other mistake that the film so deftly avoids is the desire to slap some kind of love interest in there. There is nothing you can expect in an entertainment more than this. I'm a huge fan of the duo. The chemistry between Simon Pegg and Nick Frost is simply admirable.

Hot Fuzz" is at it's best with the many laugh out loud moments: the runaway goose, translating the local dialect, the human statue "threat", the bodyguard who just says "Naarp!", and wordplay twists throughout. These smart bits of humor make the film a keeper… just be prepared for high action and some gore with your laughs. I give it a whooping 8 out of 10.

I'm not complaining that the movie din't have much of a fighting as the title suggest. I can understand what the makers are trying to show, but it is just plain boring. This tries to be like "The Wrestler" but it just came off as being silly instead of being realistic and intriguing, although it tries to be realistic. There is nothing really entertaining about this movie, plus the main protagonist wins most of the fights by pure luck for most of the time. Alas, the climactic rooftop showdown is rather dull, much better is the marble hallway brawl against a kinetic Asian opponent .

The best thing about the film is Tatum's interaction with Howard, who offers a full-on, layered performance that actually makes the whole film worth seeing. The heart of the film is the relationship between these two men, but the script seems afraid to explore it in any real depth. Instead, it tilts toward the unconvincing romance between Shawn and Zulay.

The fights, thankfully, don't noticeably include the over-the-top sound effects often included in Hollywood fight films (like the "woosh" of fists and the "thuds" of landed punches), but instead keeps the more realistic, skin-to-skin slapping sound, which, in my view, made the film much more gritty and, to an extent, more believable.

There's nothing much to say about the movie. You can give it a watch if you see this when your flipping the channels at your home and nothing else better is on TV. I give it 4.5 out of 10.

The franchise resurrects. The cast matures. The crew grows up. And, The Rock joins the gang. The derailed series is finally back on track since the original with upgrades in all the departments of film-making. if you think this is a movie with races, you're wrong. Taking a different route this time, the film makers have transformed the street racing franchise into the heist action film which isn't a bad thing, this transformation has worked wonders for the movie & the franchise. Fast Five is the genuine summer blockbuster of the year, without a doubt. Its the kind of big action, big Ka-pow movie that the audience doesn't want to get bogged down in the details on if they just want to have fun. The situations these guys go through is unbelievable, we know that the way these characters drive they should all have died in the first Fast and Furious, but we know this is just a fun and entertaining franchise and we try to make peace with the screenplay as best we can because it is just fun to see these guys go at it. It's fun to see them drive cars off a running train, or speed by busy streets without crashing into each other while at the same time avoiding all sorts of bullets and explosions. Fast Five might be the most unbelievable and improbable film of the franchise, but it is still the best one. While this movie doesn't have much straight up street racing its got plenty of everything else. This is the one sequel where they got the action right on all aspects. Not much CGI at all unless it was so good you couldn't tell.

Vin Diesel & Paul Walker continue to be effective in their respective parts. Jordana Brewster is fair. Tyrese Gibson is first-rate and brings in a host of laughs in the goings-on. Ludicrous is good. Matt Schulze, Sung Kang & Gal Gadot are passable. Dwayne 'The Rock' Johnson is absolutely superb in a strong supporting role. He imposes as a formidable rival. Here Johnson's straight arrow persona leverages the story's ultimate conflict.

Showcasing Director Justin Lin's signature accelerated precision, Vin Diesel's Dom races beside the speeding train as Paul Walker's Brian leaps into Dom's sports car. Their car immediately sways over a steep chasm into the river below. Diesel and Walker leap in midair out of the car, and plunge into the water. "Fast Five" is just great fun. Writer Chris Morgan's story is better than the last "Fast and Furious", which isn't saying much. Then again we don't see "Fast Five" for the narrative nuances. Non-stop action reigns supreme. Lin has a crisp vibrant visual style, and acumen for insane action. Lin has two cars racing through the streets of Rio dragging a bank vault unleashing mass destruction. Granted this is over the top, and completely original. "Fast Five" has stunning Rio de Janeiro locals, gorgeous women, fast cars, and Vin Diesel squaring off against "The Rock" Dwayne Johnson. Lin has methodically checked off all the boxes. The Taiwanese director is getting really good with his craft. Car chase is obviously the top draw. Just as you wonder what else he can give you that you haven't seen before, he comes up with things that take you to yet another level of mindless pleasure. The movie doesn't linger onto any dramatic scenes for too long. The filmmakers know that their target audience came for the fast cars and action. Who cares about any subplots and talking? The Rock makes a grand entrance and is provided with enough screen time to make The Rock fans happy. I also like the turn of events with his character near the end. It was handled brilliantly. Fast Five delivers what it promises and even more. There are a lot of action sequences and they are shot extremely well. The cars move really fast, but that isn't all Fast Five has going for it. The addition of The Rock to the story sets up an interesting fight scene between him and Dominic(which is one of my all time favorite fight sequence). The Rock helped boost the series even more and brought something fresh to the franchise. There is also the plus that the film took place in Rio de Janeiro and the scenery there is just so beautiful. There is a great chase scene that takes place over the roofs of the houses, reminiscent of the Bourne Ultimatum scene in Morocco. Yes, the story is improbable, but we still are allowed to have fun with it. Cinematography is perfect. The soundtrack is also great.

"Fast Five" is not going to win any awards. It is just great fun. I look forward to the next sequel.I rate it 7.5 out of 10.

Of course, "I Am Number Four" is by no means a great movie. Characters are stereotypical, things fall into place way too conveniently and one has the feeling that a good junk of the original novel has just been crammed together to (barely) fit into the running time of 90 minutes. The story feels a bit weak and there are so many plot holes it takes away part of the enjoyment like if the nine aliens are so powerful, why can't they stop those Mogadorians? Is it because they have a huge flying squirrel like monster? Oh wait. Number Four also have one of those. Is it their appearance? Or is it unexplained? I've never read this book before. Lack of narratives? They never mentioned why kill them in sequence. But however, This is not a bad film. It's just not that great. Among the good points, the visuals were astounding. The final battle in the movie is something that save the movie from being a huge disappointed. The last 20 minutes will most certainly entertain the majority of audiences. And also the villains are pretty cool. There gigantic, bald, covered in tattoos with gills and sharp teeth, carry some pretty cool weapons, and have 2 gigantic beasts as pets.

The main problem is the movie is totally clichéd. I mean how many times are we going to see the exact same story. I mean this was your typical teen drama….new kid..shady past… weird and wants to stay to himself, but there's always some cute chick who he risks everything for. There's always bullies who hate that he's got the attention of the cute chick, so they always end up having a conflict. I mean 90% of this movie was your typical high school drama teen movie. And the "discovering" of his powers was like the alien version of spiderman. I will say I was interested and intrigued when the film was attempting to do something with the plot and overarching story, but these moments are never given the chance to fully develop.

This Twilight series' formula might cheer up the hearts of teenage girls, but males with an ounce of testosterone will grow increasingly restless as they await the arrival of the action that the film's trailer promised. I was intrigued from the early moments in the film where it started to set the plot into motion, and the need for John and Henri to keep running to avoid death. But then it suddenly shifts from a science fiction tale to a romantic love story, and totally loses anything it has going for it. A last minute save in the final act of the film where it shifts back into the realm of sci-fi in the form of a machina known as Number Six (Teresa Palmer) who proceeds to kick a satisfying amount of rampage against the backdrop of CGI and special-effects, is not nearly enough to make up for well over an hour of melodrama and teen angst.

Acting wise, Alex Pettyfer is just plain with no expression but of course teenage girls will love him for his looks and physique. Dianna Agron is pretty and acts fine. Teresa Palmer who I adored in The Sorcerer's Apprentice looks great but barely gets enough screen time to make an impact with little dialogue. Kevin Durand as the Mogadorian Commander is good in his evil act. But one of the film's biggest disappointed is the misuse of Timothy Olyphant as Henri. The film criminally under-uses Olyphant, the only actor who actually acts in the entire film, and makes him into an almost useless background character. We're told that he's a Lorien warrior, and as such you'd expect him to join in the butt- kickery. Unfortunately, he's only involved in one fight and is inexplicably kidnapped. His role is more of a babysitter for Number Four than a warrior/guardian who dispenses valuable training and wisdom. And then there's the relative newcomer Callan McAuliffe stuck in the cliché- ridden role as the know-it-all geek of a best friend though he's fine in whatever he has.

All this said, though this movie isn't the best action film of the year, its still worth a watch for the CGI and the last act of the movie. This is the first installment of the probable trilogy or more. So let's just hope they do it right in the sequels. I rate it 5.5 out out 10.