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<\/a><\/td>\n\t\t\t\tGet Smart<\/a>\n\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tSteve Carell<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tI just saw an advance screening of Get Smart and it was great! It was simply the best adaptation of a classic TV series for the big screen. I don't know how to explain it but it successfully carried the tone that the original series had. It was silly but not too silly and, at the same time, a little serious but not too serious. Familiar characters, props, music, jokes and lines all brought back fond memories of a delightful TV series. And there were plenty of new elements in this film that made it interesting and entertaining to watch. Steve Carrell was terrific as Agent 86 and seemed to capture the essence of Maxwell Smart. Not only did his portrayal of him resembled that of Don Adams' from the sound of Smart's voice to the delivery of Smart's lines, Carrell managed to inject a bit of his own personality to create a new Smart that didn't stray too far away from the old. Anne Hathaway was perfect as Agent 99. She did bear some resemblance to Barbara Feldon and actually delivered her lines in a similar manner as her at times. But more importantly, she had great chemistry with Carrell. A key ingredient to Get Smart's success was Maxwell Smart and Agent 99's chemistry and I'm glad the writers of this film didn't forget that. Feldon and Adams had terrific chemistry and so too did Hathaway and Carrell. Unlike previous film adaptations of old television series that only superficially resembled their TV series counterpart, this film can truly be considered a big screen version of the Get Smart TV series. Where Lost In Space, Mission Impossible, Charlie's Angels, Starsky and Hutch and (have I missed anything?) have failed, this film succeeded in maintaining the tone and style of the original series upon which it's based. Moreover, the filmmakers managed to bring Get Smart up to date without forgetting its roots. New ideas created for this film seemed to be natural extensions of those used for the original series. Jokes, props, music, characters and plot, old and new, all seemed to be born from the Get Smart world. I wish I could get into more details but I don't want to give anything away. I thoroughly enjoyed this film and highly recommend this to anyone, especially fans of the original TV series. <\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tThe Indian Runner<\/a>\n\t\t\t[1 clip]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tViggo Mortensen<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tThis film has deeply affected me. The first time I saw it I had tears pouring down my face throughout. The second time I found myself really getting into it. Sure, you know what it's about from the other reviews. We ask ourselves why Frank isn't content with life. Most of us would feel closer to Joe, but Penn enables us to sympathise with this wretched character of Frank. He's not a nice guy. Myself; I am happy that this film is not necessarily a period piece. It takes a while for you to understand in what context the film is set. What makes this movie so good is that is underlining message remains ambiguous. This is certainly a film that will stand the test of time. It's not about the nation of America during the 70's. It's about the relationship of two brothers, and one just so happens to have come back from Vietnam. It could have been set in 2003 and the underlying message would remain the same. The talent of Penn is in that he never once blames Frank's actions on the Vietnam War. He was a bad kid before the War. I urge everyone to see this movie. You will either sympathise with the characters and understand the underlying message or you will not. I also urge you to open your mind before you see the movie, and if you don't understand it. Think about it for a while longer. <\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tBurnt Money<\/a>\n\t\t\t[3 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tEduardo Noriega<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tWOW! Rivetting! The faces of Eduardo Noriega and Lorenzo Sbaraglia fighting and surrendering to their love is pure cinematic art. I left the theatre unable to utter a word. I wanted to revisit their world, no matter how tragic, there was truth in it, twisted, painful truth. PLATA QUEMADA deserves a larger audience. On my second viewing, I forced two friends, who hate subtitles, and are as far removed from the gay world as anyone I know and they loved it. They were seduced by the universe Marcelo Pineyro created for those superb characters to inhabit. More, Mr. Pineyro. More Eduardo and Lorenzo! Bravo! <\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tCaught Inside<\/a>\n\t\t\t[2 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tLeeanna Walsman<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\tDaisy Betts<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tCaught 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.\r\n\r\nDirector 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.\r\n\r\nBen 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.\r\n\r\nHe 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.\r\n\r\nDespite 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 \u2013 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.\r\n\r\nCaught 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.\r\n\r\nIn some ways the other actors are incidental to Bull but they are generally all very competent.\r\n\r\nIt 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.\r\n\r\nHighly recommended. <\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tNaked in New York<\/a>\n\t\t\t[1 clip]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tEric Stoltz<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tNaked in New York is one of those always risky propositions, when \"artists\" write about the \"business\" of what they're doing, in this case the theater. Naked is one of the better examples of it, and features some nice ensemble work from Eric Stoltz, Mary Louise Parker, and Timothy Dalton.\r\n\r\nThe best moment, and the reason I'm adding a comment, is when the main character attends his first New York literary party. When he spots William Styron, he makes some snide comment to the effect of, \"What has he written?\" The movie responds by flashing Styron's works, which are considerable.\r\n\r\nIt's a great moment and a great use of the medium, and almost worth the rental price. Naked is a good one for a slow night.<\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tDeclaration of War<\/a>\n\t\t\t[1 clip]<\/span>
\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\tValerie Donzelli<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tThis film is the story of a couple whose only son (Adam) is diagnosed with cancer, but it's by no means a weepie, as from very early in the film, we learn that Adam pulls through. So, what does this leave us with? Well, perhaps more interestingly, the movie becomes more about Rom\u00e9o (J\u00e9r\u00e9mie Elka\u00efm) and Juliette's (Val\u00e9rie Donzelli) struggle to stay together. With knowledge of Adam's safety in the bank, we can concentrate on the two main protagonists, and whether they will be able to survive as a unit.\r\n\r\nThe film is also scripted by the pair, and directed by Donzelli, and it must be said, they are a remarkable duo. Their on-screen characters are very likeably played, if a little saccharine sweet while they fall in love in the first twenty minutes. However, while some of the early musical interludes might jar a little, they don't feel entirely out of place with the scenario. Their relationship forms the beating heart of this movie though, and they play off each other beautifully, gradually winning the audience round, and permitting forgiveness for the conceit of their characters' names!\r\n\r\nBringing a rather sudden end to the romantic beginnings, new baby Adam arrives on the scene, and all is not rosy in the garden from very early on. Parents beware, the quarter of an hour that gradually builds up to Adam's diagnosis is as genuinely affecting a movie sequence as I can remember from any recent movie outing (and I'm only an uncle!)\r\n\r\nAnd from there it becomes about coping, about managing, and about survival. As I said, the audience is blessed with the foreknowledge that the couple do not have, so we're in a privileged position, but as Rom\u00e9o and Juliette soldier on, rising to every new challenge and facing up to every fresh heartbreaking piece of news, you are still right there with them. Their support networks too, play an important role in the movie, but really this is the story of Rom\u00e9o and Juliette's struggle to survive.\r\n\r\nIf cinema is about escapism, then 'Declaration of War' will certainly transport you, placing you right in the middle of this young couple's lives as they battle with something you wouldn't wish on your worst enemy.\r\n\r\nI can't recommend it highly enough for lovers of French film, or possibly even just for parents who need a reminder of how lucky they are. It's bordering on stereotypical, picture-postcard French in the opening twenty minutes as the two central characters tombent amoureuses... but kind of suits the mood and is perhaps intentional. Two excellent central performances make it very watchable, but an excellent narrative device elevates this story from a traditional weepie into entirely more interesting territory. A real contender for the Oscar next March. <\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tThe Road to Wellville<\/a>\n\t\t\t[8 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tMatthew Broderick<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\tTraci Lind<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\tBridget Fonda<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tLara Flynn Boyle<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tA story about the ins and outs of one unusual health facility in the early 20th century, run by the eccentric Dr. Kellogg. Is it a comedy or drama? I'm not sure even the producers know for sure on this weird film.<\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tRun, Fatboy, Run<\/a>\n\t\t\t[1 clip]<\/span>
\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\tHank Azaria<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tOccasionally when editors send reviewers a list of new and upcoming films, a kind a war-weariness can set in: even more so when one's gut feeling suggests an obvious divide between worthwhile cinema and the barrage of rather missable comedy. Even more so when a film in question has not risked journalistic censure by having an advance press screening. I am not one of the many people who thrilled excitedly to Simon Pegg's efforts in Shaun of the Dead or Hot Fuzz. And I was even less impressed the last time he joined forces with David Schwimmer in Big Nothing. So it was with a feeling almost of self-sacrifice that I volunteered to sit through Run, Fat Boy, Run. Which doesn't even have car chases or zombies to recommend it.\r\n\r\nThe surprise was that it is actually quite good.\r\n\r\nSimon Pegg studied drama at university but earned his spurs in working life as a stand-up comedian. Which perhaps explains why his timing is so split-second perfect. The gags in Run, Fat Boy, Run are not that remarkable. At times you can even see them coming. But the performance and skillful delivery is so polished that they are entertaining anyway.\r\n\r\nRun, Fat Boy, Run uses a formula that has served Pegg and his growing fan base well: he is the nerd who eventually turns hero. We feel sorry for him, irritated by him, repelled by him. He's the well-meaning hopeless case we just want to 'fix'. So the audience is relieved and rooting for him by the time he makes good. We are fully behind him by the time he makes his resolve that he is \"sick of being a 'nearly-man'.\" In this present incarnation, Pegg (Dennis) has an attack of nerves just before getting married. He runs out on his gorgeous wife-to-be Libby (played by Thandie Newton) - literally - running off as she stands in the road in full bridal dress. And pregnant.\r\n\r\nFive years later, Dennis is working as a security guard at a women's clothing store. The predictable jokes are spoon-fed us faultlessly. Pegg rescues any situation that threatens to become too silly by a look of open sincerity (rather like Ricky Gervais does with political humour). But Pegg seems to have an instinctual grasp of cinema that enables him to extract the best results from his material. On a hot Saturday afternoon, and with strong competition from much publicised movies, the auditorium was fairly packed.\r\n\r\nThe second theme from the film's title comes from Dennis' decision to run the London marathon. This is mostly to 'prove' something to Libby (for whom he has now discovered undying love) but also to win a bet for his mates and to prove himself equal to Libby's super-fit, super-rich, super-handsome suitor, Whit. His five-year old son provides the magic glue to pull all the elements of the story together.\r\n\r\nIn a wise choice, the filmmakers avoid anything that might belittle the Marathon (given that many UK viewers may have a deep respect for the institution). But they also bring in much underused and very photogenic shots of London en-route - particularly the Docklands area.\r\n\r\nWith such a vanilla story line, Run, Fat Boy, Run is relying on Pegg's reputation to pull in audiences. I suspect that many of his fans may be occasional movie-goers who simply demand something light and untaxing. He has the ability to make a futile chase after stolen women's underwear amusing. When he seems to be rubbing himself off against a shop mannequin it could be a pathetic or tacky sketch in any other hands, but his wide-eyed expression and fast pacing move us from one joke to the next before we have time to analyse.\r\n\r\nI wasn't bored. And I had expected to be. In fact I was laughing loudly. It reminded me of when JM Barrie had planted children in the audience of his first performance of Peter Pan. It helps to be in the company of people who see the joke. Run, Fat Boy, Run has not made me a convert to Pegg's brand of humour even if I enjoyed the film, but I have to admit that he is good at his job. Sometimes it is the difference between a sterile press screening and an audience of fans. On this occasion, marketing gets the benefit of the doubt. <\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tDeath at a Funeral<\/a>\n\t\t\t[1 clip]<\/span>
\n\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\tAlan Tudyk<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tA midget, hallucinogenic drugs, homosexuality, sibling rivalry, nudity, and a funeral come together in riotous chaotic harmony in Death at a Funeral. The films story unfolds in the span of an afternoon and despite the short duration of plot Frank Oz, directory, endears us to the characters with witty and realistic dialog. What better setting than a funeral to highlight the humor and irony of life? The characters' mourning is completely relatable because it isn't overwrought or melodramatic and is thus all the more genuine.\r\n\r\nFamily turmoil overshadows the funeral and propels the characters into awkward but hilarious situations. The film does not forget it takes place during a funeral and by the end a heartfelt eulogy is delivered in spite of the lunacy surrounding it.\r\n\r\nThe humor is just dry enough to complement the somewhat dark comedy but not so dry that it alienates the audience.\r\n\r\nI haven't laughed this much at a film in a very long time...especially a film about a funeral. <\/span>\n\t\t\t\t\t\t
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<\/a><\/td>\n\t\t\t\tLoaded<\/a>\n\t\t\t[7 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tOliver Milburn<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\tBiddy Hodson<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\tCatherine McCormack<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\tNathalie Kelley<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tTradigy alters the lives of seven friends making a an amateur horror film in the British countryside. Pretty limited in story, acting and pace. Limited nudity. Not really worth renting or buying. Catch on cable, if you must<\/span>\n\t\t\t\t\t\t
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