movie reviews by PvtCaboose91

"Legend says that a crystal skull was stolen from a mythical lost city in the Amazon, supposedly built out of solid gold, guarded by the living dead. Whoever returns the skull to the city temple will be given control over its power."

It took nineteen years, at least a dozen screenwriters and several false starts and stops, but it finally happened: the iconic professor-come-adventurer Indiana Jones made his long-awaited return to the silver screen. However, in the years since its release, 2008's Indiana Jones and the Kingdom of the Crystal Skull has become the franchise's black sheep, receiving a distinctly mixed reception from critics and moviegoers. But in this reviewer's eyes, Kingdom of the Crystal Skull is far from the abject failure of the Star Wars prequels, and it's not far behind the quality of the previous Indiana Jones sequels. While the original trilogy homages old adventure serials of the 1930s, Kingdom of the Crystal Skull embodies the spirit of 1950s B-movies, resulting in a different type of Indiana Jones adventure that still retains familiar franchise elements. It's Indy 2.0 for the 21st Century, delivering a welcome amount of joyful action-adventure fun coordinated by one of the industry's finest filmmakers.

The year is 1957, and tensions between the United States and Russia are high. Still working as a professor of archaeology as he progresses into his autumnal years, Dr. Jones (Harrison Ford) is rustled out of his everyday routine by a group of Russian soldiers led by the ruthless Irina Spalko (Cate Blanchett), who are seeking to uncover the location of an enigmatic crystal skull. Working to obtain the skull before the Commies get their hands on it, Indy is joined by young greaser Mutt Williams (Shia LaBeouf) as they globe-trot to South America, following the clues left behind by Indy's old colleague Harold Oxley (John Hurt).

Kingdom of the Crystal Skull is structured like a classic Indiana Jones picture, opening with a large action set-piece before shifting into expositional territory as the relic hunt begins. Hell, Steven Spielberg and George Lucas even dust off the old Paramount Pictures logo and the trademark title font to match the mood left hanging in 1989, and they resurrect the traditional travel montages, with a map displaying the characters' journey. Furthermore, the film retains a warm, orangey colour palette reminiscent of the previous films, and each punch still sounds as thunderous as ever. Kingdom of the Crystal Skull is eager to provide light-hearted fun, a quality often lacking in modern action cinema. We get too many grim and ominous action pictures like the Bourne series or The Dark Knight, so it's refreshing to witness a buoyant action-adventure that is straight-up entertaining from start to finish. Personally, I'll take Spielberg's marvellously orchestrated action scenes - which eschew rapid-fire cutting and shaky-cam - over most of today's "grim and dark" action films. The film's playful sense of humour is welcome, too. Composer John Williams also deserves credit for his contributions. It has been decades since we first heard it, but the Indiana Jones theme remains as exhilarating as ever, and each action beat is all the more enjoyable when accompanied by those iconic trumpeted notes.

Screenwriter David Koepp takes full advantage of the picture's 1950s setting. On top of containing a handful of classic rock 'n' roll tunes, it's wonderful to watch the interactions between Mutt and Indy: the rebellious young rock 'n' roll type versus the more traditional sort of American. Kingdom of the Crystal Skull is goofy, but Indiana Jones has been goofy since its inception. (Seriously, re-watch Raiders of the Lost Ark - nostalgia may cloud your judgement, but the film is goofy as hell.) The only problem is that Crystal Skull is not quite as gritty as its predecessors - it's a bit too "clean," whereas the original trilogy possessed a veneer of '80s grit. This is due to the use of digital effects over the primitive but endearing special effects of yesteryear and the fact that Crystal Skull is not as violent as its forerunners. (Indy seems reluctant to kill people here, and he never fires his gun.) Admittedly, the CGI glaze is not a bother for the most part, but the film becomes far too cartoonish once it shifts to the jungles of Peru. Kingdom of the Crystal Skull fares better in its smaller set-pieces, including a giddily amusing brawl in a restaurant and an exciting motorcycle chase. When it goes bigger, it lacks the punch of the earlier pictures simply because it looks too much like the product of sets, green screens and computers, rather than the result of expansive location shooting and risky stuntwork. A handful of moments are much too ridiculous, as well, including Mutt swinging on vines like Tarzan. It also feels as if none of the heroes are actually at risk of being hurt.

Ford looks bored in many of his recent roles, but here, he seems to have that glimmer of delight back in his eyes. Ford plays the aging Indy with a low-key charm and never pushes the old man routine too hard, instead just playing a ripened version of the role with a sense of humour. Thankfully, Ford is joined by his old Raiders of the Lost Ark co-star Karen Allen as Marion Ravenwood. Allen hasn't been in many films of late, so it's a thrill to see her onscreen again, and it's even better that she's as wonderful as ever. Inviting Allen back to the franchise was an ingenious idea, and it's great that she and Ford still have sizzling chemistry. Meanwhile, LeBeouf is surprisingly likable as Mutt, dialling down his irritating acting habits to portray a credible greaser and an effective side-kick. Blanchett is also deliciously villainous as Irina Spalko, and John Hurt is agreeably colourful as Oxley. Less successful, though, is Ray Winstone - he does what he can as Mac, but his character is ill-defined and pointless, a lazy conflict catalyst who could have been excised without any detriment to the narrative.

Indiana Jones and the Kingdom of the Crystal Skull is definitely at its strongest during its first and second acts, with its dynamite character interactions, exciting globe-trotting, light-hearted spelunking, and gripping action scenes. Beyond that, the film is distinctly hit-and-miss, alternating between the shonky and the exciting. (The rainforest chase is too cartoonish, though a brawl between Indy and a Russian hulk is a true white-knuckle sequence.) Nevertheless, Kingdom of the Crystal Skull does not deserve the negative press it receives. Even in its silliest moments (FRIDGE!), the film is hugely entertaining, delivering an irresistible amount of matinee-style action that we rarely see these days. It's not on the same level as Raiders of the Lost Ark or The Last Crusade, but it's at least as good as - if not better than - The Temple of Doom.

7.7/10

"You can't build cover stories around a movie that doesn't exist. You need a script, you need a producer. "

Gone Baby Gone and The Town were enough to establish Ben Affleck as a superlative director, but Argo verifies that he's a filmmaking force to be reckoned with. What we have here is a godsend of a motion picture; a smart, riveting old-fashioned thriller which conveys a fascinating true story in a spellbinding fashion. Maintaining a remarkable tonal balance, Argo is a relevant history lesson, a nail-biting suspense movie, a knowing satirical send-up of the Hollywood movie business, and a celebration of what's possible in the unlikely event of incredible governmental cooperation. While Argo may ostensibly look to be a boring, talky political drama, it's far more skilful. The movie's biggest success is that it's never boring; Affleck tells this tale in an undeniably engrossing fashion, through great screenwriting and filmmaking, and with great actors.

In 1979, a group of rioting Tehran locals arrive at the gates of the U.S. Embassy and take control of the building with violent force. Amid the chaos, six American employees decide to make a break for it, and wind up hiding out in the Canadian Embassy under the care of Ken Taylor (Victor Garber). Thus begins a long, arduous wait for rescue, with the Americans growing unsure if they will ever leave Iran alive. Enter CIA operative Tony Mendez (Affleck), who dismisses all conventional extraction ideas in favour of another idea so crazy it just might work: set up a faux Hollywood movie company, fly to Iran under the ruse of being on a location scout for their upcoming sci-fi blockbuster "Argo," and fly the Americans out of the country disguised as the film crew. To make the ruse look as genuine as possible, Tony recruits Oscar-winning make-up artist John Chambers (John Goodman) and veteran film producer Lester Siegel (Alan Arkin), who set up a faux production company and con the Hollywood press into believing that "Argo" is an authentic production. With a full script written, a cast in place, storyboards and posters drawn up, and a lot of media buzz, Mendez travels to Iran hoping the ruse is strong enough to successfully fool the Iranian government.

Truth, they say, is often stranger than fiction - and this story about a fake movie being set up for a daring rescue operation is so outlandish that it just has to be true. Dramatic license was taken, but for the most part Argo is a pretty accurate retelling of this incredible operation, which remained secret for nearly twenty years until President Clinton declassified the files in the 1990s. Argo is not equipped with any sort of political statement, nor does it have any sort of sociological agenda - instead, this is a straight-ahead film which allows us to experience this situation in a visceral fashion. The film is not exactly light, but Affleck does liven the proceedings with a smattering of humour here and there, mostly provided by John Goodman and Alan Arkin. But the comic relief is by no means in bad taste; the tonal changes are remarkably well-negotiated and the film never devolves into dumb slapstick. It's frankly miraculous that Affleck manages to smoothly guide the film between deadly serious and light-hearted.

The opening sequence depicting the takeover of the U.S. Embassy is nothing short of mesmerising - the sense of sheer immediacy and peril is overwhelming, and authenticity is elevated by the use of genuine archival footage intermingled with Affleck's stunning recreation of the scene. Added to this, the film does a tremendous job of establishing Tehran's many dangers, from the hot-headed Iranian guards to the Canadian Embassy's maid who's under pressure to sell out the Americans. Every step of Mendez's plan is a minefield, leading to an unbearable amount of tension. Indeed, the final forty minutes of Argo are a perfect storm of spot-on editing, thespian brilliance and engaging camerawork, leading to a climax which will quite literally have you on the edge of your seat. Seriously, forget about biting your fingernails - you'll munch right through them and chew your fingers down to the knuckles.

In terms of technical achievements, Argo is Affleck's most impressive film to date. This is not a stylised, glossy recreation of the '70s - it's astonishingly authentic, with sets and costumes effortlessly making us believe we're looking through a time portal. The film even begins with the retro Warner Bros. logo which hasn't been used for decades. Affleck and his director of photography Rodrigo Prieto experimented with film processing in post-production, shooting on regular film before cutting the frames in half and blowing up the image to 200% in order to increase graininess. As a result, Argo looks like a genuine film from the 1970s, especially with its retro colour palette. What has been achieved here is frankly phenomenal.

Keeping us interested at all times is the sensational cast. It may seem like an egocentric move for Affleck to cast himself as Tony Mendez, but he's an ideal central anchor, and his performance is engagingly understated. Alongside him, Breaking Bad star Bryan Cranston easily convinces as Mendez's superior, bringing a world-weary professionalism to the role. The standouts, though, are Goodman and Arkin, who are hugely enjoyable as the Hollywood insiders. Both actors deliver hilarious one-liners with real finesse. Meanwhile, the six Americans were played by a terrific bunch of performers. This is a rare case where actors were chosen not for their star-power, but for their ability to be convincing, not to mention they all look remarkably like their real-life counterparts. Titanic actor Victor Garber is equally impressive as the Canadian Ambassador. It's a huge cast, and there are absolutely no weak links among them.

History buffs can sick back and nit-pick Argo's historical inaccuracies, of which there are a few. And there has been controversy about the dramatic license taken by Affleck and his team. But this is a motion picture, and what matters is whether or not the interpretation of this series of events actually works. In this case, Argo works brilliantly, and, if you experience the movie with no knowledge of its inaccuracies, you simply will not care that it took a few liberties with history. Argo is the film of the year; an excellently constructed thriller which reinforces that Affleck is a director to watch. What other filmmaker can say that their first three movies are masterpieces?

10/10

"Ma-Ma is not the law... I am the law."

Created in 1977 by John Wagner and Carlos Ezquerra, Brit cult comic book character Judge Dredd was last seen on the big screen in 1995 for the Disney-produced, campy Sylvester Stallone vehicle simply titled Judge Dredd. Although the Stallone picture is fun in a "so bad it's good" way, it was a total misfire, flopping at the box office and earning disdain from Dredd's comic book creators. It took a while, but a group of filmmakers have finally endeavoured to try again, and it's a different beast entirely. Written by Alex Garland (28 Days Later, Sunshine), 2012's Dredd sticks closer to its source material, aiming for a grittier, darker depiction of Mega-City One and its most infamous Judge. Dredd is supremely entertaining and skilful, a kinetic action fiesta that properly introduces Judge Dredd and his world in cinematic terms. This is 2012's premiere action film - without fear of hyperbole, it is easily on the same level as classic sci-fi masterpieces like The Terminator and RoboCop.

Judge Dredd (Karl Urban) lives in a dystopian future where catastrophic wars transform Earth into a devastated wasteland. On the East Coast lies Mega-City One, a metropolis overrun by crime. Keeping crime under control are the judges: law enforcement officials with the power to sentence and punish lawbreakers on the spot. One of the fiercest judges on the force, Dredd is assigned to assess the inexperienced Judge Anderson (Olivia Thirlby), a mutant with psychic abilities. Dredd takes the rookie into the field, investigating a routine triple homicide at a towering city block known as Peach Trees. Unfortunately, the block is essentially run by brutal crime lord and drug kingpin Ma-Ma (Lena Headey), and she is not willing to let the judges escape with their suspect. Locked inside the hostile tower, Dredd and Anderson are left at the mercy of Ma-Ma, who manufactures the city's supply of a new drug, Slo-Mo. Ma-Ma calls upon the armed residents to kill the judges, stacking the deck against the pair who are in for the fight of their lives.

Working on a modest budget (reportedly $50 million), Garland and director Pete Travis (Vantage Point) lack the resources to create an expansive adventure that truly explores Mega-City One. Instead, Dredd is a small-scale introductory escapade. Outside of an opening chase scene and the sequences set within the Grand Hall of Justice, the film confines itself within the concrete interiors of Peach Trees. It is a surprisingly effective way to re-introduce Dredd on the big screen, with the clean, simple storytelling allowing us to properly acquaint ourselves with Dredd and Anderson amid the action-oriented conflicts. We do not get to know Dredd on any profound level, but that's fundamentally the point; he's a gruff judge with a steely work ethic, thus armchair psychology would betray the character (Anderson's psychic reading of Dredd is cut off before she goes too deep). Fortunately, Garland manages to construct a film that is rich in Judge Dredd lore and can be easily enjoyed by the uninitiated. It's also rich in detail and nuance, leaving plenty of things to explore in the unlikely event of a sequel.

Comic book adaptations are often soft in terms of violence, but Judge Dredd is a character aimed more at adults. Thus, Dredd is a vehemently R-rated action film - director Travis never baulks from portraying the realities of this visceral, blood-soaked world. Dredd and Anderson are faced with scores of armed gangs, prompting the judges to spray the walls with the blood of their opponents. Holy shit, it is awesome. The violence is necessary, too, because the film needs to convey the extreme brutality of this world to allow us to understand why law enforcers like Judge Dredd are necessary. This also renders the 3D photography thematically appropriate, as it thrusts the violence into our faces. The trailers for Dredd are admittedly underwhelming, but the reason for this becomes clear while watching the movie: all the best moments are too R-rated for green-band trailers. Most action films only contain a handful of short, sharp action beats that provoke a sense of giddy exhilaration, but Dredd delivers at least 10 or 15 of those moments. The film also displays a dark but welcome sense of humour. Travis does employ slow motion during various action beats, but this is because Dredd's opponents are high on the Slo-Mo drug that makes their brain believe that time is passing at 1% of its usual rate. This ingenious stylistic choice both serves the narrative and provides the chance for creative moments of slow-motion awesomeness.

Let's get this straight: Karl Urban IS Judge Dredd. Period. Espousing a raspy voice, Urban inhabits the role with convincing abandon, washing away the bad memories of Sylvester Stallone's attempt. Urban has the right look for the role, and he effectively conveys the manly brute force and the intimidating brutality of Dredd. This is the performance that Urban will be most remembered for, easily. Thankfully, the other performers are strong as well. Olivia Thirlby is both endearing and believable as Anderson, showing terrific nuance as she displays her uncertainty towards the violent force required to be a judge. Meanwhile, Lena Headey is a compelling villain; scarred, vicious and ugly as whore-turned-drug-kingpin Ma-Ma.

Comparing Dredd with its '90s counterpart, the difference is day and night. Dredd absolutely nails it, making the Stallone version look like a woeful kiddie film. To be sure, the film is as deep as a street puddle, but it does not need to be profound. Likewise, it's a shame the film is so confined, but it nevertheless works - a quality, small-scale film is better than a wishy-washy larger-scale picture that lacks the budget to be believable. Dredd was created by a writer who knows his source and a director who knows his art. It's a badass action film and an excellent start for a potential new Dredd franchise (which, unfortunately, may never materialise).

9.4/10

"The same person who set me up then has just set me up again, so I'm going after him."

The James Bond franchise celebrated its 40th birthday with the release of 2002's Die Another Day, which is also the 20th motion picture in the long-running series. Unfortunately, a lot has changed since 1962; whereas Dr. No and Goldfinger were edgy spy thrillers, Die Another Day is an absurd cartoon which, ironically, feels more like a lifeless Bond imitator. Artistically bankrupt and often strangely incompetent, the movie tries to bring Bond into the 21st Century digital realm, with CGI and colour correction replacing grit and old-school special effects. Admittedly, the picture's first half contains a handful of entertaining set-pieces, but it eventually devolves into a joyless CGI demo reel with a script bordering dangerously close to self-parody. It's the worst 007 adventure since Moonraker.

When a dangerous mission into North Korea goes wrong, James Bond (Pierce Brosnan) is captured and held prisoner, condemned to be tortured on a daily basis for over a year. MI6 eventually negotiate Bond's release, but M (Judi Dench) immediately strips him of his Double-O status and detains him. On a vendetta to find who set him up in Korea, Bond escapes captivity and goes on the run from His Majesty's Secret Service. Bond soon crosses paths with Korean anarchist Zao (Rick Yune) and rich industrialist Gustav Graves (Toby Stephens), who plan to take the nations hostage using a powerful space-based weapon capable of emitting a devastating laser. On his mission, Bond also meets NSA agent Jinx (Halle Berry), and undercover British agent Miranda Frost (Rosamund Pike) who has infiltrated Graves' villainous organisation.

To its credit, Die Another Day does try to shake up the formula a bit, with 007 being disowned by the British government under suspicion that he spilled national secrets under interrogation. We thus get a renegade James Bond in the vein of Licence to Kill, but the concept was far edgier and more engaging in the 1989 picture. Die Another Day just fails to do anything worthwhile with the idea, and Bond actually winds up returning to MI6 halfway through the film anyway. The script here was written by Neal Purvis and Robert Wade, who had a hand in writing The World Is Not Enough with Bruce Feirstein (who wrote GoldenEye and Tomorrow Never Dies). But Feirstein was unfortunately jettisoned for Die Another Day, and it's noticeable. Dialogue is often unremarkable, and the one-liners and humorous moments do not possess the usual 007 wit. Even John Cleese struggles to be funny.

Die Another Day asks for an unreasonable suspension of disbelief. Bond films are always silly, to be sure, but the ludicrousness of Die Another Day leaves Moonraker looking positively realistic. Following the silly opening hover-craft chase, things only grow worse, with the infamous invisible car and a woeful scene spotlighting Bond as he kite surfs a large wave in icy waters. Bond movies often overcome their preposterous nature by selling the stupidity through dangerous stunt-work, impressively-detailed models and vast sets that afford a veneer of grit, making it actually look real. Die Another Day, on the other hand, leans heavily on incredibly shoddy digital effects which do the script no favours - everything looks too phoney. We never feel that Bond is in any real danger inside this CGI-heavy world, detracting thrills and the sense of pure excitement that the best Bond films delivered in spades. The result is closer to xXx than Ian Fleming. (Ironically, director Lee Tamahori went on to helm the sequel to xXx.) The 007 franchise was never meant to be a CGI-heavy spectacle, period. Even Roger Moore hated the film, exclaiming "I thought it just went too far - and that's from me, the first Bond in space! Invisible cars and dodgy CGI footage? Please!"

There's no denying the skill of Lee Tamahori's Once Were Warriors from back in the early '90s, but his direction is pedestrian at best here. Die Another Day is a sloppily-constructed action film; mise-en-scène is slipshod and editing is astonishingly harsh. It's often leaden when it should be fluid and involving, and the action scenes are somewhat sluggish. Although the film looks attractive as one would expect considering the $140 million budget, Tamahori was way out of his league in charge of a film of such scope, displaying an inability to generate much in the way of tension, suspense or excitement. The only real saving grace is David Arnold's superlative score. Rousing and well-judged, Arnold's music is the only thing keeping Die Another Day afloat during its action scenes. On the other hand, however, Madonna's title song is just...awful; a mindless, grating pop tune which gets on one's nerves very easily.

One has to feel sorry for Pierce Brosnan. The star loved the notion of playing Bond, and his debut, GoldenEye, was one of the franchise's strongest entries. Tomorrow Never Dies and The World Is Not Enough confirmed Brosnan's status as the best 007 since Sean Connery, and he was on his way to becoming the definitive Bond, yet his final film as the iconic superspy had to be this tragic clusterfuck. Unsurprisingly, Brosnan is still a solid Bond here, suitably charming and physically capable. But he's simply not given enough to do. In prior films, he had the chance to show his range and play Bond with emotional depth, but he's one-note here. As the proverbial villains, Toby Stephens and Rick Yune are admittedly quite good, and Rosamund Pike is one of the most beautiful Bond girls the series. On the other hand, Oscar winner Halle Berry is disappointing as Jinx. Berry is sassy and beautiful, but her performance seems half-hearted here.

As bad as it is, Die Another Day is not a complete bust. At its best, the film is an entertaining diversion with fun to be had from time to time. At worst, it's a cringe-worthy embarrassment to the James Bond franchise, tarnishing the brand name and reinforcing that the series needed a fresh new start. It's a shame, too, because GoldenEye was terrific series revivification, and it only took three films for the producers to fuck it up. And although it was the script which let him down, Pierce Brosnan ended up being fired in the film's aftermath. I guess the only fortunate thing about the film is that it led to the exceptional Casino Royale.

4.2/10

"I like you."

V/H/S is an ingenious amalgam of two horror staples: the "found footage" subgenre, and the horror anthology structure. Containing a total of six short stories, the film provided the opportunity for a handful of up-and-coming horror directors to experiment with herky-jerky POV horror. Eschewing the polish and sheen of recent films like Cloverfield and Project X, V/H/S aspires to emulate the style of The Blair Witch Project: low-budget, raw and often fuzzy footage that may induce motion sickness due to its shaky cinematography. For this reviewer's money, V/H/S undeniably works; it's an insanely atmospheric, often thrilling selection of short movies, and there's no shortage of blood, boobs, twists or dark humour.

Providing a wrap-around framework for the shorts, V/H/S introduces us to a gang of young thieves who film themselves breaking into a house, endeavouring to retrieve a VHS tape that they've been hired to find. With stacks of video cassettes lying around, the gang begin taking time to watch the unlabelled tapes. In the first tale they watch, Amateur Night (directed by Adam Wingard), a trio of horny young men aim to film a night of drunken sex using a pair of spy glasses. However, they pick up a creepy, quiet girl, and things quickly deteriorate from there. The second story, Ti West's Second Honeymoon, features a young couple filming their tourist exploits as they road trip through the American Southwest, but find themselves stalked by a hooded figure. Next up is Tuesday the 17th (directed by Glenn McQuaid), a Friday the 13th-inspired story about four friends who travel to a remote wooded area for a weekend of lakeside fun. But a vicious apparition rules the area, and is not going to let the intruders leave. The fourth story, Joe Swanberg's The Sick Thing That Happened to Emily When She Was Younger, is told through a series of video chats between two long-distance lovers. Emily believes that her apartment is haunted, and tries to convince her boyfriend of the paranormal presence. Last but not least is 10/31/98, directed by a four-man collective who call themselves Radio Silence. This last segment observes a few boys heading out to attend a Halloween party who find themselves in a haunted house.

Perhaps the most common complaint of found footage movies is that they're boring. After all, it's hard to sustain a movie purportedly told through home video footage, and there's often more build-up than payoff. V/H/S works so well because it jettisons the need to stretch out ideas to feature-length, and thus each story has the freedom to be short and brisk, essentially cutting most of the bullshit to skip straight to the payoff. Furthermore, there's a welcome element of surprise - you don't know how long each story will go for, and you don't know what each story will hold. It provides variety and disorientates us, compelling us to bite our nails in uncertainty of what's about to happen. Unfortunately, the primary story about the burglars who find the tapes is too repellent, silly and dull. Added to this, the idea that these guys film their exploits is difficult to accept, and the fact that they keep filming strains believability to breaking point. V/H/S would have benefitted from either losing this narrative thread entirely, or portraying the story through conventional writing and filming, rather than forcing the found footage conceit.

Fortunately, the directors of the rest of the five shorts each found ingenious ways to avoid the recurring "Why do those idiots keep filming?" question. In one segment, a character is wearing a pair of eyeglasses fitted with a small camera. Another segment consists entirely of webcam chats. In other stories, the camera plays an important role. And in the last segment, a camera is embedded in a characters' Halloween costume.

The best story, by far, is 10/31/98. Perhaps because the segment was masterminded by four people, it's the most inventive and resourceful short film, employing some seamless CGI mixed with old-school special effects trickery to sell the dread of this haunted house. Across the board, the actors all deliver naturalistic performances, without the usual stiffness associated with the subgenre. Perhaps the biggest victory of V/H/S is that it looks and sounds genuine. Paranormal Activity 3 was meant to be told through video cassettes from the 1980s, but it was too crisp and sharp. V/H/S, on the other hand, looks grungy and fuzzy, making us believe we're watching old home movies on an old VHS. Mise-en-scène is spot-on, too. But several stories would have benefitted from more judicious editing. If two or three minutes was excised from each story, the picture would have run a more serviceable 100 minutes, rather than the excessive 115 minutes it ended up being. Furthermore, there are a few logistical issues with V/H/S. For instance, why would the thieves sit inside a creepy house watching the tapes, rather than taking them home to watch? And why would a selection of computer chats end up on a VHS tape?

Packing the grungy menace of the early pictures of directors like Wes Craven and Tobe Hooper, V/H/S is a clever grab-bag of frights and intoxicating tension, all filtered through the found footage aesthetic. It feels dangerous and often real, and it puts a lot of glossy Hollywood pictures to shame. Each of the film's components would make for fine, memorable horror shorts. Therefore, with the segments all pieced together, the finished product is a terrific slice of independent horror filmmaking. It's an ideal movie to watch in a dark room on a Friday or Saturday night. And it's required viewing for horror buffs.

7.2/10

"Revenge is not hard to fathom for a man who believes in nothing."

A follow-up to the superlative Tomorrow Never Dies, 1999's The World Is Not Enough is the nineteenth entry in the official James Bond franchise, and Pierce Brosnan's third outing as the venerable spy. Though the film has ultimately received a bum rap from moviegoers and critics alike, it's actually a solid Bond-buster which delivers all the elements we've come to expect from this franchise. Its script (by Neal Purvis, Robert Wade and GoldenEye scribe Bruce Feirstein) admittedly contains nothing especially shocking or remarkable since it's a fairly by-the-numbers Bond film, but it does its duty in a competent enough fashion. The World Is Not Enough comes packaged with larger-than-life action sequences, amusing one-liners, a few nice explosions, a selection of gadgets, and the usual assortment of beautiful girls. For action junkies seeking a fix, there's not much to complain about, and it's hard to imagine 007 fans being entirely unsatisfied with this entertaining film.

After successful oil magnate Sir Robert King (David Calder) is assassinated by terrorists, James Bond is assigned to protect Robert's daughter, Elektra (Sophie Marceau). MI6 believe that Elektra will be targeted by an anarchist named Renard (Robert Carlyle), who survived a bullet to the head which now renders him impervious to pain. While investigating the potential nuclear implications of Renard's plan, Bond meets and pairs up with a physicist named Christmas Jones (Denise Richards). Also heavily in the mix is Bond's stern superior, M (Judi Dench), who has a personal stake in the assignment since she's a close friend of the King family. Suffice it to say, Bond's assignment is not as clear-cut as it seems, and things progressively grow more dangerous.

In keeping with the franchise's time-honoured tradition, The World Is Not Enough opens with a top-notch pre-credits action sequence. The longest opening in Bond history, the sequence is gripping and well-constructed, observing Agent 007 as he wreaks chaos in both Spain and London. From there, director Michael Apted's pacing is smooth as he moves through the narrative. Although The World Is Not Enough conforms to the conventions and formulas of the 007 series, it does contain a few unique touches: more insights into M's character, a farewell to our beloved Q (Llewelyn), and a depiction of Bond that's both vulnerable and cold-blooded. (A returning character is actually killed here, too.) The script has a few obligatory one-liners and humorous moments, but otherwise the tone is fairly serious, closer to something like For Your Eyes Only than the tongue-in-cheek sensibilities of Brosnan's past Bond adventures. In fact, this is the coldest that 007 has been since Licence to Kill a decade prior, as he kills with little compunction. (There's an especially powerful scene towards the climax when Bond is forced to kill someone unexpected.) Added to this, The World Is Not Enough pushes the limits of its PG-13 rating as it's pretty violent.

To the credit of the producers, it's a terrific idea to keep recruiting different directors for each new instalment to bring a fresh voice to the series. For The World Is Not Enough, Michael Apted was recruited; an odd choice considering he's known for dramas and documentaries. Indeed, the result is a far quieter film than Tomorrow Never Dies, and the storytelling and character development here is surprisingly strong under Apted's watch. Fortunately, he's equally skilled at staging exhilarating action scenes. Past the rip-roaring opening sequence, The World Is Not Enough flaunts a number of note-worthy set-pieces, including an entertaining snow-based chase and an awesome shootout in a nuclear facility. Furthermore, the third act is genuinely thrilling with a climax aboard a nuclear submarine that continually ups the stakes. As to be expected, the production values are first-rate; the film looks polished and attractive, and the special effects are predictably excellent. Also notable is David Arnold's score, which often borrows cues from John Barry's old work. The music here is incredibly flavoursome, and it's rousing to watch action beats unfold when accompanied by a modern rendition of the classic Bond theme.

With this, his third outing in his tenure as the infamous spy, Brosnan looks comfortable in the role, pulling off the physical requirements and delivering sly quips with ease. His biggest strength is that he has the ability to mix cool charm, cold brutality and physical toughness, though he also affords a certain emotional vulnerability that distinguishes him from prior Bonds. Ian Fleming's original iteration of 007 did not exactly have such emotional depth, but it humanises the character, making Brosnan's interpretation more of a modern Bond. Unfortunately, however, Denise Richards is one of the very worst Bond girls in history. 007 films always require a suspension of disbelief, but The World Is Not Enough takes it too far with the casting of Richards - how can anyone believe that this twentysomething, athletic, beautiful young woman with nice boobs is one of the world's top nuclear scientists? Arnold Schwarzenegger would be more convincing as Stephen Hawking, for crying out loud. Richards is admittedly attractive enough for the role, but she's too bland and devoid of personality, condemned to deliver clichéd action movie speak ("Watch out!") while looking unsure of her own casting. Fortunately, Sophie Marceau (Braveheart) is better as Elektra King; she's beautiful, and was given a character of some complexity to portray.

As the proverbial Bond villain, Robert Carlyle is fairly good, though not outstanding. Meanwhile, Judi Dench was actually given a place in the narrative beyond giving 007 his assignment, and she expertly fleshes out her character, giving M an unexpected human side and demonstrating her ingenuity when held prisoner. This was Desmond Llewelyn's last appearance as Q, sadly. Llewelyn first featured in From Russia With Love, and has continued to star in almost every instalment since (save for two). As Q's replacement, R, John Cleese is wonderful, providing some agreeable, humorous touches.

Clocking in at two hours, The World Is Not Enough does not quite sustain itself for its entire runtime, but it remains lavishly-produced and predominantly entertaining. Put together, GoldenEye, Tomorrow Never Dies and The World Is Not Enough represent a solid '90s Bond trilogy for Brosnan, whose run as 007 unfortunately had to end on an underwhelming note three years later with Die Another Day. Although The World Is Not Enough is not the best Bond film in existence, it's a fun actioner which deserves more credit than it gets.

7.3/10

"Soon I'll have reached out to and influenced more people than anybody in the history of this planet, save God himself. And the best he ever managed was the Sermon on the Mount."

Pierce Brosnan's first outing as James Bond, 1995's GoldenEye, continues to get a lot of love, and is now rightfully considered one of the finest 007 adventures in the franchise. Fortunately, in the eyes of this reviewer, 1997's Tomorrow Never Dies is a strong follow-up, even if it's not as fondly remembered as its predecessor. Helmed by Roger Spottiswoode, this was the first Bond offering to be produced after the death of long-time series producer Albert R. "Cubby" Broccoli, who gets an honourable mention in the end credits. Tomorrow Never Dies is by-the-numbers but thrilling, adhering to the well-worn James Bond formula to create a genuinely fun 007 adventure that doesn't get as much credit as it should.

A power-hungry media mogul, Elliott Carver (Jonathan Pryce) hatches a scheme to incite a war between the UK and China, believing that his media group will absolutely flourish if such an event took place. Using a stealth boat commandeered by German giant Mr. Stamper (Götz Otto), Carver's team torpedoes a British military vessel in Chinese waters, generating the illusion that Chinese jets attacked it. Carver is too hasty in releasing headlines about the "attack," though, which looks suspicious in the eyes of MI6. Thus, James Bond is sent in to investigate Carver. Whilst digging for the truth, he discovers that one of former lovers, Paris (Teri Hatcher), is now Carver's wife. Bond also meets Wai Lin (Michelle Yeoh), a spy working for the Chinese government who similarly suspects that Carver is up to no good. Teaming up, Bond and Lin set out to thwart Carver's plan and prevent World War III.

After seventeen movies, the James Bond formula has been perfected and honed, leaving screenwriters to retain the proverbial broad strokes but fill in the appropriate blanks. For Tomorrow Never Dies, writer Bruce Feirstein (GoldenEye) did a perfectly adequate job, packing his screenplay with globe-trotting espionage, evil bad guys, tough henchmen, elaborate action-sequences, one-liners and, of course, various gadgets, including a high-tech BMW that's full of surprises. One of the reasons why Bond has endured for so long is that the filmmakers endeavour to touch on topical social and political issues, keeping the franchise relevant. For Tomorrow Never Dies, the internet was becoming an established phenomena and the media was becoming more prominent, with perception of politics and global events more susceptible to media influence, bias and scrutiny. Thus, Feirstein's script embraces this frenetic media landscape, introducing a Blofeld-esque Bond villain looking to manipulate the media for his own nefarious ends. Feirstein inserted some sly satire, as well.

It almost goes without saying at this point in the Bond series, but Tomorrow Never Dies boasts some spectacular special effects. Produced in an era before CGI became so widespread, director Roger Spottiswoode's action sequences are deliciously old-fashioned, with his team employing impressive model work and carrying out perilous stunts to generate the spectacle. Spottiswoode may seem like an odd choice to helm a Bond-buster - after all, he almost killed Sylvester Stallone's career with the 1992 dud Stop! Or My Mom Will Shoot - but he displays a sure hand during the action scenes, and the dramatic stuff is equally assured. With scenes set in China, Spottiswoode clearly tried to channel John Woo at times, and he did a decent job of it. Tomorrow Never Dies is filled with memorable fights and set-pieces, all of which are backed by David Arnold's competent, pulse-pounding score. Most notable is the stunning opening sequence which kicks off the picture with a real bang, and the climax which continues to up the ante in a spectacular fashion. For action junkies who crave a fix of explosions, shootouts and chases, this Bond outing delivers.

With Tomorrow Never Dies, Brosnan confirms that he was born to fill 007's shoes. Pierce is a spectacular Bond, bringing the character into the '90s with style and charm. Moreover, he does a terrific job of making Bond feel human, as he shows vulnerability and emotions. Pierce's biggest success is that you can believe him as both a vicious killer and a suave womaniser, which is a rare thing indeed. As the proverbial Bond villain, Jonathan Pryce is deliciously over-the-top in the role of Elliott Carver. Sinister, cunning and charismatic, Pryce chews the scenery in an effective manner, evoking the spirit of the larger-than-life villains which used to characterise this series. Michelle Yeoh, meanwhile, is an ideal Bond girl - more than just a sex object, Yeoh plays a capable, resourceful spy who doesn't need Bond to protect her. Yeoh showcases her impressive fighting abilities on a number of occasions, and she looks oddly comfortable here despite the flick's Western polish. Teri Hatcher is the only weak link, failing to overly impress as Paris. On the other hand, Ricky Jay is agreeably colourful as Carver's techie, and Götz Otto delivered a menacing performance as Carver's right-hand man. Rounding out the cast is the usual selection of series regulars - Judi Dench plays a great M, Desmond Llewelyn is forever amiable as our beloved Q, and Samantha Bond is a terrific Moneypenny.

As good as it is, Tomorrow Never Dies is not quite on the same level as its forerunner. GoldenEye was so successful due to its willingness to take risks. Its story concerned loyalties and betrayals, and it explored deep facets of Bond's psyche. The villain, Alec Trevelyan, was sinister and had a wonderful edge due to his status as a former Double-O agent. Tomorrow Never Dies is a comparatively safer outing, generating more of a testosterone-fuelled actioner than an action picture suffused with humanity. I can't complain too much, though - Tomorrow Never Dies is still very good at being what it is. As action spectacles go, they don't get much more skilful or enjoyable than this.

8.2/10

"You break into the Bank of England via computer, and transfer the money electronically. Just minutes before you set off the GoldenEye, which erases any trace of the transactions. Ingenious. "

Following the release of 1989's Licence to Kill, the James Bond franchise withered in limbo for six years due to MGM's crippling financial and legal difficulties. Timothy Dalton departed the role during the interim, forcing producers Michael G. Wilson and Barbara Broccoli to find a new face for the iconic secret agent. His replacement became Pierce Brosnan, who was supposed to take the role a decade prior but was contracted to work on the TV show Remington Steele. The resulting picture is 1995's GoldenEye, the first completely original Bond adventure with no ties to any of Ian Fleming's original novels or short stories, although the title was named after Fleming's luxurious Jamaican estate. The film which re-invented 007 for modern times, GoldenEye is arguably the best Bond-buster to date; a rip-roaring action film with memorable set-pieces, first-rate production values, and the best Bond since Sean Connery. 007 films exist to provide a two-hour thrill ride, and GoldenEye - the seventeenth instalment in the franchise - does just that, with Martin Campbell stylishly integrating all of the elements one expects from the series: fast cars, cool gadgets, hot girls, creative action, and boundary-pushing visual effects.

In Soviet Russia during the 1980s, James Bond and Agent 006, Alec Trevelyan (Sean Bean), infiltrate a Soviet chemicals facility to destroy a deadly weapons stockpile. Though Bond manages to complete his objective, Alec is killed in action. Nine years later, Bond is assigned to investigate the theft of a top-secret space weapon known as the "GoldenEye," which fires an electromagnetic pulse and has the potential to cause devastating destruction. Teaming up with Russian computer programmer Natalya Simonova (Izabella Scorupco), 007 discovers that GoldenEye is now in the hands of Trevelyan, who actually faked his death and is now working with Russian General Ourumov (Gottfried John) and lethal assassin Xenia Onatopp (Famke Janssen) to send London back to the stone age.

With the political climate having changed since the last Bond outing, the 007 franchise had to change with it. Fleming's character was a product of the Cold War, so, in order to modernise 007 to keep him relevant, the recent fall of the Iron Curtain was worked into the narrative. On top of this, Bond now answers to a female M, played by the brilliant Judi Dench. Furthermore, Trevelyan is arguably the greatest villain the series has ever seen. Jaws may be more popular, but 006 is a master-stoke: an MI6 agent with the same training as Bond who can physically match him in a fight. Trevelyan's familiarity with Bond's personality also gives him an edge which he gleefully exploits. His betrayal has genuine motivation behind it, too, and a scene between Bond and Trevelyan discussing his loyalties is poignant and weighty. Most Bond villains are one-dimensional, thus Trevelyan's depth makes him a memorable antagonist. Writers Jeffrey Caine and Bruce Feirstein bestow Bond himself with some unexpected depth, as well - with 007's often cool demeanour and evasion of serious relationships having been criticised over the years, GoldenEye explores why Bond is who he is, emphasising that it's these exact characteristics that have actually kept him going. The material is well-judged, too, never threatening Bond's long-standing integrity.

Filling the director's seat is just as important as filling the title role. Martin Campbell was a terrific choice to helm GoldenEye, as he has a great eye for action and is a generally excellent filmmaker. '90s action is grittier, faster, and more hard-hitting than the spectacles of precious decades, and Campbell sells the franchise's transition into this new era with a sure hand. GoldenEye's action scenes are fluid and exciting, with some memorable large-scale set-pieces (including Bond chasing Ourumov with a tank through the streets of St. Petersburg, and the climactic showdown atop a satellite dish), a handful of daring stunts (Bond leaping off a cliff from a motorcycle to catch a plane), and a few traditional shootouts. The opening credits sequence deserves a mention as well; it's exceptional due to the beautiful and elegant visuals, as well as the title song performed by the indomitable Tina Turner. The song, which was written by Bono and the Edge, has a modern groove to it, but it's spiritually reminiscent of Shirley Bassey's iconic Goldfinger song. The only thing about GoldenEye which does not entirely work is Eric Serra's score. At times it's suitable, but at other points the music is grating. Serra's score often sounds too "avant-garde," ironically making the film seem dated.

Following in the footsteps of Sean Connery, George Lazenby, Roger Moore and Timothy Dalton, Brosnan became the fifth actor to assume the role and appears to have been born to play the infamous superspy - he's handsome, elegant and debonair, not to mention he has the ability to mix the charm and grit of the best Bonds. He also looks comfortable in the situations that 007 finds himself in, handling the action elements and delivering one-liners with real panache. His co-star, Sean Bean, is just as remarkable. Bean has spent most of his career playing villains, and Alec Trevelyan is perhaps the most notable feather in his cap; his performance oozes malice and cool. As the requisite Bond girls, Scorupco and Janssen have the looks and charisma to sell their roles, though Janssen is particularly notable for the way she mixes sexiness and brutality. Dench makes for a terrifically cold and straight-faced M, while Joe Don Baker is marvellous as CIA agent Jack Wade. Robbie Coltrane is another good scene-stealer, turning in a colourful performance as one of Bond's old acquaintances. Meanwhile, as a computer programmer, Alan Cumming is enjoyably flamboyant. Rounding out the cast is series veteran Desmond Llewelyn playing our beloved Q, and Samantha Bond who makes for an endearing Moneypenny.

Although GoldenEye is marginally overlong, there's little doubt that this is one of James Bond's finest outings, right alongside Goldfinger. It has more humanity than typical run-of-the-mill action blockbusters, but it doesn't skim on the action or special effects. It's also a flat-out fun film and a light-hearted action-adventure with playful one-liners and riveting set-pieces.

9.1/10

"Effective immediately, your licence to kill is revoked, and I require you to hand over your weapon."

Released in 1989, Licence to Kill denoted the end of the "classic Bond" era. Not only was this the last Bond-buster actively produced by the legendary Albert R. "Cubby" Broccoli, but it was also the last Bond film directed by series regular John Glen, and it features the franchise's last opening titles sequence to be designed by Maurice Binder. More notably, it was the final 007 adventure (of only two) for lead star Timothy Dalton, and, unfortunately, it was the first Bond film to disappoint at the American box office. Following Roger Moore's increasingly campy and goofy 007 outings, Licence to Kill revelled in the conventions of the '80s action movie movement, pushing for a gritty tone for the first time since the Connery era. Indeed, the film is closer to a brutal R-rated action film than a light-hearted Bond adventure, and it has received a lot of flack due to this. Yet, for this reviewer's money, the tonal change actually works here. Licence to Kill is a damn good Bond film; a well-constructed actioner with genuine stakes, solid acting and spectacular action.

In the Florida Keys, retiring CIA agent Felix Leiter (David Hedison) is getting married, and his buddy James Bond is the best man. The happy event is interrupted, however, when Bond and Leiter set off to capture notorious Columbian drug baron Franz Sanchez (Robert Davi), who unexpectedly shows up in the area. But after the wedding, Sanchez escapes and comes after Felix. When Bond finds Felix maimed and Felix's wife murdered, he refuses to pursue his next MI6 assignment, ignoring orders from M (Robert Brown) to concentrate on his own personal vendetta of vengeance against Sanchez. As a consequence, Bond is stripped of his job and licence to kill as he sets out to find Sanchez with help from ex-CIA operative Pam Bouvier (Carey Lowell) and beloved gadget expert Q (Desmond Llewellyn).

It's the audaciousness of Licence to Kill which makes it such a success in the eyes of this reviewer, as such risk-taking provides a unique edge. Michael G. Wilson and Richard Maibaum's screenplay shakes up the time-honoured Bond formula, shocking us with Felix's near-death and surprising us with Bond's decision to pursue a mission which has nothing to do with Her Majesty's Secret Service. Licence to Kill is exceedingly dark in tone, a notion which was unprecedented for the 007 series at the time. Aside from a handful of one-liners and a few colourful supporting turns (Wayne Newton is very funny as a televangelist), this is an edgy Bond flick mostly deprived of lunacy and humour. This is because the producers wanted to return to the spirit of Ian Fleming's novels with a more serious, leaner and meaner depiction of the iconic superspy. Alas, while viewers had started growing weary of the jokey Bond exploits, they still expected various Bond trademarks, like over-the-top villains, world domination schemes, inventive gadgets and a smattering of humour. Licence to Kill is mostly divorced of these staples, but filmgoers were not quite ready for such a change in 1989. With 2006's Casino Royale doing something similar with a much better reception, Licence to Kill was fundamentally ahead of its time.

Director John Glen was working with a $32 million budget - by no means tiny, but comparatively slight for this franchise. Thus, there were no huge Pinewood sets or lavish locations. Hell, nothing at all was shot in England; Licence to Kill was mostly shot in Mexico. Surprisingly, the restrictive budget actually works to the picture's benefit; its gritty, grounded disposition renders it far more exciting than a lot of masturbatory, big-budget blockbusters. There's just something inherently exhilarating about a back-to-basics approach. In keeping with the serious tone, Licence to Kill is the most graphically violent Bond film to date. So violent was the film that its more brutal death scenes had to be trimmed to earn a PG-13 rating in America, whereas all previous Bond films had earned an easy PG rating. (Luckily, the cuts were restored on recent home video editions.) The movie has a fair amount of quality action, all of which was competently staged by Glen. Most notable is the exhilarating climax involving tanker trucks that still impresses to this day. Michael Kamen's music is another huge asset. Kamen was a major '80s action luminary, having composed the music for Die Hard, Lethal Weapon, Road House and Action Jackson, among others. Gladys Knight's theme song also warrants a mention; it's enjoyable, but the '80s pop ballad sensibilities are not for everyone.

Dalton simply didn't get a fair shake as 007. He may not get much love and he's no Connery, but Dalton is a strong actor who had all the right qualities to play the character: he was a convincing man of action and had a degree of charm to him as well, not to mention he looked good in a tuxedo. Dalton's performance, which is much truer to Fleming's original creation than anything that audiences had seen in many years, gave Bond much-needed complexity and grit after the character had grown increasingly cartoonish. Not to mention, Dalton looks right at home within an '80s action film. Meanwhile, Davi is a nicely low-key Bond villain. Sanchez does not want to rule the world or cause grand destruction; he's just a vicious drug lord, and he's one hell of a rotten bastard. Of course, there are a few gorgeous women here as well - future Law & Order star Lowell is a top-notch Bond girl as Pam Bouvier, and Talisa Soto is extremely beautiful, too. A very young Benicio Del Toro also appears here playing one of Sanchez's henchmen. In terms of series veterans, Llewellyn remains lovable as Q, and Robert Brown (in his last Bond film) is a strong M.

Admittedly, Licence to Kill could have benefited from a faster pace, as the script does focus more on story and character development than balls-to-the-wall action. Such intricate writing may be appreciated, but the film bogs down from time to time (it does run a hefty 135 minutes). Added to this, some of the shark effects look laughably corny. Still, as Bond films go, Licence to Kill is definitely one of the strongest and most audacious in the franchise, not to mention it's highly entertaining. Interestingly, the original title was Licence Revoked, but the producers were not sure if Americans would understand the meaning of "revoked." So the title was changed to Licence to Kill, even though they used the British spelling of the word "licence." Another score for British Intelligence.

7.7/10

"She lives beyond the grace of God, a wanderer in the outer darkness. She is "vampyr", "nosferatu". These creatures do not die like the bee after the first sting, but instead grow strong and become immortal once infected by another nosferatu. So, my friends we fight not one beast but legions that go on age after age after age, feeding on the blood of the living. "

Bram Stoker's Dracula is the epitome of polarising. In a nutshell, it's a sensuous, artistic, peculiar, eccentric and at times thrilling adaptation of the iconic 19th century novel, packed with demonic rites, erotic images and Christian symbolism. From the project's inception, director Francis Ford Coppola sought to adapt Stoker's original novel as faithfully as possible, which most prior Dracula retellings had neglected to do. To be sure, the resultant film is flawed, but it's a mostly enthralling throwback to the golden days of Hollywood. Eschewing CGI in favour of in-camera special effects techniques from a century prior, Coppola has crafted an intriguing take on such a legendary literary tale. It won't work for everyone, but this reviewer found it uniquely breathtaking.

In 1462, Romanian knight Vlad the Impaler (Oldman) battles to overthrow the Turkish Empire. But when his wife Elisabeta (Ryder) receives a false letter claiming that Vlad died in combat, she kills herself in despair. Finding his wife dead upon returning from the battlefield, Vlad renounces God and essentially joins the dark side, becoming a bloodsucking member of the undead going by the name Count Dracula. Centuries later, aspiring real estate broker Jonathan Harker (Reeves) travels to Transylvania to organise the sale of a London abbey to Dracula. When the Count sees a photograph of Jonathan's fiancée Mina (also Ryder), he sees his lost wife Elisabeta in her, and looks to reclaim his love. Leaving Harker at his castle surrounded by lascivious vampires, Dracula travels to London in pursuit of Mina.

James V. Hart's screenplay adheres closely to Stoker's novel, though a few changes were made to distinguish this adaptation. Most notably, the script bestows Count Dracula with more depth and dimension. Rather than a one-dimensional menace painted in broad strokes of black and white, Hart based the Count on Vlad the Impaler, a vicious historical figure with a body count estimated in the tens of thousands. By giving Dracula a back-story, his motivations are more understandable for pursuing Mina and it adds to the story's overall impact, giving weight to what could have been a cheesy romantic angle. Due to its focus on the relationship between Mina and Dracula, the film is more sensual and sexy than any prior Dracula adaptation have ever dared to be. However, as the source novel is epistolary in form, Bram Stoker's Dracula constantly switches between storylines, and consequently feels a bit overstuffed. Put simply, the movie runs too long, and required more narrative focus and momentum, not to mention more disciplined editing. Indeed, some may find the film dull from time to time.

Francis Ford Coppola purposely abstained from creating any outright horror, and this aspect holds the film back from perfection since genuine thrills would have been welcome. However, Coppola's attention to visual detail and atmosphere is what makes this Dracula such an enthralling experience for most of its runtime. The feature was reportedly produced for $40 million (no small chunk of change for 1992), and the outcome is pure spectacle. Coppola allowed his imagination to run wild in the best possible way, dreaming up unforgettable and often beguiling imagery. Furthermore, Coppola flat-out refused to use digital effects for the film - he fired the CGI-focused crew he was given, and instead recruited his son Roman to create the vast onscreen illusions in-camera without using green screen, optical printers or computers. Coppola and his son utilised every old cinematic trick from the dawn of moviemaking to generate the effects, and the results look better than their glossy digital counterpart. Thanks to such creative innovation, there's a staggering sense of film magic throughout Bram Stoker's Dracula that will always remain intact. Also notable about the film is Wojciech Kilar's formidable score, which excellently establishes a Gothic sensibility.

Coppola was responsible for creating the world for Dracula to inhabit, but it's Gary Oldman's convincing performance as the titular protagonist which truly brings the Count to life. Oldman submitted a remarkable performance here - he alternates between subtle and over-the-top depending on the situation, and presents Dracula as a multilayered character. However, the same praise cannot apply to Keanu Reeves, who's woefully miscast as Jonathan Harker. Reeves' performance is universally despised (Coppola even regrets the casting decision, claiming he only cast the star for his appeal to young girls), and for good reason; he's stilted and wooden, and his awful English accent doesn't convince for a single second. Moreover, his general bodily demeanour is every bit as stiff as his line delivery. Meanwhile, the usually-dependable Anthony Hopkins is somewhat underwhelming as vampire hunter Van Helsing, as he lacks the fire and vigour to bring the role to life. At least Winona Ryder and Cary Elwes are decent in their respective roles of Elisabeta/Mina and Lord Arthur Holmwood - not brilliant by any means, but serviceable.

At times, Bram Stoker's Dracula does border on pretentious, goofy, ludicrous and campy, and the quality of the acting drastically varies, but the production has more going for it than not. It's an old-fashioned monster movie on a grand scale, a Gothic horror spectacle benefitting from Oldman's stunner of a performance and Francis Ford Coppola's memorable visual style.

7.3/10