Reviews by PvtCaboose91

I know I'm in the severe minority here, but The Bicycle Thief is a film I found to be just tolerable as opposed to great. The film is a poignant character study that was an intrepid move at the time of its release. Critics have hailed it as being an all-time classic and the film even won a special Oscar at the Academy Awards of 1949.

I thought The Bicycle Thief was an extraordinarily good drama that delivers a powerful message; however I felt that the whole film built up to an inadequate conclusion. People may say that this is missing the point of the movie. But if it has a point to convey I expected it to be delivered faster as opposed to stretching out the whole thing for 90 minutes. For this message I felt it could have come and gone in less than an hour. I mean we all know that bicycles are stolen constantly and are sometimes found. Anyone could tell you that. So why did the filmmakers have to interminably drag out the movie? I enjoy a good classic drama. This one just couldn't grasp my interest in amidst delivering its message.

The film's plot is fairly straightforward: set in Rome succeeding the conclusion of World War II, jobs are very scarce. It is every man's dream to find themselves a job and earn money to support their family. We follow a man named Antonio Ricci (Maggiorani) who lives with this wife and son. Antonio is given a job as someone who hangs posters around the city. But he needs a bicycle. Although out of funds, they are forced to sacrifice a few household items in order to possess the required cash to obtain a bicycle. As the title would suggest, Antonio's luck soon runs out when his bicycle is stolen. The film is then a tale of Antonio and his son Bruno (Staiola) as they search for the stolen bicycle.

I am in two states of mind about this film. On the one hand, The Bicycle Thief is an excellent movie that delivers an uncompromising, unconventional message. Despite this, I still found the movie to be far too dragged out considering it was just going to deliver this certain, simple message. I liked some of the drama throughout and thought its un-clichéd temperament was bold. Although bold, it was still abundantly unsatisfying.

Surprisingly, the movie was made with all the roles being filled with non-actors. This isn't very obvious because I thought all the performances were absolutely superb. Maggiorani displays a wide range of emotions and is very engaging in his role. The desperation in his eyes is obvious at times, with some scenes being truly unforgettable. The most memorable moment of the movie would have to be the scene in the restaurant that conveys desperation, happiness and the gulf between rich and poor in just a few minutes. Young Staiola is also very good as little Bruno. It's his performance that captures the heart of the movie. The film is not really about the bicycle. It was a portrait of father and son with the mutual concern of dignity and respect.

This film is a beautiful portrait of course. I just wish that it wasn't so stretched out and wasn't so depressing. I understand that it was a perfect way to portray reality, but I guess I just watch too many happy films. It was a nice change of scenery, though.

One important aspect that must be mentioned is the filmmakers have made the city of Rome an actual character in the film. They exhibit the city of Rome with its beautiful churches contrasted with the poverty and effects of the war in a way that would be impossible to replicate by any Hollywood studio.

The Bicycle Thief has been regarded as a classic film that will always be one of the greatest movies of all time. I bitterly disagree with that statement. Regardless of me strongly disagreeing I still found the movie to be a beautiful human portrait created by a director who excels at his craft.

The band Joy Division managed to generate an astronomical fan base when they helped change the face of music during the 1970s. Control is a poignant, moving, emotive accolade to the life of an ill-fated rock-star named Ian Curtis (Riley) who was the lead singer of Joy Division.

Control is a film that delves deep down into the profoundly troubled life of Ian; a man who died far too young. Ian had a sincere fondness for rock-stars like David Bowie and Iggy Pop. The film's hypnotic opening scene introduces us to a 17-year-old Ian Curtis who is on his way home from school. Control traces the circumstances that initiated his career. He felt that youthfulness meant that he could do whatever he wanted. In this case he married at a tender young age and gained a daughter. When Ian joins a band made up of his mates they call themselves Joy Division. The band quickly becomes increasingly more successful. Ian is soon distracted from family commitments by a new love and the growing expectations of his band. This severe strain manifests itself in his physical condition. With epilepsy adding to his guilt and dejection, despondency holds a firm grip. Conceding to the burden on his shoulders, Ian's tortured soul consumes him.

Control is the feature debut of director Anton Corbijn who was obviously very committed and passionate about making a wholly accurate film. The cinematography was especially effective. People who grew up during that period will tell you that life was black & white. This was the atmosphere director Anton wanted to create, hence shooting the film in evocative, hypnotic black & white photography. The film's ambiance is captivating and mesmerising. The directing in particular never made the film seem like a staged production.

The title itself refers to Ian's troubled existence. The film is absolutely heart-wrenching as Ian believes he failed his wife as his marriage draws to a close, failed his daughter because he was never a good father, failed his band because his health condition forbid him to perform well, but most of all failed himself for destroying his fragile spirit - Ian lost control.

Sam Riley is a little known actor who proved accomplished with his display of acting skills portraying the principal character. He let the audience believe that he is actually this tragic iconic singer whose life was plagued with piles of concerns. Riley was especially haunting during the more tragic scenes. When he collapses on stage the audience's heart also collapses at the catastrophic sight. Riley is amazing. Samantha Morton plays the part of Ian's young wife Debbie. She held a strong love for Ian despite the things he did to jeopardise their marriage. During scenes that required tears and a realistic break down, both Sam Riley and Samantha Morton are exhilarating.

The soundtrack is quite electrifying at times. I thought the music was used sparingly, and it was a very wise choice on the part of the filmmakers. When some of the more poignant scenes are without music it creates an even more devastating impact on the viewer.

Control is a depressingly beautiful production. Although far too short, it is a tribute to the talented, enigmatic Ian Curtis and a fitting portrait for such a man. Ian used so much of his extraordinary ability during his fairly short life. The filmmakers sensitively approached the source material. No-one ever strikes a false note in this stimulating, stunning, incredibly heart-breaking experience. Control cannot be missed at any cost.

Not only is A Simple Plan an absolutely brilliant, gripping psychological thriller but it is also an absorbing examination of human actions during times of desperation. The film is a thought-provoking and meaningful character study based on the popular novel by author Scott B. Smith (who also wrote the adapted screenplay).

I never expected A Simple Plan to be anything special, but decided to give it a shot after receiving a number of recommendations. As it turns out, this is a gripping thriller that you won't want to miss.

Hank Mitchell (Paxton) is just your average hard-working American male struggling to put food on the table. He is a man who obeys the law and wouldn't be capable of anything terrible. His wife (Fonda) is pregnant with their first child. In the film we follow Hank, his brother Jacob (Thornton) and a redneck named Lou (Briscoe). Their lives are suddenly changed when a walk through snow-covered terrain in a Nature Reserve results in them stumbling across a cache of money roughly adding up to $4.4 million. Questions are soon raised about whether to keep the money or just turn it into the police. In the end they come to a compromise: Hank will hold onto the money securely and safely until it is clear that it will be safe to split between them. If the authorities begin searching for the money, the men will immediately burn it to avoid suspicion. It would seem like the three men have developed a simple plan; however loyalties begin to blur as human nature and greed jeopardises their friendship. For the rest of the film's duration we examine the consequences of the actions of the characters; one seemingly simple plan that ends in tragedy and digs them in a lot deeper.

The film works on a basic premise that sounds like your average drama. A Simple Plan is far from your usual conventional thriller. Instead it steers away from the clichés and takes us for a drive into unfamiliar territory. The film isn't at all predictable, and it presents us with a compelling set of events.

Not only is the film extremely original and unpredictable, but the premise and the moral predicament of finding a sack of money is something we can all relate to. If you found a large stash of money, would you keep it? It helps the audience get into the mind of the characters. All of the three protagonists are in a financial struggle and hence are in desperate need of funds to keep them going. The film hits home because it is an accurate display of what human nature can cause one to do in times of despondency. The worst in humans is always brought out by voracity and greediness.

A Simple Plan is incredibly atmospheric. The opening few shots firmly establish the isolation and drab nature of the winter; a snow-covered landscape that hides many things. And of course recognition must go to composer Danny Elfman. His score was superb. The main theme especially sent a chill down my spine. With such great visuals and a fantastic score on top it was difficult to find yourself bored.

Raimi's direction for this film also gave the audience a sense of seclusion while surrounded by a landscape enclosed with snow.

Bill Paxton is fantastic in the lead role. At the beginning he helped us get engaged with his character - he's just your average mild-mannered family man who always tries to do what he thinks is best. Paxton is backed up by the equally superb Billy Bob Thornton. An Oscar nomination was thrown into Thornton's path for his superb character execution. He was always strong and emotional. It was easy for his poignant portrayal to bring a tear to your eye. His final few moments on screen are his highest point in the movie, though.

The script is well-written and surprisingly unconventional. The ending was something I certainly didn't expect. Unfortunately the film is sometimes quite stupid, which is the only drawback.

A Simple Plan cannot be missed at any cost. This thriller is effective, chilling and atmospheric. Do yourself a favour and rent it without hesitation.

Jack the Ripper was a distinguished serial killer from the late 1800s. There are only a limited number of historians who haven't heard of his reputation and the iniquitous crimes he committed.

When I first heard of Jack the Ripper I was fascinated and wanted to learn more. Naturally, viewing a film about him was the best thing to do. I was therefore excited when I heard that a film was to be made about the crimes Ripper committed before the beginning of the 20th century.

Movies that are based around true events tread a difficult path. The choice is to either make a movie as authentic as possible, or to use the rough idea as the basis for an otherwise better story. The Hughes Brothers opted for the latter option; basing their film on the graphic novels created by Alan Moore and Eddie Campbell. From Hell is one of the most visually striking films I've ever seen. In this day and age we see graphic novels transplanted onto film that create such films as Sin City and 300. I found From Hell to be a lot more realistic and enthralling than the two aforementioned films (based on graphic novels by Frank Miller).

From Hell is a film that does not concentrate on Jack the Ripper himself. Instead he takes a sideline position with the film taking the form of a whodunit murder mystery thriller with his identity kept a secret. In this film we focus on the man assigned to solve the murders - an inspector from London named Frederick Abberline (Depp). These murders are of course linked to Jack the Ripper who is called as such by the London public.

Abberline, who is still mourning the loss of his wife, begins investigating the murders of street-walking prostitutes found dead and butchered. A hooker named Mary Kelly (Graham) and her depressing group of girlfriend prostitutes appear to be the target as Jack the Ripper begins killing them one by one.

Overall I found the plot, the script and the characters to be quite pragmatic; however the main strength of From Hell is found in its visuals. The whole production seems like a genuine slice of life from the 19th century. The production design is elegant and accurate; using precise dexterity to replicate the grimy streets of Victorian-Era London. The classy atmosphere can be attributed to the production designer, the cinematographer and the directors. As a result of all these elements, the film is moody and quite terrifying at times. It was a shame that the film's pacing was slowed dramatically during its mid section. This is one of the film's very limited flaws.

The performances, with the exception of Heather Graham, are all brilliant. Johnny Depp was nothing short of outstanding. Because he plays an English inspector it's a perfect companion piece for Tim Burton's Sleepy Hollow (I could feel a bit of Burton inspirational in the visuals). Depp nailed his role; he was exhilarating and wholly believable. That accent of Depp's in particular never felt contrived.

Heather Graham is a good actress...but as a street-walking whore she fails miserably. Her accent sounds fake and her posture is completely unsuitable. This is an example of gross miscasting. It was delightful to see someone like Ian Holm making an appearance. I am fond of his acting and was not disappointed. He delivers a stimulating performance during the darker, more foreboding scenes. Robbie Coltrane is yet another serviceable addition to an already stellar cast.

From Hell is a skilfully executed, brilliant addition to the horror genre. The film showcases a clever script and a wonderful cast; however it's the extravagant 19th century production design that makes this essential viewing. From Hell is a visually astounding film that really holds up and remains to be amazing after multiple viewings.

The American President is a memorable, sweet, charming romantic comedy/drama that is wonderfully appealing and entertaining. Because the film was never a massive hit it was vastly overlooked. This isn't the kind of movie that would receive a high status at the box office and become a record-breaking smash hit. Instead the film relies on the appeal of the talent involved; in this case we have director Rob Reiner (most famous for films like Stand by Me, A Few Good Men, When Harry Met Sally and The Princess Bride) in addition to a host of delightful cast members.

It's a shame that the film was so overlooked because honestly, The American President is a whole lot better than the blockbuster twaddle produced quite persistently of late.

The President of the United States, Andrew Shepherd (Douglas), is a widower concerned with his popularity levels as an election approaches. The environmentalists are concerned with changes in emissions of green house gases. But the environmentalist group doesn't have adequate experience to efficiently battle the issue politically, instead hiring a smart political lobbyist named Sydney Ellen Wade (Bening) to make a mark on the White House. After Sydney first meets the President during a meeting, the two grow increasingly fond of each other. This results in a relationship that subsequently forms scandals that jeopardise Andrew's popularity level with an election that is growing closer by the days.

More than anything else, I was incredibly impressed with the actors that are featured in this film; with Douglas leading the cast in an immensely charismatic performance. I found Douglas appealing and a fantastic U.S. Presidential figure. (I wonder how the White House looked upon his portrayal when the film was first released...) If Douglas was running for president, he'd have my vote. Annette Bening was another wonderful addition to the cast. She makes a perfect companion for Douglas. She's sophisticated and smart, with a very subtle appeal.

The script is very intelligently written and showcases some very intriguing characters. The dialogue was taut and interesting even though it appears that nothing really significant ever happens.

The score for the film is also a great touch; utilising very triumphant, patriotic music during key scenes. The cherry on top is the very talented directing from veteran filmmaker Rob Reiner. As a result of this prize-winning combination I found every second of the movie highly engrossing. One of my only complaints would be the ending that felt a tad incomplete.

The American President is a fantastic comedy/drama. In a nutshell: the film is heart-warming, fun and light-hearted. As a consequence the film scores as an extremely entertaining experience.

I found it interesting that Douglas' portrayal of the President is nice, caring and honourable in addition to taking a strong stance against lying. Jesus, if only!

Wild Hogs is a film that received an appalling reception from the critics. The critics fundamentally tore it to pieces and fed its readers nothing but horrible comments. I approached Wild Hogs (on a recommendation) with caution because of the critics and found myself being pleasantly surprised.

The film is harmless entertainment with a few good laughs that is destined to provide some decent entertainment for the family. I cannot believe the critics disliked the film so much; I thought it supplied a healthy dosage of quality laughs. The first minute already had me in stitches!

Four middle-aged American blokes decide to take a break from their hectic lives, shake off all their responsibilities and hit the road on their bikes to experience "the real America". (Easy Rider, anyone?) Travelling on the road from Cincinnati to the Pacific, the men call themselves the 'Wild Hogs' (and therein lies the title, logically enough). The men come across a biker bar during their travels. While trying to fit in with the rest of the more "official" bikers they are made extremely unwelcome. These (rather clichéd) bunch of bikers then begin hunting the Wild Hogs after an incident that leaves them quite unhappy.

I thought for the most part Wild Hogs was absolutely hilarious. The first half contained all the best laughs and witty lines of dialogue. The second half didn't manage to maintain the same quality and charm that had been established. But of course there are still a number of great laugh-out-loud moments to be experienced the whole way through.

The four central cast members are fantastic! They have all pretty much passed their prime; however this is more suiting to the characters they portray. And face it: this is far better than any of the rubbish comedies that Tim Allen still continues to make in bulk. I never expected to see Ray Liotta pop up in a comedy like this. Someone of his stature actually helped the film quite a bit.

Script and direction are all standard for the genre. I liked the script for the most part; it contains some great hilarious dialogue and great moments. I just wished that they would have taken more time to remove all the clichés and conventions that shamelessly appear to no end. The second half is incredibly predictable! It's to be expected, but it's a shame that no contemporary comedies attempt to stay away from the typical clichés.

At the end of the day; Wild Hogs is a total hoot. The script contains lots of clichés as well as a number of great laughs that make the whole film worth watching.

The film is the furthest thing from a deep and meaningful experience; it's harmless entertainment that is a fun way to spend 90 minutes with the family. If you're looking for a masterpiece then I suggest you go rent something else. Wild Hogs is a comedy that is definitely worth a few screenings.

I doubt that the true profound impact of American History X can be accurately described using words. I had wanted to see this film for such a long time but I could never get my hands on a copy. People had told me what a powerful and amazing film American History X turned out to be. Upon finally approaching the film, I was completely bewildered and blown away.

The film is a brilliant, atmospheric tale of redemption told with disturbing images and heavy adult themes. I was left speechless as the credits started to roll.

Derek Vinyard (Norton) is a racist skinhead who is a highly-placed member of a neo-Nazi contingent on Venice Beach. He has strong racist political views and idolises the philosophies of people like Hitler.

The film opens with an introduction to Derek who is sent to prison following the brutal murder of two African-American males caught trying to steal his truck. Three years on and Derek is finally released from prison. But he comes back to a broken family. Derek discovers that his little brother Daniel (Furlong) has decided to take a similar route he took that ended up wrecking his life. While Derek was behind bars he learnt several valuable lessons that altered his perspectives on the world and its citizens; he eventually discovers that there is good and bad in every race. Now that Daniel is caught up in the same web of racism that landed him in gaol, Derek begins trying to convince his little brother of his newfound enlightenment instead of letting him share a similar fate.

American History X is deeply laden with flashbacks that are distinguished by using black & white photography. Because Daniel is being forced to write a paper on his brother these flashbacks give the audience insight into the world that Derek experienced before undergoing redemption and becoming a fresh individual.

The performances almost make the film seem like actual documentary footage. Nothing ever seems staged; it all appears to be bloodcurdlingly real. The high levels of profanity and the brutal, occasionally distressing dialogue also add to this high level of instituted realism.

Edward Norton is an actor who hadn't yet made a big name for himself. When this film was released he was still a small-time actor. His performance in this movie is outstanding. For the black & white flashbacks he is always intimidating and sizzling with rage. The character of Derek Vinyard is unnerving and quite a horrific person to be around. Major recognition to Norton and the passionate performance that he delivered! I had only seen Edward Furlong in Terminator 2 (his acting debut) and only heard that the actor's life was soon filled with drugs and gross misconduct. This only makes his character here so much more real. In the flashbacks Furlong's character is innocent and rather quiet. But in non-flashback territory his character has become just like his brother. It's a bit of a place-switcher in that sense.

The direction and cinematography are sublime. Never did the filmmaking let the audience believe they were watching a staged movie. Everything seems incredibly focused and sophisticated. The script is amazing. I'm not sure whether it was actors improvising or a carefully written script, but the dialogue is all highly naturalistic.

American History X is a film definitely not for the faint of heart. The film is amazing and yet extremely difficult to watch. Drugs, smoking, profanity, nudity, rape, violence - the film has the entire package! If you don't think you can stomach many of the aforementioned qualities then this film is definitely not for you.

American History X is a controversial masterpiece that presents an uncompromising look at its source material. The film is riveting and moody. For the most part, it is also very unsettling and its replayable value is shockingly low.

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.

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.

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.