Reviews by PvtCaboose91

"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.

"When she was born, that's when things went wrong for us."

Traditional rich Maori culture is preserved marvellously with Whale Rider; this captivating slice of New Zealand filmmaking. Whale Rider was a complete surprise for me. Habitually, I had mistaken the film for some propaganda that promotes the ideologies of the Maori culture. On the contrary, Whale Rider was the farthest thing from my initial anticipations.

The film offers an exquisite glimpse of traditional Maori customs and traditions wrapped up in this touching, tear-jerking, moving drama.

Paikea Apirana (Castle-Hughes) is born into a Maori family that comes from a long line of tribal chiefs. Her father Porourangi (Curtis) is the first born son of the chief Koro (Paratene), a direct descendant of the original leader of the Maori tribe. Paikea was named after the original chief who arrived in New Zealand on the back of a whale - he was the whale rider. Koro naturally expected Porourangi to produce a son to continue carrying the long line. But Porourangi's wife dies during childbirth after she delivers twins. The boy twin dies, leaving the girl. Porourangi leaves New Zealand after naming his daughter Paikea much to the horror of his father.

The story then resumes eleven years later when we find Paikea living with her grandparents. Her grandfather Koro has no use for a girl as a grandchild and feels it would be infuriating to see a girl become chief. Paikea does not see it like this and yearns for the respect of her grandfather.

Whale Rider is a beautiful, poignant, moving tale rich in powerful themes and stunning performances. Keisha Castle-Hughes hits all the right notes in her debut performance. She became one of the youngest people ever to be nominated for an Oscar. And it was for Best Actress. She was up against people like Diane Keaton and Naomi Watts. She was favoured over the hundreds (probably thousands) of actresses working during 2002 and she's a young Maori who had never done acting before. Keisha's performance is guaranteed to make you cry. It doesn't matter if you're made of machine parts; your eyes will not be dry! Rawiri Paratene was another truly remarkable member of the cast. His character is quite despicable at times, but his performance was excellent. Cliff Curtis plays a very minor role. It's disappointing that he didn't surface more often. Despite his small screen time he certainly makes his mark for the scenes he features in.

I will admit that the strong accents present in every single cast member were a little distracting at times. As a matter of fact, I'm not a fan of the accent at all. And yet the actors never struck a false note. When the characters want to be likeable they certainly are. And for the characters we're not supposed to like, we don't. The chemistry was sometimes astoundingly brilliant. The obvious camaraderie of the cast shines like a new penny. Never was there a contrived moment of dialogue delivery. Everyone is engaging, and everyone contributes to the film's compelling nature.

Whale Rider is a stunning film that also showcases some gorgeous visual images. The landscape, the nature, the animals...they all look encouragingly dazzling. The film also triggered the thought of another New Zealand film - Once Were Warriors. Both productions address a different aspect of living in New Zealand, and both are filled with strong drama. Whale Rider is easier viewing of course and a lot less violent. This is made up with its dominant themes.

It came as no surprise that Whale Rider was nominated for so many awards, and walked away with a sleuth of wins. The film was a refreshing breath of fresh air in a year that boasted such a number of high profile releases. In a nutshell, Whale Rider is essential viewing.

"If you lose this war don't blame me."

The 1920s was the era for old black and white movie comedies. This era was ruled by three factions: Charlie Chaplin, The Marx Brothers and Buster Keaton. The General is a very short (75-minute) but classic silent film from Keaton.

Back in the days when these films were released it was pivotal to include a bunch of fantastically hilarious sight gags to keep the audience entertained for the film's duration. Because silent movies are images being shown to simple piano music these sight gags were a necessity. Up until I finally watched this movie I would never have known how side-splitting the humour of 1920's slapstick truly is. As much as I love watching Charlie Chaplin's old movies, Keaton is also a guru when it comes to his art of being an acrobatic comedian.

The General was not a success when it was first released, but over the years the film now regularly appears on lists of the greatest movies ever made. The plot is really quite straightforward: Johnnie Gray (Keaton) is a Southern train engineer at the start of the Civil War. Johnnie is encouraged to enlist by his girl Annabelle (Mack) who believes it is an honourable and courageous thing to join the army.

But Johnnie is rejected when trying to enlist. Unbeknownst to him, it's because the enlisting office believes he will be more useful as an engineer as opposed to a soldier. Annabelle doesn't believe Johnnie's story, instead thinking that he's a coward who refuses to enlist. Unless Johnnie is wearing a uniform, Annabelle will not allow him to speak. Meanwhile a group of Union spies decide to steal a locomotive. Predictably, they choose the locomotive belonging to Johnnie. And in the process of stealing it they also unintentionally kidnap Annabelle. Now it's up to Johnnie to save both of his loves - his girl and his locomotive.

The General is beautifully constructed. For such an old production I would never have expected to see such scope and scale. Some of the battles (non-violent, of course) feature a whole heap of extras as well as some extensive sets. It's obvious that the film was made with a lot of love. The stunts were executed remarkably. There are countless occasions when I found myself laughing or cheering when Keaton performed a highly amusing acrobatic stunt. The stunt gags get better quality as the film moves along. The final train chase was both highly entertaining as well as being frequently hilarious.

And in those days what you see is what you get; some of the stunts were performed without any insurance on hand or many safety precautions. Everything looks real and this is what makes the film so special. We will never see shots like these filmed during present day without the aid of digital effects. A tragedy and a fact.

Surprisingly, The General is one of the most accurate portrayals of the Civil War. Every detail is meticulously designed; props, costumes, sets, etc. Top marks for precision, Mr. Keaton!!

The General is probably Buster Keaton's most famous production. The film is a total riot from start to finish. It's hilarious and it carries a high sense of excitement. The fantastic music was another asset that made the film a lot more exhilarating. The film is very deserving of all he accolades it received, and then some. One of the best silent movie comedies made to date!

"What's the matter? Haven't you ever seen a gun before? What do you want me to do, count three like they do in the movies?"

Regarded as one of the essential Bogart/Bacall films, The Big Sleep is a stimulating plunge into an entertaining slice of detective fiction. Filmmakers these days just don't make movies like The Big Sleep anymore; the film is stylish and atmospheric, set in a world where tough guys are tough guys and women were babes.

The highlight of the classic picture, of course, is the rich screen partnership of Humphrey Bogart and Lauren Bacall (they were married at the time). When one thinks of Bogart, his big break usually springs to mind; that is, The Maltese Falcon. Howard Hawks is no John Huston; however Hawks' refined direction sets the atmosphere of intrigue and exhilaration. From the first scene I was already hooked; sharp screenplay, witty line dispensing from first-rate cast, classy atmosphere. It's this combination that keeps the audience spellbound from start to finish.

Based on the Raymond Chandler novel of the same name, Bogart plays private eye detective Philip Marlowe who is given the assignment of sorting out a simple blackmail case for a wealthy old man. The case involves the man's younger daughter Carmen (Vickers) and it appears to be fairly straightforward. However, the plot thickens when Marlowe discovers that there is more to the case than meets the eye.

What follows is an absorbing tale filled with murders and abundant intrigue; there is certainly nothing dull to surface around here.

Some people fed The Big Sleep a mouthful of criticism because of how convoluted the plot turned out to be. This is true; the film is full of plot twists and is so complex that not even the author knows who committed one murder, but the film is so incredibly entertaining that I was willing to overlook it.

The Big Sleep is a sizzling thriller that features a first class array of actors. Humphrey Bogart is formidable in his quintessential role of a private detective falling for a dame. Bogey seems to never tire of playing the same kind of role on many occasions. Of course, this is no drawback. The man is now experienced in such a role and his stature perfectly suits the character of Philip Marlowe.

Lauren Bacall will always be an exemplary accompaniment for Bogey on screen. The chemistry is sizzling between them when the screen is shared. The supporting cast is a dazzling array of stunning female actresses, including Mary Vickers and Dorothy Malone among many others.

Director Hawks had some serious boots to fill due to Bogey being one of the world's much loved actors working at the time of release. After The Maltese Falcon and Casablanca it would have been a hard act to follow. But Hawks is skilled in the director's chair; always establishing a very classy atmosphere that keeps the audience enthralled as the mysteries keep getting unravelled.

The film also boasts quite a large on screen body count and quite a bit of violence. This only heightens the film's status as one of the most unforgettable films in cinematic history.

The Big Sleep will always be remembered amongst the most memorable films from Bogart's career. From start to finish I was completely captivated by the impressive filmmaking in every aspect. The film is another classic that continues to deepen my fascination in old black and white movies. I can't stress this enough; no-one would be able to match the mystery and captivation if the film was made in colour, or make during present day.