Reviews by PvtCaboose91

"Remember this, if you see someone doing something but at the same time watching you... then he is a cop."

There are a very limited number of movie enthusiasts who haven't heard of Martin Scorsese's The Departed; a film that became one of the most critically acclaimed films of its decade. When I first saw Scorsese's masterpiece I was unaware that it was actually a remake of a small-time 2002 Asian movie called Infernal Affairs.

This original, refreshing piece of Asian cinema is gripping, exciting and riveting. This is not your standard slice of cinema you'd expect to be exported from an Asian country; instead of a Crouching Tiger, Hidden Dragon-style of martial arts fluff we are presented with a smart thriller that is exceptionally crafted.

The film juxtaposes the lives of two policemen. The first (Leung) is kicked out of the academy before graduation and is hired to be a mole planted in the Triad gangs. The second is a Triad gang member (Lau) who is enlisted in the police force as a mole. Each side soon realises that they are being spied on by their enemy. The moles are soon assigned to figure out who the other mole is.

The plot is very imaginative and original; a breath of fresh air for an Asian production. One of the things that truly stuck out in my mind was the exceptional filmmaking. Each shot is enticing and crafted with a great deal of dexterity. The cinematography is just mind-blowing. The film relies on drama and believable situations rather than action (of which there is still quite a lot of). In order to keep the attention of the audience it was pivotal to make sure these dialogue scenes were staged and filmed with class. The filmmakers achieved this desired effect in my mind.

The film was always so captivating and interesting; an intelligent script that is driven with the powerhouse performances. This isn't your standard gangster movie where bad guys don long leather coats while carrying an intimidating arsenal. However, steering away from this cliché isn't exactly a great thing. For one, it took me half the film to determine which character was on which side. It seems that every Asian film has this problem; poorly distinguished characters caused by lack of character development. Within the first 5 minutes the plot has already unfolded. I would have expected something a lot deeper and more intricate. This was the only downfall on an otherwise exceptionally intelligent screenplay.

More than anything else, I found the riveting musical score to be the best thing to find here. It kept the film moving at a powerful pace. During the action the music is abundant with intensity. The performances are quite gripping in my opinion.

Andy Lau seems concentrated and laid back. Tony Leung Chiu Wai (billed as Tony Leung) is the real stand out here though. His performance contains so much depth and realism.

All in all, Infernal Affairs is one of the best Asian films I've ever had the fortune of seeing. Entertaining and satisfying; this thriller is hard to find boring. The film is only flawed in two areas: firstly, the weak ending that appeared to be quite rushed. Secondly, too many difficult characters that are hard to relate to due to lack of character development. Known in its country of origin as Mou gaan dou. Remade by Martin Scorsese in 2006 as The Departed.

"I am the Dragon. And you call me insane. You are privy to a great becoming, but you recognize nothing. To me, you are a slug in the sun. You are an ant in the afterbirth. It is your nature to do one thing correctly. Before me, you rightly tremble. But, fear is not what you owe me. You owe me awe."

Originally filmed by Michael Mann in 1986 under the title of Manhunter, the Thomas Harris novel has been adapted to the screen for the second time under the title of the actual novel Red Dragon.

Director Brett Ratner was brought on board to direct this latest adaptation of the successful novel. The man who helmed the Rush Hour films was indeed treading dangerous ground; not only was he remaking a critically acclaimed thriller, but it was also being filmed as a prequel to Silence of the Lambs. Because of the immense popularity and cultural following of Anthony Hopkins as Hannibal Lector it was essentially inevitable that the studio would want to continue pulling in cash by remaking the overlooked original film; instead of Brian Cox as Lector, we get a much older Hopkins.

FBI agent Will Graham (Norton) still exhibits physical and psychological scars that will never heal after capturing serial killer/renowned forensic psychiatrist Dr. Hannibal "the Cannibal" Lector. Graham retires from the FBI after suffering from near-fatal wounds inflicted by Hannibal. Several years after Hannibal is thrown behind bars Graham is called upon to examine case files and evidence of a serial killer who appears to be choosing random families to gruesomely massacre. Despite using great proficiency to solve the case he realises that it can't be done alone. There's only one man he can turn to that could provide a useful profile of the killer: Hannibal Lector.

I enjoyed Michael Mann's original version of the novel, more so than Red Dragon. I found this movie to be quite a pointless rehash that is almost a scene-for-scene remake (there are several drastic changes, but dialogue and scene layouts are glaringly familiar).

The reason for producing a remake was to include Anthony Hopkins and hence tie into The Silence of the Lambs. I was very disappointed when I looked at the shape and physique of Hopkins. He looks a lot older and fatter. I just could not buy this being a prequel. I picked up a few returning actors from Silence of the Lambs but they also look a lot older. It's quite nonsensical to actually believe this film is set before Silence of the Lambs.

Hopkins' character is placed back into the location where he is most chilling. This is of course that grotty cell where he is being held captive. There is a lot more intensity and smart interactions between the characters. It's just such a shame that the time for the movie came and went about 10 years ago. If Hopkins and the other returning actors didn't look so much older I could have bought the premise of this prequel. A wasted opportunity, really, because the ending perfectly ties in with the beginning of The Silence of the Lambs.

Norton shined in his role. I liked his acting more in the first half when I was fascinated by the way he did his work. He's still good in the second half but lacking intelligence and fascination. Ralph Fiennes is exceptional. The actor pulls off vulnerability and emotion with great talent. He wasn't nearly as good as the actor from Manhunter of course.

The filmmaking is quite skilful. Ratner's direction is classy and interesting. I felt that a more artistic approach by Ridley Scott in the film Hannibal was far superior to Ratner's (probably more of an issue with experience); however the directing is still fairly competent. For the most part, each scene is very well directed.

The score by Danny Elfman is atmospheric and occasionally chilling. Elfman's music is always exquisite and a treat for the ears. The good thing is that it wasn't too overwhelming.

Red Dragon should have been made about 5-10 years ago. Hopkins has aged and hence his performance could have been better. But considering how bad this film could have been, it's quite an impressive slice of filmmaking. Die-hard fans of the Hannibal Lector character may be disappointed.

"He's too beautiful. He's too much twisted steel and sex appeal. I can't be with a guy that looks like I won him in a raffle."

Always is yet another very good effort from legendary director Steven Spielberg; but unfortunately this film is not one of his best efforts. I am glad to report that the film boasts all the qualities we expect in a Spielberg film like this: it's for the family and contains good production values. But behind all this there are several flaws that unashamedly emerge.

A daredevil pilot named Pete Sandich (Dreyfuss) is the best at what he does; flying an aircraft that is used for putting out forest fires by dousing the flames with water. He finds true love in a girl named Dorinda (Hunter) who wishes for Pete to give up his job due to the danger involved. During a daring mission Pete saves his best friend Al (Goodman), but as a result Pete is in fact killed. Despite being killed in the horrible accident, Pete soon comes back in the form of a ghost. After the initial shock of dying Pete decides to give all his knowledge and experience to a promising young pilot. Now that Pete is dead he needs someone as skilled as him to continue saving lives.

Always is a film that certainly contains an interesting concept; and it goes without saying that nobody could've done better than Spielberg. However, the film's ultimate flaw was that it had a tendency to be far too cute and "feel good". That being said, it's a bit of a tear jerker at times and has been produced by a man who is a master at his craft.

Richard Dreyfuss has been in several Spielberg productions before this film. And although Always is no Jaws or Close Encounters of the Third Kind I felt that Dreyfuss was determined and gave the film everything he could. He was highly engaging and carried the film with great skill.

Steven Spielberg will always be one of the greatest directors in the history of cinema and his directing is first-rate. I never would have expected a talented director like Spielberg to be involved in such a film. I am happy that he was able to bring some appeal to a highly flawed screenplay.

Always is a pleasant emotional journey that is a respectful homage to the men who risk their lives everyday to put out forest fires.

I found the film to be both impressive and disappointing. On the one hand I can't fault the filmmaking. But on the other hand its major flaw was being too long as well as being far too cute. If you're looking for a pleasant evening to spend with the family I believe that Always would be a good choice to rent.

"Here's looking at you, kid."

It has been over 6 decades since Casablanca was first released. That totals over 60 years of movie lovers and film enthusiasts alike admiring this masterpiece with the utmost praise.

Casablanca is a magical tale of loyalty, love and radiant romance that deserves every bit of praise it still receives, and then some. Casablanca is one of the only old movies that I could watch daily for the rest of my life and never get sick of. The film is a true original Hollywood classic that will always be thought by some to be the greatest movie of all time. It will always be in my Top 10.

Casablanca has not dated one iota; it's appealing, charming, magical and a downright masterpiece. Set during World War II, the main action of this exotic tale is located in the non-occupied French Morocco city of Casablanca, logically enough. The central character is a cynical café owner named Rick Blaine (Bogart), a discontented soul who "sticks his neck out for nobody". Rick finds himself coming into possession of two letters of transit; these can guarantee safe passage out of the country to whosoever carries the letters. Rick is informed that the leader of the underground in Europe, Victor Laszlo (Henreid), has arrived in Casablanca with hopes of escaping to America. But he needs these letters of transit that Rick is presently in possession of. The twist is that Victor arrives with his wife Ilsa (Bergman). Ilsa and Rick were lovers in Paris many years ago and departed under tragic circumstances. And now a classic love triangle emerges; two letters and three people that want the letters. Rick must now decide between being selfless or selfish.

Casablanca is an unforgettable film that is still mighty appealing in this contemporary age of cinema. It is classic and timeless in every sense of the word. Many people still regard the screenplay to be the best script in existence. Do I agree? Absolutely! The script is definitely the best script ever written for the screen. It contains some gorgeous lines that we often hear parodied and quoted. ("Round up the usual suspects", "We'll always have Paris", the list goes on) If you ever do a course on writing screenplays, Casablanca will be brought up as an example. The lines cannot be faulted at all. There is never anything cheesy and never anything too corny. The film is never boring and is also the perfect length.

Both the screenplay and the directing assist in making this perfect film into a reality. It almost goes without saying that the performances are fantastic. Humphrey Bogart was in his prime when this film was released. After The Maltese Falcon he was finally given his big break. And since this film in particular, Bogart has gone on to become one of the world's most memorable actors. Bogart's performance is masterful. Every line is delivered with such precision; keeping the audience interested and enthralled in everything that is going to happen next. The final line uttered in this movie is the greatest last line in cinematic history without question or debate. And Bogart's delivery is essentially flawless.

Ingrid Bergman was an extremely talented actress when this film was made. Her performance is sublime. The romance is never cheesy, and each line delivered by either her or Bogart glistens with perfection. The song As Time Goes By is the greatest movie song of all time. It will give one goose-bumps because of its poignancy and power.

I've seen this film broken down during filmmakering classes. Everything in this movie is to perfection. People will always suggest Casablanca as an example of a perfect movie. There is little wonder or debate surrounding that statement. I've said it many times before and I'll say it again, Casablanca could be the greatest movie ever made. If you want an example of a perfect movie then watch this one. If you want a good movie to watch with your partner, watch this one. Rush out and buy the movie with hesitation. I cannot put it clearer than that.

"This is where the law stops...and I begin!"

It was never meant to be a brilliant Shakespearean drama, it was never meant to take itself too seriously and it was never made with the intention of making something groundbreaking...so take Cobra for what it is: Stallone in his prime with a gun in hand and a tonne of bad guys waiting for him to kill.

The 80's action genre is one that I am a massive fan of; the simplicity of the plots and no complex plot turns means that you can sit back and have a fun time without experiencing anything that will alter your life.

Stallone plays a veteran cop nicknamed Cobra who is part of the "zombie squad". Cobra is renowned for his quick and violent dispatches of those who deserve it. As the film opens we are made fully aware of this as he uses guns and cheesy one-liners. A serial killer rattles the city with a series of killings of random civilians. Cobra isn't allowed to be a part of the investigation, but doesn't take 'no' for an answer.

Of course, this serial killer plot is an excuse to fill the screen with non-stop violence, and let the body count rise in traditional Stallone style. The plot is thin and pretty much dissipates as the film becomes nothing more than an entertaining slaughter and mindless entertainment.

Of course Stallone's performance is far from perfect (in fact it's quite terrible in places) but he is in great shape and delivers the action we've come to expect from these kinds of movies. Like Arnie, Van Damme and Chuck Norris; Sly loves the formula of making wafer thin plots with lame one-liners and awesome action. He does not disappoint on this front.

It's very predictable as well, not to mention the startling number of conventional characters that appear. For example Stallone is the only intelligent cop, all the rest of the police on the force are complete dummies. The film is also highly clichéd and contains an array of quite embarrassing performances.

Director George P. Cosmatos teams up with Sly once again to create a very Rambo reminiscent production. If this film was marketed as a Rambo sequel and had battles of a larger scale then you wouldn't be able to tell the difference. It's films like these that got Stallone type-cast. Films as mindless and as entertaining as Cobra are just never released anymore these days.

Full of violence, action and gore; in short, if you love action movies then hire this one without hesitation. Lots of fun, but it's not a masterpiece.

"Sir, do we get to win this time?"

It was sheer fate that, following the box office success of First Blood in 1982, Sylvester Stallone would return as John J. Rambo in a sequel, denoting the beginning of another film franchise for Stallone (his other being Rocky). For 1985's Rambo: First Blood Part II, however, Stallone and co-writer James Cameron (!) place more emphasis on the action, in the process discarding First Blood's heart and depth. This is not necessarily a drawback, mind you - although it lacks the classiness and intelligence of its predecessor, Rambo: First Blood Part II is a fun, cartoonish, brainless action blockbuster which throttles forward at breakneck pace from one ridiculous set-piece to the next. Considerably upping the ante in terms of action, mayhem and body count, this sequel is wildly implausible but irresistibly enjoyable for those who enjoy this brand of '80s-era entertainment.

First Blood Part II finds Vietnam veteran John Rambo (Stallone) incarcerated in a manual labour prison following his actions in First Blood. He is soon approached by his former commander and friend Colonel Trautman (Richard Crenna), who makes Rambo a deal that could land him a presidential pardon. Rambo's mission is to head into the jungles of Vietnam to gather intelligence on a prison camp where American MIAs might still be held captive some ten years after the war ended. Thus, Rambo is dropped into the middle of the jungle, but is soon betrayed and left for dead by bureaucratic government official Murdock (Charles Napier) while surrounded by hundreds of Vietnamese soldiers. Once Rambo is set loose, bullets fly and blood is spilled. Despite the inclusion of a third-act speech in which Rambo laments the treatment of Vietnam veterans by the United States government, the meaningful subtext of First Blood is absent. There is little wonder why this film earned Razzie Awards for Worst Picture and Worst Screenplay...

Close behind Commando in the ranking of "most iconic '80s action movie", First Blood Part II continues the tradition of a one-man army single-handedly laying waste to hundreds of bad guys. Also, like Commando, Rambo relies more on his brawn than his brains. With huge muscles, even bigger machine guns, explosive-tipped arrows and the iconic Rambo survival knife, the film supports the "peace through superior firepower" mantra of the Ronald Regan era which saw the Soviet Union collapse and the Americans winning the Cold War. Nobody will mistake First Blood Part II as a quality movie from a critical standpoint, mind you, as it's predictable, lacking in original ideas, and repetitive. After all, this is merely a badass macho male fantasy which was ostensibly created to convince Americans that they could have won Vietnam if only John Rambo was let loose on the Vietnamese troops. To the credit of director George P. Cosmatos (Cobra), the action is well-handled and spectacular, while the film also benefits from returning composer Jerry Goldsmith's exciting score.

It's not often that an actor portrays more than one popular, identifiable hero. Harrison Ford notably pulled it off with Han Solo, Indiana Jones, and CIA agent Jack Ryan. But Stallone also did it, playing both Rocky Balboa and John J. Rambo (and, more recently, Barney Ross in the Expendables series). While Rocky was everyone's favourite underdog, Rambo is a character who emphasises the roots of America's resentment over losing the Vietnam War. Naturally, Americans like to win, and the Rambo series therefore provides this type of prototypical, patriotic fantasy. Rambo: First Blood Part II marked the decline of Stallone's career as an actor, though - he proved his acting chops in First Blood and 1976's Rocky, but, as he continued to star in more action movies (Cobra, Demolition Man, Tango & Cash) and Rocky sequels, he became more of a presence than an actual actor. He also became a mainstay at the Razzie Awards, earning frequent nominations. Stallone's performance here is undoubtedly pedestrian and at times laughable, yet he's still an appealing presence and a convincing man of action. The supporting actors are mostly effective, from Napier as a shady bureaucrat to the recognisable Steven Berkoff (Octopussy, A Clockwork Orange) as a Soviet Lieutenant Colonel, while Crenna remains a superlative Colonel Trautman.

At the end of the day, Rambo: First Blood Part II is a tour de force of '80s-style action. With Vietnam in the peripheries, the movie is also similar to the Chuck Norris vehicle Missing in Action, which was released a year prior. Of course, the '80s was all about Vietnam - the notion of American MIAs still being held captive in Vietnam was the subject of several action films (Missing in Action, Uncommon Valor), while the war itself was explored in several classics (Platoon, Full Metal Jacket). Look, First Blood Part II may be as mindless as they come, but it's hardly dull. It cannot be defended as anything other than a guilty pleasure, and that's good enough as long as you have a taste for the action genre.

6.9/10

"I could have killed 'em all, I could've killed you. In town you're the law, out here it's me. Don't push it. Don't push it or I'll give you a war you won't believe. Let it go. Let it go."

On account of Sylvester Stallone's reputation for playing tough, invincible action heroes, the actor is often typecast as an action super-star incapable of proper acting or depth. 1982's First Blood, however, is evidence that Stallone can act with the proper material. Additionally, this first instalment of the Rambo franchise is not as brain-dead as most will assume it to be, as the movie acknowledges the possibility that movie-watchers may possess a functioning brain. The trio of writers who contributed to the screenplay (Stallone included) are adept enough to realise that the appeal of John Rambo is not limited to bulging biceps or the character's ability to massacre legions of bad guys with an arsenal of weaponry. First Blood is therefore a powerful character study rather than a brainless blockbuster, and it benefits from an immaculate mix of heart and action.

John J. Rambo (Stallone) is a disillusioned Vietnam veteran and ex-Green Beret who is reduced to the life of a drifter ostracised by a prejudice society. After learning that the last surviving soldier of his former unit has passed away, Rambo drifts to the small town of Hope where he is made unwelcome by the local Sheriff Teasle (Brian Dennehy). Rambo only wants something to eat, but is unfairly turned away. Unable to understand Teasle's hostility, Rambo defiantly refuses to leave town, and is consequently arrested for vagrancy. When the police officers mistreat Rambo at the station, he snaps, escaping custody and fleeing into a neighbouring forest with the entire police department on his tail. Employing his extensive knowledge of guerrilla warfare, Rambo begins a one-man war against the police and the national guard. Soon, Rambo's former commander in Vietnam - Colonel Trautman (Richard Crenna) - is sent in to help the situation, and finds his loyalties divided between the man he trained and those seeking to bring him down.

First Blood is an adaptation of David Morrell's novel of the same name, though the material was heavily altered for its translation from page to screen. For starters, Rambo killed hundreds of police officers in the novel and was in fact the antagonist, whereas this film version posits Rambo as a mistreated hero who does not willingly kill anyone (the only death is accidental). Additionally, Trautman killed Rambo at the end of the book, yet the movie's ending deviates from the source material in this area as well (though the decision to alter the ending was ultimately made after initial test screenings). First Blood was initially intended as a standalone feature, but went on to gross enough at the box office to justify a few sequels. Considering the cash-cow that the franchise became, the executives at Orion Pictures must be thankful that Rambo was not killed at the film's conclusion.

In the hands of director Ted Kotcheff, First Blood is a picture of rousing action, compelling drama and gut-wrenching emotion. Pacing is superb, with bursts of intoxicating tension between the action sequences to keep viewers riveted throughout. Another memorable constituent of First Blood is the remarkable, heroic score by Jerry Goldsmith. Nearly as iconic as the muscular protagonist himself, the music complements the action, emotion and drama impeccably - every note enhances the visuals. Additionally, while this is primarily an action film, First Blood is at its core an absorbing character study about a man pushed over the edge who's coming to grips with a world that does not want him. When Teasle harasses Rambo, it's just another insult hurled at him for no reason. As he is physically abused by the police officers, flashbacks are triggered of Rambo's dark Vietnam days. Is it at all surprising that he reaches breaking point and reverts to doing what he does best? The sympathy the film generates for Rambo is commendable, as is the way that the film turns the police into antagonists whose comeuppance we crave. Once Rambo turns the tables on the police, we are thoroughly on his side.

Buried beneath the action is a powerful message about the awful treatment of Vietnam vets, and the plight of returned soldiers in general. After these highly trained men returned home, they were discarded by the government and country they risked their lives for. While a fictitious character, John Rambo is representative of many true stories. Additionally, for a character that's often perceived as an unstoppable force, Rambo is shown to have a vulnerable side: he bleeds, he screams, he feels pain, and he emotes. Interestingly, Stallone was not the first actor to be considered for the role of Rambo - he was only hired after thespians like Al Pacino and Dustin Hoffman turned it down. In retrospect, it's impossible to imagine anyone other than Sly as Rambo, and the star's capabilities as an actor are on full display here. His extraordinary monologue towards the film's end should have earned Sly an Oscar nomination. In the supporting cast, Dennehy and Crenna are equally terrific - in particular, Crenna is perfectly cast as Colonel Trautman.

It's too easy and unfair to dismiss First Blood on the basis of what the Rambo series became: an over-the-top action franchise. First Blood is significantly different, and superior to its sequels in spite of a few credulity-stretching scenes (like Rambo surviving a large fall without injury). The dark tone and sombre subtext of this film was only matched by the third sequel in 2008. Those who enjoy an engaging action-drama with intelligence, poignancy and substance should find this to be a highly satisfying 90 minutes of cinema. The film was followed by four sequels, beginning with Rambo: First Blood Part II in 1985.

9.3/10

"Believe me, you don't want Hannibal Lecter inside your head."

Michael Mann struck moderate success with a 1986 thriller entitled Manhunter. This film introduced us to a brilliant psychiatrist/cannibalistic serial killer named Hannibal "the Cannibal" Lector. First played by Brian Cox, the role was then filled by actor Anthony Hopkins.

Based on a novel of the same name by Thomas Harris, The Silence of the Lambs is one of the greatest movies of all time and one of the world's most effective thrillers. If you have never seen this absolute classic thriller that redefined the serial killer genre you have no idea what you're missing out on.

Clarice Starling (Foster) is a brilliant FBI agent-in-training who is assigned to assist in the hunt for a serial killer known as Buffalo Bill who has been kidnapping, murdering and skinning young women. The head of the FBI Behavioural Sciences section Jack Crawford (Glenn) sends Clarice to a mental institution to confide with once-renowned Dr. Hannibal "the Cannibal" Lector (Hopkins). It is hoped that Lector will provide a detailed profile of Buffalo Bill and perhaps aid in his capture. Lector only agrees to help if in return Clarice feed facts about her life to his morbid curiosity just for his own amusement.

The Silence of the Lambs is a stunning, taut, intelligent thriller that was an unexpected hit when it was first released. The film also made a successful trip to the Oscars; becoming the third film to clean up the top 5 Oscars for Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay. Surely this profitable Academy Awards evening should be enough motivation to warrant multiple viewings.

The Silence of the Lambs is also quite a terrifying experience. It's not the kind of horror you'd find in a typical slasher flick; it's a psychological thriller that makes the audience petrified of the grim characters, and it's played exceptionally well on the underlying modern fear of the lethal human predator with no conscience, remorse or perceived reason. Hannibal Lector looks normal on the surface, but is revealed to be twisted and disturbing on the inside. It's also the macabre images present in the basement of a serial killer that adds to the film's terrifying nature. It will give you the creeps.

The film is also held together by the extremely strong interaction between Lector and Clarice. It's no wonder that both of them received Oscars. Anthony Hopkins cannot be even slightly faulted as the twisted psychiatrist. This was truly a career-changing role of Hopkins. I personally prefer Hopkins as Lector over Brian Cox. Although Cox did a great job, he just wasn't as creepy or spine-chilling as Hopkins' sublime portrayal. It's a close call, though. Jodie Foster's performance also holds the movie together. She always seems so vulnerable with an outward show that suggests a tough-spirited character. Foster always looks somewhat scared whenever she has a conversation with Lector - or even so much as glances at him.

Jonathan Demme's direction is masterful. I'm not sure if it was the direction or the editing - either way, the film is highly suspenseful and effective. Especially towards the climax. Demme keeps the dialogue taut and interesting; receiving engaging performances from the spirited cast.

The Silence of the Lambs is entertaining, smart, effective, imaginative, gory and scary with a high level of intelligence. The thriller genre does not get any better than this!

This is the film that redefined serial killer movies. I have enjoyed viewing this film after multiple screenings and the DVD will continue to be replayed. The Silence of the Lambs can't be missed at any cost.

"Mr. Sylvester Stallone didn't get where he is today by playing in Jane Austen."

Fierce Creatures is a charming, rather funny non-sequel to A Fish Called Wanda that reunites most of the original cast, but falls far short of matching up to its non-predecessor. In all fairness, A Fish Called Wanda was way too remarkably excellent and unbeatable that I never expected Fierce Creatures to match it.

Fierce Creatures is of course completely unrelated (except a few sneaky references that one should spot, as well as a few Monty Python homages) while also keeping some of the characters much the same (Kline delivers a trademark macho performance here).

A London zoo, owned by an Aussie business tycoon named Rod McCain (Kline), is successful but McCain demands the zoo owner Rollo (Cleese) to raise funds by 20%. Rollo instigates a new policy; a 'fierce creature' policy that entails removing all placid animals and replacing them with exciting, ferocious ones. This new policy is met with complete shock from the zookeepers who discover that the only way to get rid of their placid animals is to shoot them. When matters get worse at the zoo, McCain sends his son Vince (also played by Kline) and up-and-coming business executive Willa Weston (Lee Curtis) to take control.

Fierce Creatures had all the elements it needed for a good old-fashioned fun comedy (including a very good repetitive joke that paints Cleese as a sexual superman found attractive by humans and animals), and it certainly is a fun film with high re-watchable value; it just can't hold a candle to A Fish Called Wanda.

John Cleese is brilliant as always. His character mirrors some of his other characters in the way that he's notorious for getting into trouble and coming up with hilarious excuses. The man will always be funny despite his age. Kevin Kline is of course an utter delight. He is given some very witty lines of dialogue that had me laughing quite spectacularly. Jamie Lee Curtis is her usual self. Mirroring her role in the non-predecessor, I was very impressed with the performance delivered here. And of course Michael Palin is a remarkable, funny and wonderful. Just like John Cleese, age is of no issue. I will always have fond memories of his Monty Python career.

The one real stand out feature for this film, though, is the exceptional musical score. Despite being just for a typical comedy, this score is definitely one of the best I have ever heard. The music is catchy and it matches the atmosphere while setting a very fitting tone as well. Kudos to Jerry Goldsmith for creating such a perfect score for this film.

Fierce Creatures contains some great scattered laughs with hilarious dialogue that become better with every viewing, and of course the film is great entertainment, but there's nothing to convincingly bring it into the 'brilliant' category. Certainly worth seeing.

"I shall remember this moment: the silence, the twilight, the bowl of strawberries, the bowl of milk. Your faces in the evening light. Mikael asleep, Jof with his lyre. I shall try to remember our talk. I shall carry this memory carefully in my hands as if it were a bowl brimful of fresh milk. It will be a sign to me, and a great sufficiency."

Ingmar Bergman put his country on the cinematic map with The Seventh Seal; an atmospheric, peculiar, eerie, ambiguous production that is a surreal masterpiece of the highest order. Words cannot accurately describe the appeal of this movie. Needless to say the film is certainly not for all tastes. It requires a viewer who is patient and whose attention span is not limited to mainly tolerating fast-paced films.

The Seventh Seal moves at a snail pace and is strictly for those who can easily endure rich, perplexing world cinema. I will admit that I quickly grew tired of reading subtitles for each line of dialogue. Of course this is not a negative downfall. Foreign countries would say precisely the same thing about an American film. Foreign filmmakers should be given the opportunity to craft a film in their native language and I of course respect this.

The film opens as a disillusioned knight named Antonius Block, played by Max von Sydow, is returning from the crusades in the 14th century when he is confronted by Death (Ekerot) who casually tells him that his time is up.

However, Antonius is not willing to give up so easily and challenges Death to a game of chess for his life. While the chess match is still happening, Antonius can live. And if he checkmates Death then it could mean a significantly longer life indeed. Alas, Antonius travels across a country now stricken by the Black Death (i.e. the plague) in search of a concrete sign that would implicate that God really exists. No matter where he goes, Death is always following in his footsteps.

The film is both elegant and extensively atmospheric. Most of the entrancing panorama we're presented with is apocalyptic and filled with dread. The black and white photography further retains this quality. As the characters travel across the land they find devastated villages and unnerving forest scenery.

The film is also rich in religious themes that also pose a question to the viewer; does God really exist? The final image also raises questions about what occurs after death. We see a string of silhouetted figures dancing with arms outstretched as they are about to enter the unknown.

The Seventh Seal is also a film that is heavily ambiguous. What does each character symbolise? The audience is left to draw their own conclusions after the credits have rolled. Not many films similar to this have the eminence of extensive ambiguity, chiefly in a religious sense. The film has been widely regarded as one of the world's most important pieces of cinema. There is little mystery surrounding this.

The performances weren't excessively engaging. There are some pretty distasteful characters, but they all appear to be allegorical (similar to the film as a whole, in that sense). Max von Sydow had the hardest job of pulling off such an important character. He adds intensity to the game of chess and he is quite enthralling.

Director Ingmar Bergman did a fantastic job with this film. His direction will keep one mesmerised for the film's duration. It moves at a slow pace, granted, however the classy direction allows something interesting to appear on screen quite frequently.

The Seventh Seal is a film that won't be appreciated by all tastes. It falls into the category of 'world cinema' so expect to be reading subtitles the whole way through. I guess if you're too lazy to read subtitles then this would be one to leave on the shelf.

The Seventh Seal is captivating and surreal, as well as dark, disturbing and grim. Its sheer indistinctness alone makes it worthy of a screening.