Movie Reviews for Feb 14, 2012

The Hangover Part II

Jamie Chung

I was really optimistic going into the theatre, I didn't expect it to as great as the original, but I thought it would still be good movie. But most of the material was stuff taken from the original only tweaked, and I hate to say it but I was actually bored for a good part of the movie. Some of the jokes/scenes dragged to long, to the point where I didn't find them funny anymore. There were some good moments, but the truly outrageous/original scenes that made the original so great were too few and far between. Some of the scenes were more outrageous in the sense that there was some full frontal nudity, but I'm not someone who finds that super entertaining. Overall it felt to me like a re-hash of stuff that had already been done with some naked people thrown in, and it just wasn't enjoyable like the first movie.

The Secret Life of Words

The Secret Life of Words [1 clip]

Sarah Polley

I went to see this last Isabel Coixet's movie three hours ago and its beautiful and powerful story is still bouncing in my head... the sea, Tim Robbin's eyes, Hanna's beautiful voice and her intense way of holding her feelings, Simon's delightful food in the middle of nowhere.. The way it is conceived is somehow simple, a mysterious woman, in my opinion extremely well resolved by Sarah Polley, happens to arrive to a remote place where a bunch of loners have just had a deep dramatic experience. As explicitly mentioned in the movie, 'God makes them..' ('Dios los cria'.., in Spanish), and so as she gets there she expands and relaxes in this environment where no one really expects anything from anybody. The takes are so beautiful, the thousand different feelings that the same isolated landscape in the middle of the sea projects through the movie is unbeatable. The cast of characters is solid, and the supporting characters are developed enough so as to allow the viewer to understand, in basic terms, what brought them there. Finally, the use of Tom Waits for the final transition is sublime! but, yeah, how could it not be? Tom Waits's music is the music for these films where the very deep of the heart is at stake. So, yes, I do recommend this movie for anyone who cares or wants to care or would like to be able to care about people who have been profoundly wounded at some point. And this, I am afraid, hopefully includes you. Thanks Isabel.

The ecret Life of Words

Sarah Polley

Shameless

Shameless [18 clips]

William H. Macy	Elizabeth Hurley	Louise Delamere
Emmy Rossum	Steve Howey	Justin Chatwin
Zach McGowan

Gorgeous Antonia is on a dangerous downward spiral caused by an addiction to heroin when she meets a tough drifter who helps her score more smack. Excellent film that really shows where things can lead and Elizabeth Hurley's body face and body look absolutely incredible.

Cherry

Cherry [1 clip]

Laura Allen

I had the pleasure of seeing this movie at SXSW this year, and even briefly go to meet the filmmaker - all and all, I really like this movie. There's something personal to this coming of age story that we can all relate to - our first time. Our first year at college, the first time we thought we were in love, got our heartbroken, failed, followed our dreams, stuck up for ourselves, etc. The story is simple - our hero, Aaron, starts his first year at an Ivy League school. It's his first chance to get away from his controlling mother, who has planned most of his life, and he can now follow more of his own dreams. He struggles a little bit with making friends and making the grades, but doesn't start finding himself until he meets single mother, Linda, and her daughter, Beth. They all struggle with acceptance for who they are and who they want to be - waiting for life to happen to them instead of making life happen for them. This movie is fun, humorous, and enjoyable. Every performance in this movie is worth seeing, from the acting to the film making. If you have the chance to see it, I recommend it.

Bad Girls

Bad Girls [4 clips]

Drew Barrymore

Four prostitutes join together to travel the Old West. It was a dangerous time to be a woman. Terrible post-feminist era movie. Nudity is very limted.

Girl Walks Into a Bar

Girl Walks Into a Bar [4 clips]

Carla Gugino	Rosario Dawson	Lauren Lee Smith
Michelle Ryan

Sebastian Gutierrez's 'Girl Walks Into A Bar' may not be the cleverest or wittiest of its kind but I found it very colourful, amusing and atmospheric. It captures the essence of nightlife in the city quite well. The sets and/or lighting are pleasantly colourful. The settings and situations appear to be colour-coded. The score and cinematography are effective. That's the technical side. Now to the writing, it's quite alright. There's a certain noire style to it. The characters are quirky. Some situations and dialogues feel a little forced and some jokes fall flat (especially in the Robert Forster track) but otherwise the dialogue is quite funny and delivered well. The acting isn't bad either. Carla Gugino is excellent and Emmanuelle Chriqui is brilliant, especially in her opening sequence. Amber Valetta and Aaron Tveit are quite good too. Alexis Bledel and Danny Devito are great in their single scene. Zachary Quinto, Rosario Dawson and Josh Hartnett are adequate. Overall, 'Girl Walks Into A Bar' is a funny atmospheric semi-noire film. Not a classic but enjoyable nonetheless.

Halloween Night

Halloween Night [2 clips]

Amanda Ward

Erica Roby

Clearly an attempt to cash in on the success of other Halloween-themed slashers, "Halloween Night" offers nothing new to the genre. However, new offerings does not equate to entertainment, and this movie certainly entertains. For a low-budget DTV, it certainly isn't terrible...I have seen much worse. The BAD: A weak script, and sub-par acting are this films main faults. Many have posted opinions of the guy who plays David's acting--honestly, I didn't have a big problem with him. That is probably because NOBODY was good in this movie, even Rebekah Kochon who gave a good performance in "When A Killer Calls." None of the actors seem to be really into the film, which is problematic. The script is laughable in parts on the dialogue really consists of nothing but high school hallway banter. The films looks like it was filmed all in one day, and yes, the killer resembles a zombie much more than he does a burn victim! Have the filmmakers ever even seen a burn victim???? I'm pretty sure they don't like they just climbed out of a coffin after decaying for 15 years. I also felt extremely let down by the ending....it was pretty predictable and by-the-book, but also very rushed. There wasn't a big chase scene and really no suspense as to who was gonna live/die. The GOOD: Some pretty decent death scenes are about all this has going for it, and they aren't even THAT great. Also, the killer here is pretty ruthless and viscous, which some genre fans might find refreshing. But mainly, this entertains because of the old "it's so bad it's good" cliché, and sometimes, like on Halloween eve, that's all I really need out of horror flick--entertainment, no matter what its source. Still die-hard and picky slasher fans should probably just stick to watching the original "Halloween" for the 30th time. My Grade: D-

Monster's Ball

Monster's Ball [5 clips]

Halle Berry

Amber Rules

After a family tragedy, a racist prison guard reexamines his attitudes while falling in love with the African American wife of the last prisoner he executed. Tough, out there drama with great acting and a solid story. Halle Berry fans will love it.

Sleeping Together

Sleeping Together [1 clip]

Caprice Benedetti

Amber Smith

Hey, this was an alright movie for 2 o'clock in the morning. I really liked Caprice Benedetti, she could may just be at the beginning of something.. I believe she was in the Nicole Kidman movie 'Practical Magic'? 'Sleeping Together' didn't have any of them unnecessary 8½ minute long sex scenes, just enough for us to get the gist. and the scenes they had in the bedroom provided some laughs. I also liked her Mother. The only thing I didn't like about this was the Carlos character. 6/10

What's Your Number

What's Your Number [3 clips]

Anna Faris

My girlfriend got invited to a screening of this movie and though I tried to wiggle my way out of it, I was trapped into going. Walking into the theater with the worst possible predisposition, I have to admit I left smiling. Men will immediately sympathize with the Chris Evans character: Slacker/musician/womanizer. Not the classic perfect catch man of these type of movies, which is breath of fresh air. I am not particularly fond of Farris, but she was another pleasant surprise. She makes her character very likable and though pursuing a completely ridiculous task she is absolutely relatable. Excellent character development by both, we see them grow and change and their on screen chemistry is just right. The reason I think the movie is perfect for all is that it has the right amount of romantic elements, mixed with a fair amount of raunchy and naked butts to keep everyone laughing. Not once during this movie did I feel it was falling into a sappy whole, and trust me I am the first one to stick two fingers down his throat when that happens (sorry for the image). This movie definitely brakes the mold of Romantic Comedy, hopefully this is the direction they will take in the future. Let's make one thing clear: If you go see "What's your number?" be ready to laugh, be entertained and have a fun time. Don't expect "The Godfather", cause it ain't. I'm not much of a review writer but there's something bugging me and I want to get it out. As a person who works in the film industry, I am particularly offended by the comment left below. You can like or dislike a movie for many reasons, obviously nobody has the definite truth. However, these folks create, develop, and put their names out there just to entertain you. You chose to stay behind your computer screen and criticize their work (poorly, I might add). Guess who's the coward?

The Locusts

The Locusts [1 clip]

Vince Vaughn

Ashley Judd

I recently rented this movie not knowing a thing about the movie other than that Vince Vaughn was the leading actor. What a pleasant surprise!! Although the plot was sometimes far fetched and definitely perverse, Vince Vaughn's on screen magnetism was evident. The man spent most of the film in an undershirt and oozed sensuality. It is evident that he has the potential to be the screen's next Brad Pitt. The film held my interest for the entire 2 hours. I especially enjoyed the performances of Jermey Davies and Ashley Judd. Kate Capshaw's character was under-developed but her performance was on target.

Under the Volcano

Under the Volcano [1 clip]

Albert Finney

This is one of those movies that is always in the discount pile, "Any Rental--99cents'. You find it at garage sales and the like, although I never know why. Perhaps it's the atrocious artwork. Seems a lot of video store patrons base their entire rental decisions on the cover art-I've never heard so many uninformed and ludicrous remarks as have been made in the `User Comments' column for the movie `What Happened Was'-a very smart adult drama. Seems the provocative pose of star Karen Sillas on the cover suggested some sort of couples-therapy Skinamax special. Ooh the disappointment of it all. Anyway, Under the Volcano is also a very smart adult drama. To begin with, Albert Finney's Oscar nominated performance (he did garner an LA Film Critics award), is superb (1985 was the year Amadeus swept). As the terminally alcoholic Geoffrey Fermin, Finney plays quite a different sort of beast than those played famously by Ray Milland (Lost Weekend), Jack Lemmon (Days of Wine and Roses), and Nick Cage (Leaving Las Vegas). Fermin is adrift in his alcoholism-an educated man, an English Consul, no less, whose losing battle with booze has cost him his job (Consul to Mexico), and his wife. He is at that stage when the bottle is his last and only compadre as it may. He has succumbed to it, long before this drama begins. His resignation is complete, any pretense of normalcy is only a whisper. He is waiting for it to take his life. Under John Huston's direction, Under the Volcano is basically a one-man show. In support, as Fermin's wife Yvonne, Jacqueline Bisset gives for me the strongest performance of her career. Highly recommend, but don't expect to come away with sunshine on your shoulders.

The Sisters

Tony Goldwyn

THE SISTERS is adapted by Richard Alfieri from his play 'The Sisters' which in turn was adapted from Anton Chekov's 'The Three Sisters': the theatrical aspects of the play remain intact in this film version - and that is most definitely a plus! All of the action takes place on an obvious set (an enormously beautiful Faculty Lounge for a university where nearly everyone in the play is employed, and in a hospital waiting room) and the lines are richly imbued with dialogue that mirrors Chekov's form despite the fact that Chekov's play has been updated to the present time with all the changes (and similarities!) of modern day family life. The story is well known: a family of three sisters and a baby brother are both united and bonded by the past and show the scars of maturing on their journeys from a childhood to adulthood with a father that was both a hero to some and an incestuous attacker to another. One by one each of the sisters and the brother peel away the trappings that hide each other's realities and make public the pain endured in their dysfunctional family. Maria Bello as Marcia carries the bulk of the story as the abused, spiteful, vitriolic, unhappy head of the family unit: she is astonishingly fine. Mary Stuart Masterson is Olga, the closeted lesbian chancellor who has never had the luxury of sharing her private feelings with her sisters for fear of the consequences of her sexuality. Erika Christensen is the youngest sister Irene whose painful life as being treated as a child leads to her life of drug abuse. Allesandro Nivola is Andrew, the baby brother left in charge of the family estate in the South and has married a trashy, mouthy floozy Nancy (Elizabeth Banks) who is the sole challenge to the family's unity. The stalwart Greek chorus is the old professor Dr. Chebrin (Rip Torn) who watches as the various characters tangential to this crumbling family vie for inclusion: Gary Sokol (Eric McCormack) whose asides keep the theatrical flavor moving; David Turzin (Chris O'Donnell) who loves and wants to possess Irene and is in bitter competition with Gary for her affections; psychologist husband of Marcia Dr. Harry Glass (Steven Culp); and the visitor from the past Vincent Antonelli (Tony Goldwyn) who changes Marcia's existence transiently. Each actor is superb, playing the marvelous dialogue for all its worth and giving us fully realized characterizations. Arthur Allan Seidelman is the fine director and the elegant musical score is by Thomas Morse. There is action in this story and movement inside and outside the ways films should be shot when making a play into a movie. But for those who love the theater seeing this film little film will create a desire to have this exact company of actors set up shop in a nearby legitimate theater to allow for the grand impact of a fine play sifted through a fine adaptation to be absorbed repeatedly. Highly recommended.

Criminal Lovers

Criminal Lovers [2 clips]

Salim Kechiouche

It all looks simple, but what is going on in CRIMINAL LOVERS is complex. Ozon is adept at conveying the shifts in our emotions and clearly enjoys exploring our conflicted natures. Sexy Alice (Natacha Regnier), a manipulator of men, coerces the sexually uncertain Luc (Jeremie Renier) into murdering the handsome Said (Salim Kechiouche). Although getting rid of the body proves problematic, the couple's real problems begin when they take refuge in an old cottage in the forest. The owner of the cottage is Karim (Yasmine Belmadi), an odd fellow who develops a fondness for Luc and a hatred for Alice. Perhaps Alice is his competition? The film explores fascinating sexual territory, and even reminded me, tonally, of Japanese pink films such as WIFE TO BE SACRIFICED and CAPTURED FOR SEX 2. Ozon embraces the provocative subject matter with supreme confidence and never recoils from its inherent darkness. The erotic tension remains taut throughout and the performances are beautifully balanced. The photography is subdued but stylish and the forest setting echoes "Hansel and Gretel". There is great intelligence behind this adult fairytale and a willingness to explore sexuality and desire that is never hampered by the stench of political correctness that handicaps so much "edgy" material these days.

Human Touch

Human Touch [3 clips]

Jacqueline McKenzie

Aaron Blabey

I feel the title 'Human Touch' itself is misleading. Upon hearing its title and reading its synopsis, I was misled into thinking that the film would be a simple story about how touch is important in our lives. But how far it is from the truth. If the title was not meant to be intentionally misleading, I thought it would be far more apt to name it 'The Human Touch' because it is really more about humanity than anything else. But then again, if director Paul Cox really named it that way, not many people would even bother to see it in the first place. I would, for one, dismiss it as yet another existentialist arty-farty piece of crap that nobody can understand. Human Touch is of course existentialist art-house fare, but it is also something else altogether. Because it doesn't purport to know anything about the mystery that is ourselves, nor does it have any theory of the reason of our existence. It too, like us, is seeking in understanding further just exactly what makes us tick, and how we can simply be, after we inherited millions of years of culture. And this shared culture, is so vast and inexplicable, that we simply call it 'humanity'. But what is 'humanity'? And does anyone even understand any cornerstone of it? In this way, the film's provocative nature reaches into many beings of humanity. From the arts, history and religion, to our bodies, morals and emotions like affection and lust, it never ceases to probe and question just what drives us to do things a certain way that other creatures would not do. And how our surroundings and our history binds us together and affect us collectively and yet, splintering us in many different directions and personalities. But the film never engages into verbose intellectualizing a la many French New Wave directors who just get lost in a world of their own by talking and talking about theories and never managing to shut up. This film has a heavy anchor by the very real people in the film and their relationships, such that every decision they make and every emotion they feel, doesn't help us any better in understanding their, say, 'character design', but only manages to open up more vistas of the mystery that is us. This is wholly because the film doesn't seem to be theoretical. In fact, it is far from theoretical, its people often seemingly idiosyncratic and unfathomable but always very plausible. It explores all these questions not by theorizing like most art house directors do, but rather by allowing us to experience. Not unlike Tarkovsky, whose great work similarly explores humanity by framing mankind's actions against our surroundings and nature, the scenes in this movie are not linked by logical linearity or emotion, but rather through ambient noise. From the ancient stalactite caves that echo with baby cries and church bells to the great emotions within people ringing with rapturous choral voices, this film puts us through experiences that connects us--rather than alienate us--and makes us part of a far greater whole - mankind. For what my young eyes and ears can see and hear is little, and bound by my limited sensory capabilities; what sadness or happiness I feel is bound by my shallow experiences in life; what ideas and concrete thoughts I can construe is bound by my fundamental education and understanding of the world. But what connects us all, and can only be reached through intuition, is the spark that the creator puts in all of us, that separates us from the other creatures and the inanimate - the human soul. And this movie touches so unflinchingly on this shared human nerve, that all that I am made of is not as important as what I am part of. Where I share the same blood as generations of creatures who have come into consciousness of themselves and the womb surrounding them. It is what I enjoy finding in cinema, that if any one moment can touch on this what I perceive as the human soul, then that is worth sitting through piles of crap for. For the human soul--the truth, as what more philosophical people would call it--is worth every inch of living for. And this movie uncannily hones in to this same nerve that we all share and quiver for, and holds on to it unflinchingly. True, it may not have been genuinely successful in every inch of its celluloid film. And I would be hard-pressed to say it is good for its individual technical parts. But what little the film understands about its subject matter, it knows this: that most reasoning and emotion cannot bring anyone as close to the human soul as raw intuition. And the intuitive power it brings to screen by merely seeking the human soul, and by large, finding it, is all that matters and all that makes it a truly truly great film.

Sex and the City (2008)

Sex and the City (2008) [5 clips]

David Eigenberg	Kim Cattrall	Victor Webster
Jason Lewis	Gilles Marini

I learn something new everyday. Here I thought the feature adaptation of the immensely popular HBO show "Sex and the City" was written and directed by its creator Michael Patrick King. After a little research, I come to find that King was only a producer on the show, with only 31 writing credits as opposed to the full 94 for real creator Darren Star and literary basis Candace Bushnell. Despite this, though, it would seem that King is now the driving force behind Carrie Bradshaw and friends, becoming the voice of middle-aged women everywhere. Isn't it a bit strange that a man has written these women to be as pop culture iconic as they are? Kudos to him, because Bradshaw's opening monologue to the Sex and the City movie is very appropriate—this story is about labels and love in New York City. Thankfully, that's not all its about; in the end, the tale is actually intelligently written and quite witty, causing this cynical male to laugh and smile more times than he ever could have imagined. Sarah Jessica Parker truly does embody Bradshaw to perfection. Being that it all happens through her point of view, (even when she isn't present at the event on screen, she is still the one narrating; believable I guess since this quartet tells each other EVERYTHING), it is crucial that her character lives and breathes reality. A writer of moderate success, she is happily in love with manfriend Mr. Big, (I do enjoy Chris Noth, I don't know why, never seen "Law and Order", his smugness just makes me smile though), and threatens to throw her whole existence out the window with the biggest business deal she's ever shook on, with him as a partner—marriage. The whole will they or won't they, stay together/break-up/get married, is actually the most conventional and boring part of the film. This storyline is the quintessential chick flick cliché and it does what it does without surprise. Spanning over a year in time, I did enjoy the six months these two lovebirds are apart, because that is when the proverbial sh*t hits the fan in all their lives. Parker shows some very nice range as the downtrodden, heartbroken waif attempting to pull herself back up and become that strong woman so many viewers idolize and hope to be. But this isn't the Carrie Bradshaw story, thankfully, because that would have been torture. It is about four women and the different places their lives are at; how they help each other; and how they balance being the women they've strived to be while still having a relationship with equally successful males. It's these stories that truly captivated me into accepting the fact that, while Sex and the City is not my genre, topic, or even sphere of consciousness of choice, it did engross me enough to be happy to have seen it. Kristin Davis is very enjoyable as Charlotte, the youngster of the bunch in her mid-thirties. With such a bubbly and childlike demeanor and attitude, her zeal for life is contagious and something I think everyone strives for. Being that her mid-movie meltdown concerns having too much good happen to her, making the "inevitable" fall too daunting to imagine, you can see how truly happy she is, especially with husband Evan Handler, (one of the gems in "Californication" and unfortunately wasted here, much like Willie Garson's Stanford who is nothing more than a prop for the background). Cynthia Nixon, on-the-other-hand, is the exact opposite. A lover of sex and promiscuity, she finds herself in a relationship with a younger male that loves her dearly, but the monogamy is too much to deal with. She isn't ready to realize that being with one man in a relationship does not mean she has become dependant on him. The need for multiple men, to be in full control, is so ingrained that she must find a love for herself—a balance with her body—before she can ever commit to someone else. How can one love if unable to love oneself? It is the age-old question and one that she needs to come to grips with soon, as she turns 50—either to accept or change. The storyline that really grabbed my attention, though, was of Miranda Hobbes, played wonderfully by Cynthia Nixon. Here is a career-driven lawyer that has compromised herself in order to make a life with husband Steve and child Brady. Whoa, I just realized the husband is Steve Brady and the son Brady Hobbes … guess you have to watch the show to understand that one. Anyways, it is their intriguing evolution as a couple that I found myself wanting to be resolved the most. Whether the two got back together, after a short separation due to his indiscretion, or not, I found myself invested in the subplot. The acting, on the part of both characters, was real and palpable. The love mixed with a loss of trust shone through and you will find yourself pulling for them in the end. Why you ask? Because this film isn't only about labels and love—just don't tell Jennifer Hudson since her Louise cares only about each—but also forgiveness. This isn't high school where grudges rule and you most likely will move on to never see any of your classmates again; this is a professional world with intelligent and capable women. Life is too messy and too short to go through it with hatred and regret. Bad things happen and you can either walk away, letting them despite what you feel, or fight tooth and nail for everything you want and deserve. Sometimes those tough patches are merely bumps in the road to true bliss, but you have to be willing to find out for sure. And that, I believe, is the real moral behind this story—happiness does come with a price, and even though it may cost a fortune, it most definitely will be worth every penny.

Hard

Hard [2 clips]

Noel Palomaria

"Hard" is about the hard life & times of its characters, and its is hard to watch. I generally don't like murder movies, and definitely don't like graphic violence, blood & gore. But, I liked this movie. The version I saw was the 2005 re-released DVD Directors Uncut Version, unrated. Some of the sex and violence scenes edited out of the theatrical release are restored. Pretty good production quality. Some of the acting can be wooden. Certainly not the most pleasant movie I ever watched, but was one of the most interesting. As other reviewers indicate, it's a movie about a gay serial killer and his pursuit by a closeted gay policeman. The message is about homophobia and self loathing. I recommend you give it a try, but don't watch it alone late at night!

Caught Inside

Caught Inside [2 clips]

Leeanna Walsman

Daisy Betts

Caught Inside is a taught psychological thriller set on a Surfing Safari in the Maldives with a thought provoking script that revolves around a central character who is not unlike Max Cady from Cape Fear. Director Adam Blaiklock and the crew spent a month or so in the Maldives filming Caught Inside. From the outset a requirement was that the actors were all competent surfers and the surfing scenes are all shot with realism. The story is cleverly and quietly developed with moments of real suspense and surprise that make the audience gasp. Ben Oxenbould plays Bull, at first glance popular with his peers, a larrikin who can charm anyone when he wants to. However we soon learn that he has a dark side. He has issues with women and anyone who disagrees with him and his disturbing sociopathic tendencies cannot be hidden in the confined spaces of the vessel. He uses his strength as an intimidation to others but, interestingly, never takes on the Captain played by Peter Phelps. It is not clear whether this is due to some past incident, his respect for authority or the fact that the skipper might be stronger than him but anyone else who crosses his path is fair game. Despite the fact that the Captain laid out the ground rules at the beginning of the trip, it becomes evident that the cruise participants are on their own – miles from anywhere. No one can help. This plays into Bull's hands as his manic tendencies become obvious. There are subtle hints that he has shown this type of behaviour before and he becomes more and more menacing and unhinged as the film progresses. Caught Inside was filmed with a tight budget but it does demonstrate how important it is to base a movie on a great script. The film essentially revolves around Bull and Ben Oxenbould is truly exceptional in the role. He has been known as a comic actor with his performances in Comedy Inc but this film provides him with an opportunity to display a real talent for a complex character role. In some ways the other actors are incidental to Bull but they are generally all very competent. It is disappointing that Caught Inside hasn't reached a wider audience. The sad reality these days is that it is very difficult to get wide distribution without major stars and studio backing. Independent film makers face an up hill battle to get their films screened in cinemas. Highly recommended.

Wake Wood

Wake Wood [3 clips]

Eva Birthistle

I found the story line original, or at least something I haven't seen in the past 10 years, because it's nearly all been done by now. The story moves at a good pace, showing you mysterious things along the way, teasing you a little before revealing what exactly is happening. I would describe Wake Wood as a mix between the Exorcist and The Wicker Man. While it never reaches the brilliance of the previously mentioned films Wake Wood is a solid film, with good acting, particularly from the ever excellent Aidan Gillen. The cinematography is hardly groundbreaking but suits the mood of the film well. Any fan of supernatural horror should be satisfied with what Wake Wood has to offer.

NCIS

NCIS [1 clip]

Brian Dietzen

This has become my favorite regular show on the main networks. The stories are good enough to keep me watching and the character interplay can be quite amusing at times. Gibbs is great...watching the others react to him makes me chuckle. Abby is perfectly believable, despite the goth overtones...she is strong, smart, yet still sexy and feminine. I think Pauley Perette was the ideal actress to cast. The writing seems to continue at an even keel...if nothing else getting better as more episodes are shown. I think the producers have a hit here. I go back each week. Definitely worth your time...even if it means taping or tivo'ing it (which I do)...something to look forward to when I can't make 8:00 on Tuesday.

Skins

Skins [50 clips]

Mitch Hewer	Dev Patel	Jack O'Connell
Ardal O'Hanlon	Nicholas Hoult	Joe Dempsie
Luke Pasqualino	Mike Bailey	James Newman
Emma Stansfield	Will Merrick

I disagree with all those who say this is a teen-only drama. When I first saw the trailers and accompanying hype, I steered clear of it as it looked like yet another teen programme. But then I watched the second episode, about Cassie the anorexic, and was hooked. It managed to be both funny and touching - so much so that I cried at the end. It's a lot like Teachers in its sense of humour, and it has its location, Bristol, in common with Teachers. It's a shame it isn't on at an earlier time, as the script is wonderful and the characters so well drawn. Plus the performances by the young cast are extremely professional. I think good drama appeals to all ages, and I'm light years outside the target demographic for this. So I'd like to encourage the more mature viewer to give it a go - especially if you were a fan of Teachers - and you won't regret it. 9 out of 10 as it's the most entertaining and, unfortunately, realistic youth drama to appear on the telly since As If.

Royal Pains

Royal Pains [13 clips]

Mark Feuerstein	Jonathan Tucker	Paulo Costanzo
Patrick Heusinger

This show is great! I think it has the perfect mix of, well everything...the only thing I don't like is the character Jill, I don't think the actress is a very good actress she seems to be trying too hard, other than that I love everything about the show. I love Dr. Lawson and Evan!!! I can't wait until next summer!! Think this show has great potential. I love the different story lines and illnesses. I'm interested to see all the complex stories they can come up with. I have noticed that it's usually the simplest answer. I guess the appeal is as patients, we want a doctor that is caring and smart...in really life that doesn't really happen. I'm stoked for next season!!

Being Human

Being Human [37 clips]

Steve John Shepherd	Robson Green	Sam Huntington
Sam Witwer	Gianpaolo Venuta	Aidan Turner
Russell Tovey	Dean Lennox Kelly	Michael Socha

I expected to hate this, yet it turns out I loved it. Great first series. Can't wait for the next one. The characters were interesting and funny, and dare I say it, you actually begin to care about them, (which is the cornerstone of any good drama). This took a tired genre and gave it a breath of new (after)life. The backdrop is very ordinary and mundane, and the characters are self-loathing. It gave it a different, quirky angle which hasn't really been explored before. I really hope the BBC have the next series lined up and ready to film. UK series are always woefully small. You just got me interested, and now I've got to wait for the next episode. Best character by far is George the dorky werewolf, who I suspect has unwittingly shacked up with a she-wolf. Mitchell is good as an on-the-wagon blood junkie. The bad guys were all nasty and loathsome, which was great. The first episode was slow, but stick with it!

Criminal Minds

Criminal Minds [5 clips]

Shemar Moore	Jonathan Tucker	Michael Terry
Steve Talley

This is one of the best shows I have ever watched (and I watch some of the best on TV - The West Wing, all of the Law and Orders, House MD). On Wednesday nights, I use to watch "The West Wing", but then that moved to Sunday. I started to watch "Head Cases", but to my great disappointment (though not surprise) that was cancelled. So, on a whim, I tried out "Criminal Minds". I have never made a better TV decision. Criminal Minds is a psychological thriller that keeps your undivided attention. Like Law & Order, no one character gets the direct star treatment. I have seen seven episodes, and I still do not have a favorite character (which is highly unusual for me). I love them all. Every single week, this is the only show I can hardly wait for. If you like plots that keep you thinking and guessing while having plenty of physical and mention action, this show is definitely for you.