Reviews by PvtCaboose91

Jarhead is the newest directorial feature from much-admired UK-born director Sam Mendes (a man who has helmed a number of outstandingly successful movies including American Beauty and Road to Perdition): this is an absorbing film regarding the dramas of war. Mendes' intricately made film is set in the harsh deserts of Kuwait scarcely preceding the first Gulf War.

Based on memoirs of a soldier who developed his own memories of the experience, Jarhead is centred on young Anthony "Swoff" Swofford (Gyllenhaal) who has recently joined the Sniper Corps in the United States Marines. In the vein of Stanley Kubrick's Full Metal Jacket, this film looks in-depth at the physically and mentally arduous boot camp training undertaken by the soldiers prior to being deployed to defend their country. Before being sent to the desert, the film delves into the personal life of Swofford; his relationship with his girlfriend, private habits, etc. The rest of the movie is concerned with the soldiers dealing with the boredom they endure in the middle of the scorching hot desert. Swoff befriends another sniper named Alan Troy (Sarsgaard) and his Staff Sergeant Sykes (Foxx).

Being told from the perspective of Swofford alone, the film chronicles several pivotal points in the war and always keeps the viewer up to date with the current situation: this includes the present number of soldiers in the country, and how long the protagonists have endured in the desert.
Mendes also has a prime focus on the aspects of war that are so rarely seen: the sheer boredom, the genuine camaraderie between the men, the list of things to do when bored, training incidents, wild parties, friendly fire incidents and disciplinary action.

If people approach this film with anticipations of a combat-driven, violent production you will be drastically disappointed. Instead of combat, the focus of Jarhead is to convey the frustrations of war from the perspective of a soldier deprived of the action and large-scale battles that so many other war movies have portrayed. In a sense it's a refreshing alteration on the conventional formula. In spite of being refreshing and original, the lack of action takes its toll on the film value. It contains all the elements of a great war movie: absorbing drama, realistic characters, a large arsenal, massive build up...but the build up is for absolutely nothing. I can appreciate the fact that Mendes focused on the drama and the experiences of one man who was frustrated because he never killed somebody; however in this case it's more that the source material let the movie down. After seeing the film, I felt somewhat unsatisfied because all the lead-up was for nothing but a wild party and a sudden ending. Like most of Sam Mendes' work he has us so captivated in his world that the ending is incredibly shocking and unforeseeable.

Due to Jarhead being a dialogue driven war drama, the actors are required to do a good job. In this case, both Jake Gyllenhaal and Peter Sarsgaard are outstanding. Their portrayals are utterly flawless. They don't just play their characters, they actually become their characters. A quality that's rare in most contemporary movies.

Jarhead has been filmed beautifully. Especially towards the precious little combat that occurs towards the end I was enthralled by its gorgeous landscape and naturalistic colour palette.

All in all, Jarhead is a war film that certainly has room for improvement. Despite its shortcomings and minor flaws this film is still a great piece of entertainment. It's a bold move to make a war movie sans the combat and I believe that Sam Mendes masterfully handled the material.

Secret Window is a psychological thriller adapted from the pages of a story penned by celebrated horror author Stephen King. The transplantation from short story to script was carried out by David Koepp; a man who has composed a number of incredibly successful screenplays in the course of his reputable career. Koepp's résumé asserts such titles as Jurassic Park, Spider-Man and Carlito's Way. For those fond of the Stephen King novella, rest assured that David Koepp has done a stellar job of converting these pages to the silver screen.

Secret Window is a tale about famed writer Mort Rainey (Depp) who is suffering through an acrimonious divorce and is now residing in an isolated lakeside cottage in New York. Mort is trying to complete his latest novel; however at present he is afflicted with writer's block and is incapable of concluding the story. After a remarkable opening sequence, Mort is confronted by a stranger named John Shooter (Turturro); an irate man from Mississippi who arrives to accuse Mort of plagiarising his story. Mort realises that the manuscript of Shooter's story is identical to his: word for word, chapter for chapter. The only difference is the ending. Although Mort is adamant he wrote his story first, Shooter conveys an ultimatum: that Mort has a few days to corroborate his innocence of plagiarism to continue his life unhindered. Mort is confident of his innocence; nevertheless he cannot dismiss Shooter's allegation frivolously. Things in Mort's life suddenly begin to go sour as his divorce worsens and peculiar things begin to occur. As Shooter intently stalks Mort, he now has only 3 days to uncover the truth behind Shooter's purpose and to discover the truth about who is responsible for the sudden outbreak of chilling events.

Johnny Depp will always be regarded as one of the best, if not the best actor of his generation. Without failure Depp continues to produce piles of idiosyncratic, unique portrayals of different characters. Playing the role of Mort Rainey, I believe that Depp succeeds remarkably. His portrayal is suitably quirky, humorous, believable, well polished and top notch. It's imperative for the audience to empathise with the situation that Mort has been thrown into. With Depp, he looks cute and innocent. And as time goes by, Depp has cleverly made his character look like he's on the edge and steadily going insane.

John Turturro is a great choice on the part of the casting department. When John Shooter appears on screen Turturro's performance is suitably menacing and establishes a perilous atmosphere. It was vital to ensure Shooter's threats seemed genuine. Turturro executed this role with great class and sophistication. I certainly can't complain about the rest of the cast. They deliver realistic performances; maintaining the style of the central protagonists.

Secret Window has also been blessed with skilled direction thanks to David Koepp. Each shot looks stylish and fascinating. The intriguing opening sequence in particular was enough to keep my interest. When we are introduced to Mort's lifestyle everything seems realistic. The secluded setting is a great atmospheric touch as well. This thriller is brilliant throughout the first half; containing strong performances, solid use of the camera, and a number of genuine shocks. But the whole film is ultimately let down by its descent into stupidity when the film has commenced its concluding half. The 'twist' at the end of the film is entirely predictable as well.

Overall, Secret Window is a mediocre thriller worth seeing for its classy directing and strong performances. With a few script touch ups this could have been a whole lot better. A wasted opportunity.

The Man Who Cried is a significantly unusual film that will be found boring by the majority of mainstream contemporary audiences. I won't lie to you - it's not an unproblematic film to scrutinise as it implores the audience to watch with heavy patience. Instead of relying on significant events to drive the film, each scene is carried by its competent cast and eye-catching production design.

Those involved in the production are certainly able to grasp your attention, efficiently utilising resources at their disposal. But after the first hour the formula no longer works. Things become uneven and the storytelling is drastically altered. Some might find this poetic: I found it irritating. The film's major flaw would have to be in its ending. After all that has occurred you feel cheated that the experience ends so suddenly. The film's style is drastically altered and you must be prepared for the person next to you to lean in close and inquire "Is that it?" in an inquisitive, scandalised tone of voice.

At the beginning of the film it's 1927 and a young Jewish-Russian girl (played by Lander-Duke as a child) is separated from her beloved father who goes to American in search of a better life. He promises to send for his family once he is settled, but after being detached from the rest of her family she is moved to England where she is renamed Suzie and is raised by a British family. As an adult (now played by Ricci) Suzie has great ambitions of travelling to American to be reunited with her father. Her talents as a singer and a dancer are recognised when she is befriended by a fellow dancer named Lola (Blanchett). Soon Suzie also becomes involved with a handsome horse-riding gypsy named Cesar (Depp). In the pandemonium and turmoil of the commencement of World War II with the Nazis invading, Suzie is torn between her two loves: Cesar or her father now residing in America.

As I previously stated, The Man Who Cried is not a blatant set of events that move at lightning pace. It moves at a slow pace while relying on the talent in all departments. The sets and costumes look especially fantastic. The drudgery of walking the grim streets of England at night is perfectly captured in particular. I found it impossible to spot any obvious anachronisms. This is a compliment all filmmakers dream of hearing.

Christina Ricci is an extremely talented young actress. As she essentially carried this film, acting skills of the highest order are necessary. Because Ricci is still incredibly youthful she looks stunning and beautiful. Cate Blanchett is very unconventional as a Russian dancer. Blanchett is one of the most talented actresses of this generation. She always displays versatility when confronted with a new role to portray. Johnny Depp is the primary reason that I watched this. It's no secret that I think Johnny is the greatest actor of all time. With his performance here, he again reminds the world of his talent whenever a new role drops into his lap. Because he rarely, if ever, plays the same sort of character twice there is always something new to find whenever I view another film of his. He doesn't have a very large amount of screen-time but he is a vital part of the cast.

The Man Who Cried is primarily a story about love, loss and change. It's an extremely unusual movie that boasts an outstanding cast. Due to its unique flavour this is not a film to show to a room of action movie junkies. It's a movie better suited to an audience who appreciate fine filmmaking. The Man Who Cried moves at a leisurely pace and is beautifully shot. It has its shortcomings in terms of sustaining interest in the viewer; however the film is creative and sometimes quite entertaining.

The thought of the monumentally attractive, mighty popular heart-throb Johnny Depp portraying the greatest lover of all time isn't too arduous to comprehend. Johnny will be everlastingly considered by many to be the 'Sexiest Man Alive' (voted this title on several occasions); ergo making a film with Johnny playing a charismatic ladies' man was a smart move on the part of the filmmakers.

Don Juan DeMarco has a stellar reputation with the ladies. Like I previously mentioned, this man is the greatest lover of all time. At the beginning of the movie, a man who professes to be Don Juan DeMarco (Depp) is determined to terminate his life because of how strongly he feels about his true love who has rejected him. This young man is saved by the authorities and relocated to a mental institution to be examined. At the institution he is up for a 10-day examination to be assessed on his mental competence, and if it is safe to release him back into society. For these 10 days Don Juan is sent to psychiatrist Jack Mickler (Brando) who is nearing his retirement. Jack takes on the case; spending lots of time with Don Juan with the hope of uncovering the boy's true identity and curing him of an obvious mental illness. Over the duration of 10 days, Don Juan talks about his life story beginning from early childhood. His sensual, romantic stories inspire Jack to reignite the relationship with his wife Marilyn (Dunaway).

Don Juan DeMarco is certainly one to approach if you're looking for an atmospheric romantic film. The film has a romantic quality that is irresistible if you're looking for a film to watch with a partner or a date. It successfully sets a whimsically seductive atmosphere through its performances and powerful visual images. It's a great journey to undertake with a great abundance of romantic stories, tongue-in-cheek humour and some extremely charming portrayals.

I'm positive it goes without saying that Johnny Depp is utterly terrific in the title role. Depp has never been like this before - he's charming and appealing, with an alluring voice. There is no mystery as to why he was cast to play this illustrious character. Because of Depp's great looks one could almost say that he's a contemporary reincarnation of the greatest lover of all time. This would meet with no debate from any of the world's female race, I'm sure. Marlon Brando (R.I.P) is visibly past his prime. Now he is old and hence lacking an overwhelming screen charm. On the contrary he looks the part and never lapses concentration. It has been a long time since On the Waterfront, Apocalypse Now and The Godfather so don't expect his Oscar-worthy skills to resurface. Brando will always be one of the world's much-loved actors due to his past roles that made him a star. Fay Dunaway's performance is average at best. She certainly did what she could; however she failed to engage me in any lines she delivered.

Don Juan DeMarco is crafted superbly with an accomplished production team. The romantic atmosphere is set by the lavish camera utilisation, solid direction and seductive music. However despite impressive production values, the film bogged severely during its middle section. The film failed to maintain my interest after a solid first half an hour.

Don Juan DeMarco succeeds in accomplishing a moody love story but nothing more. It's flawed marginally in its story-telling as well as a few members of the cast. Despite a number of shortcomings, this is a film that will certainly be enjoyed by hopeless romantics.

Arizona Dream is an example of a surrealistic film done to perfection. The film is a potent tale of life and the danger of dreams with the backdrop of an otherworldly, bizarre setting. This isn't your customary Hollywood spectacle with guns and explosions - far from it. Its entertainment value is drawn from the powerful drama and the extraordinary performances. The outcome is emblematic, distinctive and very special.

It's an especially daunting task to describe the plot of the film in any real detail without spoiling anything. To follow the movie it's imperative that you listen intimately to the dialogue and constantly endeavour to comprehend what is happening in each scene.

Axel Blackmar (Depp) is an unusual young man who dreams of peculiar images. In the opening sequence he dreams of an Eskimo who catches a rare halibut to bring back to the family igloo. This prominent image of a halibut is recurring throughout the movie; in a sense carrying each scene symbolically. Axel provides an income for himself by catching and tagging fish. Taking a break from his regular life, he leaves to attend the wedding of his Uncle Leo (Lewis). Leo is so caught up in his own world that he believes Axel will take over his family business of selling Cadillacs. However Axel is an individual responsible for his own destiny: this is something that Leo is too stubborn and narrow-minded to understand. While at Leo's wedding Axel meets a young girl named Grace (Taylor) and her step-mother Elaine (Dunaway).

Arizona Dream is then a story about the difficult lives of several people. In addition to the aforementioned protagonists there is also a wannabe actor named Paul (Gallo) who's also obsessed with films (one of Paul's most memorable scenes is when he's mimicking the famous scene from Alfred Hitchcock's North by Northwest). The spiritual journey of each character is rich in surrealistic imagery and fascinating drama. Be it building a flying machine, wishing to be reincarnated as a turtle or becoming an actor; each character has their own unique journey to accomplish.

I can't stress this enough: if you're going to watch a movie like this with the expectations of something blatant and wholly complete, stay far away. Arizona Dream is exactly what the title suggests: something dreamlike and bizarre. The themes explored are mature and adult. Hence this is not for people who expect some Hollywood action exhibition.

The film is also carried by the determined cast. I will watch anything with Johnny Depp in it - this is a fact and the sole reason I watched the film. I don't think I've ever seen a character that Johnny hasn't played to perfection. Here, he completely nails his role. It's impossible to spot flaws in his concentration or sustaining a developed character for the film's running time. Fay Dunaway is visibly aging, but this does not prevent her from presenting the audience with a remarkable portrayal. Whenever someone thinks of Jerry Lewis it's instinct to recall his rise to stardom during the 60s and 70s. Playing in a drama, Lewis also does a magnificent job.

I couldn't have chosen better actors to fill the supporting cast. The actors especially test their versatility during the most memorable scene in the movie - that is, a dinner scene. The cherry on top is everything else present in the film - strong direction, beautiful music and outstanding use of the camera. The music emphatically scores top marks! It's definitely the film's main strength. Each piece of music is absolutely beautiful. Some of the recurring music is catchy and adds further meaning to the production. The music here is the pinnacle of perfection.

Arizona Dream is a unique production that is strictly for those whose attention spans aren't limited to the conventional fast-paced Hollywood rubbish. If action films are your interest I recommend giving this one a skip. If you're willing to spend 135 minutes of your time on a potent drama rich in symbolism and beautiful, poetic themes then this one is highly recommended.

The world is ostensibly divided into two categories - those who adore Woody Allen films and those who abhor the works of Woody Allen. As I have viewed very few of Woody's movies I cannot be consigned into any of these categories. Nevertheless your enjoyment of each Woody Allen film is determined by your perspective on the guy's approach to filmmaking.

Annie Hall was recognised by the Academy Awards when it copped four Oscars including Best Picture, Best Actress and Best Director. Extensively regarded as his greatest motion picture, Woody Allen's Annie Hall is partially an autobiographical anecdote abundant in adult themes and perceptions on the topic of relationships. These themes are ornately delved into during the film's moderately diminutive running time. We see the ups and downs of relationships, as well as the break-ups succeeded by being reunited.

The foundation of the film is of Woody Allen's real life relationship with Diane Keaton. Woody Allen portrays a Jewish comedian named Alvy Singer, with Diane Keaton playing a nightclub singer named Annie Hall. The film broadly traces the relationship between the two of them over an extensive period of time. As the customary relationship dilemmas begin to foster, they progressively pull away from each other and realise that it will never work between them. The opening monologue from Woody Allen brings the viewer up to date with the state of affairs: that he and Annie have broken up and he's distraught about it.

The purpose of the flashbacks is to explore the reason behind their eventual break up. What went wrong? When did it happen? How could it have been avoided? This film is poignant and brilliant because the audience can develop their own perspective on where he actually did go wrong. As the protagonist's interactions seem to be normal, it's hard to realise the point when the two realise that it could never work. They fight and have their evident divergences; hence incredibly true to life as we also explore other themes of a relationship. This mainly includes jealousy and infidelity. It even investigates the awkwardness of being with another partner. These underlying themes and messages are fascinating. Personally I thought that it made for great entertainment.

Annie Hall is marketed not only as a romance but also as a comedy. There are several good laughs in the film that are just funny because they are true (like a girl calling someone over at 3am just to kill a spider that is causing them to lose sleep). In other instances it's Woody Allen's impeccably delivered monologues as a stand up comedian, or even just flashbacks when we can just laugh at the pathetic nature of an individual (like an actor inserting laughter into a sitcom to make it seem funny).

Annie Hall also boasts an enormous array of fantastic performances. Woody Allen is very cute in the title role (that is essentially himself); however in each film he always seems largely the same. There are several notable instances when Woody talks to the audience about a certain situation. Diana Keaton has an astronomically appealing screen persona. While she plays opposite an anxious, stuttering Woody Allen it's usually hilariously funny. This film also features a number of interesting cameos from actors who went on to become very famous. When this film was made they were not big names in Hollywood. Examples include a 30-second scene with Christopher Walken and a brief shot featuring Jeff Goldblum. In a historical sense this is very fascinating. Their scenes are also quite memorable. It's almost as if Woody knew that they would become big stars later in their lives.

Annie Hall is a clever, charming romantic comedy that is thoughtful and original. Its style in particular is very impressive despite a number of dated filmmaking techniques. Okay, so the film explores themes that are palpable in everyday society. I just find it interesting in a poignant "funny because it's true" sense. Highly recommended.

Arsenic and Old Lace is a film for individuals who enjoy the absurd dark comedy genre. This film is indeed a number of decades old and consequently ruthlessly disregarded. Notwithstanding its age you'll be hard-pressed to find a superior dark comedy that can match the genius of this: Frank Capra's 1944 film.

Over 60 years on and this film is still one of history's greatest comedies. From its opening sequence until the closing titles it's simply impossible to feel bored in amidst the sparkling performances and the fast-paced string of events that incessantly unfold.

Based on a hit Broadway play by Joseph Kesselring, this frenetic black comedy follows the central character Mortimer Brewster (Grant); a dramatic critic and an established bachelor. He has spent his career criticising marriage and making points about its futility...even in book form! As the film opens he is getting married to a woman named Elaine (Lane) which stirs a media frenzy. On his wedding day he learns that his two sweet aunts Abby (Hull) and Martha (Adair) have found a way to improve the lives of elderly people living in isolation without family or friends - by poisoning them! But they are both extremely nonchalant and calm about the situation: they have no problem with killing them and burying them in the cellar, nurturing the graves every week. On top of this, Mortimer's Uncle Teddy (Alexander) believes that he is in fact President Theodore Roosevelt. As Mortimer is still trying to come to terms with finding a way to prevent his crazy aunts from killing more people he also tries to get Uncle Teddy into a quality mental institution, tend to his new bride, keep a taxi driver waiting (for several hours), help a new police officer write a play and now also deal with the sudden reappearance of his insane brother Jonathan (Massey) with his personal plastic surgeon Dr. Einstein (Lorre).

Arsenic and Old Lace is a beautifully conceived story that is handled wonderfully and is highlighted by the eccentric performances from everyone in the cast. Cary Grant is delightful in this form of humour. He is certainly a scene stealer for every second of his screen time. Grant's characterisation of an intriguing character is magnificent and enthralling. It's classic comedic genius as Grant tries his hardest to get out of the trickiest of situations. Credit must go to the screenwriter for developing the role perfectly suitable for Cary Grant to play. This could be his best performance to date!

There's also an assortment of whacky co-stars who play their roles to perfection. Naturally, I must also mention the superb direction from Frank Capra. I cannot fault the composition of any scene in the film. Heck, even the opening title cards were enough to have me laughing uncontrollably. The rest of the film is thankfully graced with such genius.

Arsenic and Old Lace is strictly for those who enjoy morbid humour. This film is the essential production from the works of Frank Capra. During his career he produced so many fantastic films like Mr. Smith Goes to Washington and It's a Wonderful Life. You don't need to be a fan of the director to enjoy his work because of the versatile appeal. This is absurd dark comedy at its very best!

The film takes off at lightning pace: after the opening at the marriage license agency, the film is then the story of the events that occur on a single night. With so much great humour, witty dialogue and interesting characters you will find it irresistibly tempting. It's over-the-top and cartoonish, but its faultless composition makes it very simple to suspend disbelief. Arsenic and Old Lace is light-hearted fun and still a classic romp to this very day.

Over the years, movie studios have incessantly produced large scale World War II films that portray a certain part of the long-running war. Enemy of the Gates is one of the latest action thrillers to be produced during Hollywood's recent obsession with war films.

Essentially this film is another attempt at equalling the best war film of all time - Steven Spielberg's Saving Private Ryan. With this style of violence and epic battle sequences in mind, this film tackles the battle of Stalingrad and its aftermath.

The Germans are conquering virtually all of Europe and are close to crushing the Soviets. They only need to take control of Stalingrad to complete their plan. Based on an actual historical character, an accurate Russian rifleman named Vassili Zaitsev (Law) emerges as a prominent figure in the army after an act of heroism during the battle of Stalingrad of which he was one of the only Russians to survive. Vassili is an extraordinary marksman who gained quite a reputation during the war. His friend Commisar Danilov (Fiennes) endlessly prints stories about him; praising his skills and intelligence while in combat. The Germans are losing sleep over Vassili's extraordinary skill with a rifle. Because so many men have been lost thanks to a bullet from his rifle, the Germans send in a professional sniper (Harris) to match the skills of Vassili. Soon a sickeningly embarrassing love triangle emerges between Vassili, Danilov and a woman named Tania Chernova (Weisz).

Enemy at the Gates opens with a bang. Its retelling of the battle of Stalingrad is guaranteed to please history enthusiasts, former soldiers and the action junkies. Like the opening sequence of Saving Private Ryan, this battle is shown with a high level of realism and gruesome violence. But after these solid opening 25 minutes the film then falls victim to the typical war film syndrome. The whole thing is a solid action thriller with a lot of intensity and breathtaking set design. It succeeds in delivering realism to its source material. It's an incredible shame that the screenwriter had to spoil the whole thing with such a ludicrous romance sub-plot. As soon as an attractive young woman appeared on screen, it was foreseeable that a host of characters would want to get involved with her.

Aside from this endless assortment of clichés and conventions, the film's dialogue isn't much better. I thought that the dialogue sounded unnatural and contrived. Not to mention the blatantly distracting and disconcerting fact that while the Russians write and type in their natural language, they put together a sentence and deliver announcements over radio...while fluent in English! The German soldiers can also speak perfect English. The irony is in the recruiting of translators to translate the German messages. If they keep speaking English, why would a translator be necessary?

The powerhouse performances are among one of the film's redeeming features. But yet again blatant factual errors hurt the film's entertainment value. None of the actors appear to make an effort to produce an accent while delivering dialogue. Jude Law is a great actor for sure. However it looks strange and stupid because he plays a Russian who speaks English in an English accent. At points in the film while no lines are being said and instead facial expressions tell the story...now that's when the performances are first-rate.

Enemy at the Gates also contains some superb production values. The expansive locations look authentic and true to life. As planes fly over we can feel the impact and the palpable fear that the protagonists are exhibiting. The film cleverly tells a nail biting game of cat-and-mouse between two snipers in the battlefield of Stalingrad.

Like all recent war movies the costumes look authentic, the make-up looks superb, cinematography is great, directing is strong and there's a triumphant score as the bow on top. Enemy at the Gates was made with the audience in mind that will enjoy mindless violence as opposed to intelligent dialogue.

All and sundry can recollect a teen flick that reflects accuracy in its depiction of the existing teen generation. American Graffiti was made during the 1970s but was set in the 1960s as we scrutinize the lives of the youths from the period. When this film was initially released George Lucas hadn't yet made a name for himself. For those of you familiar with Star Wars you will never recognise that this is actually George Lucas grasping the reigns.

Although American Graffiti was made several decades ago, very little of its influence and poignancy has degenerated. In fact this is still one of the greatest teen films ever made. Even if filmmakers used contemporary technology and was given a large budget, nothing would come close to the atmosphere or the accuracy of George Lucas' classic film gem. With this film Lucas proved that he was able to create an outstanding film on time and on budget (the film costed exactly $777,777.77 to make).

American Graffiti was released with the tagline "Where were you in '62?" and, logically enough, is set in 1962. This year was on the eve of the loss of American innocence - marginally preceding Kennedy's assassination and the Vietnam War. The focal characters of this comedy/drama movie are a group of high school graduates who spend their last night in town before heading off to college in the morning. We follow their exploits throughout the entire night as they cruise around town while listening to popular radio personality Wolfman Jack.

In creating American Graffiti Lucas learned a number of valuable lessons about filmmaking that proved useful when he went on to create the Star Wars movies several years later. Star Wars fans should be grateful of this film's existence.

With this film, Lucas has created the essential addition to the coming-of-age genre. These teenagers have to overcome hindrances to accomplish the shared objective of reaching adulthood. They cope with the predestined bereavement of innocence and their apprehension towards change. American Graffiti is not only a wonderful piece of entertainment even in this era of cinema, but it also marks a historical milestone in filmmaking and one of the most accurate non-Hollywood portrayals of the era it is representing.

The film also launched the careers of several people; Harrison Ford's acting career, Ron Howard's acting + directing career, Richard Dreyfuss' acting career, and of course George Lucas' versatile career in the industry. The central characters of this film are filled by Ron Howard and Richard Dreyfuss. This was far before any of them become famous and much-loved actors.

Because it has been several decades after American Graffiti first hit cinemas people always wonder what the appeal is for this classic. To address this query you can only watch the film. Honestly, you cannot describe the film's appeal using words. Needless to say it's an enthralling film with interesting characters and an intriguing plot.

It's a landmark in cinema and catapulted those involved to almost immediate stardom. Within the script you'll find outstanding humour, clever dialogue, hilarious situations and a suitable 1960s setting.

George Lucas purposely used a number of outtakes (including fluffed lines and actions done incorrectly) to create more of a realistic effect...and of course for the sake of an on-set laugh. American Graffiti embodies all the qualities of life as a teenager during the '60s. This doesn't focus on the parties, drugs and alcohol: instead it's a story about the fun that teenagers can have with a set of wheels and some interesting people. This is truly one of the most important films in cinematic history. Followed by More American Graffiti.

Let's admit it: whenever you observe a poster or the cover of a DVD that flaunts Sylvester Stallone brandishing a firearm you'll discern that the film will at least be entertaining. Avenging Angelo is an unforeseen twist on Stallone's conformist tough guy persona. As an alternative he is sweeter and more appealing in this romantic action comedy.

Stallone portrays long-time bodyguard Frankie Delano who has squandered his entire career working for an Italian mob boss named Angelo (Quinn, for whom the film is dedicated to). Frankie has been delegated by Angelo to watch over long lost daughter Jennifer (Stowe). Even after a number of years Jennifer has no idea that she is Angelo's offspring as it would endanger her life due to Italian assassins who endeavour to eliminate them both. As the film's title would suggest, Angelo is eventually whacked by the mob. Frankie pays a visit to Jennifer to divulge the truth: that Angelo is her true father. Owing to recent personal nuisances, Jennifer isn't intensely receptive towards any other people entering her life; let alone being informed of the deplorable truth concerning her recently-deceased real father. Subsequent to Jennifer eventually acknowledging her true heritage she teams up with Frankie to avenge the death of her father.

Like a great number of Stallone's recent action vehicles, the film met with negativity from both the critics and audiences. The Razzie committee always take advantage of the latest action film featuring an aging Stallone (They didn't pick on him this time, surprisingly. They still pick on him frequently though). In my opinion I believe that Stallone did a surprisingly good job with this role. His dialogue is understandable for about 70% of the time, and his character's life doesn't revolve solely around firearms.

Stallone was in his late 50s when this film entered production. It's great to see that he still has the charm and charisma we came to love and expect ever since Stallone graced the silver screen with Rocky. If you're a die-hard fan of only a mindless Stallone action vehicle then this would not be one to watch. Avenging Angelo is the furthest thing from a simple straightforward action film. In the place of frequent action we have a sickening love story, predictable sub-plots and a few clichéd close combat scenes. I prefer the days of Rambo and Cobra. Madeleine Stowe has a subtle screen charm. Naturally, her role is swimming in typical character clichés.

Avenging Angelo tries to be both a romantic comedy and a crime film mixed with elements of an action movie. But the film never finds a rational comic tune; instead stuck with a screenplay that makes little sense and appears to move from silly plot point A to even sillier plot point B. The dialogue throughout the movie is laughably atrocious. I mean sure, the cast is decent and the filmmaking is solid. However I thought that without a good or decent screenplay then a film will be an embarrassing turd. In spite of a promising build up throughout the first half, it bogs throughout its middle section and its conclusion is incredibly conventional. I basically predicted the ending within the first 10 minutes.

Avenging Angelo took tonnes of criticism with good reasoning. I am an enormous fan of Sylvester Stallone and his new guise is at least unique; however the man needs to make some better career moves. Instead of starring in silly low profile rubbish he needs to look past the money and try to find quality in a screenplay while choosing them. His soft touch here is appealing, but ultimately let down by the dopey screenplay and a terribly foreseeable string of events.