MrBiddle

I've seen the 2006 rendition of CASINO ROYALE, surprisingly since this is probably a reboot a la Batman Begins, Judi Dench from the Brosnan films reprises her role as M. She and Bond exchange the funniest of lines. Goldeneye director Martin Campbell returns in this restart of the franchise using vintage techniques of movie-making, and cinematography. The b and w noir opening was one of the best Bond openers ever. An aggressive, abridged exposition and intro into his promotion as a Double Oh.

Eva Green is sexy, smart and sly as the financer in Bond's operation. Things in their relationship take a turn for predictability towards the final act, but the film is still fun and you'll be treated to the original score was it by John Barry? - in the end credits.

Save for some uncomfortable tight shots during hand to hand combat scenes, Martin Campbell is definitely one of those directors who understand biomechanics of camera movement and framing. You'll see plenty of exquisite shots in the film.

Definitely an improvement over Brosnan's overly bombastic 007 films. Let's hope ROYALE's successors will be just as subdued and slick.

Michael Moore is brilliant! I wonder why he has also plenty of bashers and nay-sayers to his work... His treatise on the issue of gun violence and how the repercussions of such acts reflect the overall picture of society. I loved the cynical montage of violence done to vintage reels with "What A Wonderful World" as an ironic score for it. The arguments he put forth are of so much credence. The last scene with Charlton Heston was one of the most powerful moments of cinema verite.

Do I put in "White" or "Caucasian"? He can also be a funny prick, this Michael Moore.

I haven't seen FARENHEIT 9/11, looking forward to bumping into it soon...

As if I don't already disrespect The Academy of Motion Picture Arts and Sciences, my bias and unfavorable view of AMPAS will be reinforced if THE PRESTIGE is not at least nominated for Best Original Screenplay. In that category alone, is where the film succeeds. Another tautly written piece of Gothic cinema and heavy drama from Christopher Nolan, and Jonathan Nolan. Good and intense performances from everyone all around, and although Scarlett Johansson is the hottest thing to look at, it was hard for me to adjust to her playing an Englishwoman.

The movie takes the audiences behind the scenes in the art of ledgerdemain, but more essentially - behind the intricacies of the relationships of these rivaling performing artists. More than trap doors, and body doubles (although the latter element will be a heavy aspect of the plot, that I say without spoiling much) - each complexity and nuance of the interpersonal relationships in this film are thoroughly explored, without the audience hinting that some of these little details are foreshadowings in themselves that will be exploited as shattering revelations as the film concludes. So pay attention to detail.

There may be a little pomp in the SCI-fi element, and I do mean Science Fiction, NOT magic or prestidigital fiction, but the way Nolan crafts the story make it all seem acceptable, and maybe even worthy of your standing ovation because of the tautness of this dark masterpiece. So really, without trying to merely parrot the movie's tagline, I echo it in of my own accord: Watch closely.

10/10

I am unaware as to any infidelities committed to James Ellroy's original material as I haven't read the book. But Bryan De Palma's raw over the top style is always something I can appreciate. And when he does it to perform vintage noir as in THE BLACK DAHLIA now, the intensity and artistic value of it is something very good that I wonder if it compensates to the deviation from the novel.

You gotta love the exquisite mobile framing that's a trademark of DePalma. He totally understands the biomechanics of camera movement, blocking and et cetera.

Excellent cast all throughout. The best player here to me, is Academy Award winner Hilary Swank in her seductive role. But much better than that, the greatest thing to look at in here is Scarlett Johansson, with the priggish allure of a woman from the era, she has the looks, dressed up and down, the hair and she plays her role well too.

Although the movie is more than somber noir, it is extremely dark in tone, it ends on with a faint glimmer of optimism, and perhaps potential redemption and forgiveness amidst that darkness.

7/10

It starts out rather slow and methodically. But the plot rivets attention unto itself because of how we know WHO everyone is in the story... Great performances all around. I loved the scene when the 2 men joke about a dog-walking girl being the Commissioner of the police department.

I think in storytelling, the irony of having the audience know more than the characters makes for BETTER suspense and anticipation. Yet THE DEPARTED still has it's unexpected U-Turns. I like the last and final shot. A visual cue and the ultimate representation to something of a recurring element or role in what the movie is about.

WORLD TRADE CENTER is portrayed in typical Stone style... the rhythm of transition between scenes is bridged by elliptical "black outs". Performances are above par all through out. The opening scenes that quickly change from normalcy to the instant and unexpected pandemonium are handled very well also.

Then it progresses into scenes of a more grueling nature, featuring tension, despair and unpleasant anticipation. The sound design is excellent, as many have hyped about this film. It closes with the life affirming message from Nicolas Cage's character - a refreshing motion picture due to an apolitical perspective because it focuses on the essentials of the 2 men's accounts and those of their families. It is a film told on a very personal and candid level, very well worth catching if you want to know the story of the 2 men who went to risk their lives; but in return were the ones in need of the salvation and risk from the men who found themselves having that task to accomplish for them.

MARCH OF THE PENGUINS was an amazing tour de force in the icy environment of the emperor penguins. The film was an extremely comprehensive look at the eventful journey of the birds who don't fly...

Unfortunately I downloaded the original French version mistakenly instead of the Morgan Freeman-narrated English version which I would have wanted.. But a feature that is just as good as Morgan Freeman's skillful rendition of narration as many have mentioned - is the beautiful location photography and the way the filmmakers portray the stunning panorama of the vistas.

It seems that the French have a knack for composition, and the directors lens never misses an essential detail, be it a amazing shot of the vistas of white; or a detail of one of the penguin's activities.

Although, in French I was also able to discern some co-narrators telling the story from the penguin's perspective; some of them were child or infant penguins - another wise gimmick that adds more edge of cinematic storytelling to this.

This is a very skillfully constructed body of work at times you may doubt some scenes were contrived. And since they weren't, that's another reason for Kudos to the filmmakers.

Looking forward to seeing this again - perhaps next time the Morgan Freeman narrated version...

I found SCOOP much much much lighter than Allen's previous work in MATCH POINT. I find Allen a much better director and writer than an actor though. But he has his moments as the stuttering, babbling Sidney, magician and friend to Sondra Pransky, played by the lovely Scarlett Johansson, a practicing journalism student who wishes to expose the suspected crimes of charming debonair Peter Lyman (played by Hugh Jackman.)

This piece does not have the nerve-racking drama and tension of MATCH POINT, but it does have the same degree of intense anticipation and suspense when both Sondra and Sidney carry out their amateur recconnaisance skills for the incrimination and perhaps demise of their suspected Tarot Card Murderer. That, and a charm that delivers, SCOOP is very well worth your time if you give it a chance.

Very superbly and methodically shot, coupled with graphic matches, surreal rendition of motion picture imagery, graphic matches and perfectly timed use of Dutch angles.

Although you'd notice Ewan McGregor could NOT yet perfectly pass up for an American, traces of Scottish accent albeit a very convincing portrayal of the shrink Dr. Sam Foster. Ryan Gosling is also good, and as usual the beautiful and sexy Naomi Watts does her always impeccable Stanislavsky oriented acting without an iota of reprieves or slips into an Australian accent (but this is so also with other great Aussies like Geoffrey Rush, Radha Mitchell, Hugh Jackman and et cetera.) I could have done without the haphazard, Lynchian plotting. Nonetheless STAY is eye candy, if you can tolerate a somewhat pretentious execution of plot.

8/10

THE GODFATHER PART II, Very well-made. Excellent juxtapousition, notice the part when the graphic match between Pacino's face and DeNiro's is seamless when he switches periods. (During the scene when Michael learns about upset news, and younger Vito sorrowful over his ailing baby).

The ending is a study of how Michael Corleone can plunge into darkness, and a meditation of the decline on the family. You will also see a lot of goodness and generosity (and also brutal ruthlessness) of the young Vito Corleone, portrayed amazingly by Robert DeNiro. All other players around, competent in their parts.

Miami VICE, has some great HD real-world type of sequences shot by the hand of Mann, who has done the same thing in his prior work, COLLATERAL. With decent performances from Foxx, Farrell, Gong Li and company, it is a fairly watchable drama, and a highlight of Mann's work, which I've also witnessed in movies like HEAT and COLLATERAL is the precision quality audio of gunfire, and round-piercing clanks where squibs go off. These events in Miami VICE take place early on but are fully explored towards the end. Loved the scene when the lady vice squad shooter takes out the over confident big guy, holding the... thing I won't tell you he's holding because it might spoil you.

Those who refuse to see a competently made, albeit dragging crime drama should skip this one, even the wallop that Mann packs with his gunfights in here may NOT be worth your time, but see it if you can keep an open mind. But hopefully not as open to accept, as I DON'T, the fact that even Mann is one of those filmmakers who rides the bandwagon of depicting scenes where full-automatic rifles don't run dry as quickly as they do in real life, but because of Non-John Woowee action scenes shot with his video-wy HD camera look (side by side with standard film filter or color scheme, or did they alternate with film as well?), those holes are reconcilable with VICE's redeeming qualities. Interesting also to note, that NO title is put during the movie's beginning, the same thing that happens in Mann's 2004 outing. What is that anti-titling trend all about anyway?

See this if you want to in the cinema, no one is stopping you - but otherwise only worth a rental on a rainy day. Grade B-

Clearly a more enjoyable motion picture than SUPERMAN: THE MOVIE, for reasons that it develops and directly continues what was foreshadowed and left open in the original film. I was thoroughly entertained by the charm and wit of SUPERMAN 2... From scenes of Clark and Lois in Niagra Falls, where Lois Lane finally reveals her suspicions of Clark and Superman being one, and after a terrible mishap... (caused with devious intent by Lane), Clark is told "You were who I thought were Superman?".

The action even starts immediately, in Paris when Superman disarms a potential catastrophe, but while simultaneously, and unwittingly freeing 3 prisoners from The Phantom Zone - infuriated villains, especially Zod (played magnificently by Terence Stamp) who were jailed by Jor-El in the first movie. Lex Luthor returns with the same cynical humor as in the first film, I laughed when he said, "But couldn't they get parole?"

It is hard to distinguish the Donner scenes from those made by Lester, but nonetheless this does not make the film of lesser entertainment value, because a lot of trailer moments in here, comic relief and romance. Might I even say the performances are even better than that of the original film, Reeve portrays his Clark Kent persona with much more bungling sensitivity, and watch the darker side of Kent as he attempts to confront a bully, while stripped off of his Kryptonian powers. And Margot Kidder, gives much passion and child-like adventurosity to Lois Lane.

What I didn't really like about Superman II, was one thing - the opening credits I could have done without all the recaps from the first movie, but I can assure you the salvaged John Williams theme performed by another composer is NOT ruined either but even a layman to music, like myself can discern slight alterations to the tone of the instruments, but nonetheless the new composer stays faithful; and may I just say if you want a better revival and re-use of Williams's classic scoring, it is found in SUPERMAN RETURNS. I have not seen the series 3rd and 4th installment, but it is all right as RETURNS, the movie which came out this year as well as fans choose to ignore those installments of lesser quality.

Though many have found the dual-director shifting an awkward undertaking, as I have stated I could NOT tell apart the Donner scenes from the Lester-directed sequences, but the writing is just as skillful as the first film because of Mario Puzo and company, you will also find clearer exposition in this film, unless I missed it if it was in SUPERMAN THE MOVIE, in here the villains state that the molecular structure of Kryptonians are increased, thus giving them abilities aplenty because of their exposure to our Solar System's sun. In contrast, it is the rays of the sun of Krypton that can remove those powers... at least temporarily. Notice, the much darker tone of portraying the antagonists, a tone set and maintained, the three fugitives begin their reign of terror at our friends in the Lunar Excurscion Module, just when our Supes has the inclination to settle down. The conflict within is when he discovers that settling down might NOT be an option after all.

Superman II is as exciting as it can get, but interestingly it does NOT have a commonplace Hollywood finale, there is denouement here and there, but watch the sentimental and almost tragic resolve to Clark/Superman and Lois Lane's relationship when our Supes is left with but one choice - thus explaining why Lane does NOT know who the man of steel really is in the movie that follows this one, NOT the 3rd and 4th installment which may rightfully be ignored, but 2006's SUPERMAN RETURNS.

All in all, Superman II is a highly enjoyable treat of Saturday Matinée entertainment although my first viewing of this one in my PC was a rather "first house" schedule due to school... Nonetheless, those seeking a light, funny, action-packed piece with good music and some of the finest acting need no look further than this 1980 outing.

You can go in expecting the typical ingredients of a Shyamalan film and find them. By typical, I don't necessarily imply tired or clichéd or annoying. Yes, expect all these ingredients plus the multi-layered narrative that Manoj always has in his films. While in no way does this surpass his period drama "The Village", it is very entertaining, where one can experience more humor - and please don't run, also more screen time for writer-director Manoj who doesn't cameo but actually appears as a co-STAR, a writer and one of the integral characters to the plot.

Newton Howard's scoring is less effusive and melancholic than in The Village, - his previous collaboration with Shyamalan, but it is nonetheless still enchanting, uplifting and suited to the genre and nuances of LADY IN THE WATER. The acting is nothing short of superb, Giamatti and Howard portray the emotions with the appropriate intensity called for. Yes, there are no big reveals in "Lady" but expect a lot of twists - little twists in this one that are very well foreshadowed in the many parts that Night tells his story softly and gently. As he said once, you might want to lean in to absorb the subtleties and essential plot elements carried out as exposition in the dialogue. I especially loved the twist involving the arrogant critic, it was foreshadowed NOT earlier, but contained within the scene of his evident and inevitable demise. There is a lot of grim humor and tense laughter that "Lady" does inspire, a trick that Shyamalan has mastered ever since "SIGNS" in 2002.

Amazing, visually stimulating and fiendish cinematographical acrobatics are to be expected from the way Night uses his camera in Lady in the Water. The usual Shyamalan trademark reflection shots are around - and try watching that washing machine close-up sequence and see if it doesn't raise your hair. Manoj excels in framing his story for the cinema screen, and in addition you will also be treated to wickedly "claustrophobic angles" that but enhance the tension, and some "objective" camera moves that put the audience with more superior knowledge than the movie's characters - evermore adding up to the suspense in the movie's key fright moments. Coupled with these exhilarating scares are moments of drama, in which Manoj may have succeeded in putting the right amount moments that could elicit tears or even emotional response from the audience.

A woman behind me in the cinema would have wanted more defined denouement as the movie concludes, but evidently those who want everything concise may rejoice as Shyamalan, as also the writer himself takes us out of there when the main plot, or core of the story has been resolved. I especially LOVED one of the last shots from under the pool, the event of which it depicts I will NOT divulge as you have to see it. It is extremely sentimental, heartbreaking and bittersweet, that and the rest of the ending. You will see a lot of thrills and showdown as the movie prepares itself to close, and James Newton Howard's music as usual combines the ominous melodies with the uplifting cues, the score gracefully flexing it's muscle to accentuate the spellbinding tale of Shyamalan.

If you keep an open mind, free from bias from the Shyamalan signature in movie-making, LADY IN THE WATER has much for the moviegoer to enjoy, and remember for a long long time.

More than anything, the performances of all involved is what makes this movie extremely riveting. Added to that, Eastwood's meticulous and methodical directing, which was obviously the driving force behind the great performances. Sean Penn and Kevin Bacon give enough intensity to their portrayal. As does Tim Robbins who carries out a deranged persona of someone who came out from a terrible childhood ordeal with scathing after effects.

Marcia Gay Harden is also surprising and brings a lot of fear and doubt from her character. Linney brings maturity to her role, and during the turning point that launches Act 2, she and Penn conjure up the appropriate magnitude of emotion required. Let's not forget Laurence Fishburne who brings us his zeal and typical imposing persona that all of us know him for having... And hey, you've got to love Emmy Rossum, at least during her few minutes of screen time. She's just charming, but Phantom of the Opera is the movie to see if you want more from the girl who plays the ill-fated heroine in Mystic River.

Interestingly you will see a lot of depth to the character's past and the interpersonal connections that each have. Much more than being a whodunnit, there are other twists in the end, - you wouldn't know Jimmy Markum's secret until all the pieces of the puzzle fall into place. And before meeting his fate, Dave Boyle (Robbins) redeems himself and the flashbacks reveal the act of violence that he did, that once divulged to us, the movie audience - can only be enough denouement we could ask for, well to make up for his disgraceful and forced confession to his tormentor and captor in the last scene.

What the observing spectator may note from the way Eastwood operates as a director, and perhaps his writers as well is the amount of time and minutae executed with respect to bringing out the best and the worst from his characters and their ruined lives. Elements of disgrace. Elements of redemption. You will see some of those things as well as the movie closes. I hope I didn't give much away in my essay here, I'll just leave you to judge for yourself whether Mystic River deserves the critical acclaim it has from many, or from the other end of the polarized group of audiences; the hate and destructive contempt coming from the people who don't appreciate this film. It is up to you. As for myself, I found myself watching the whole movie through, there are times that on DVD I pause a film and watch it in 2 sittings, but for this one? I sat all the way through merely because the performances, the good story and direction made the 2 hours and 11 minutes blast by very fast. But should you you take my word for it, go ahead and give Mystic River a try.

The opening sequence made me smile with admiration. In fact you might just worry that the cinema possibly shipped in copies of the older Superman movies… That is because Singer has chosen to stay true to the tone and overall feel of the first and second film. And guess what? John Williams's score is revived! Also, throughout the movie, vintage flavor and atmospherics are so methodically portrayed, greatly aided by the said music and the palette that the director uses.

• It has a lot of trailer moments, and knowing Dougherty and Harris's brilliance in X2, I was sure – and of course they don't compromise cohesion and story. If you think you've seen it all from the trailers, you haven't. Watch how the airplane rescue sequence ends. You might just wanna applaud yourself. Watch the foreshadowing of a certain sequence, very subtly when Lois lights up a cigarette but just couldn't and gets payed off ten times bigger in a later action scene.

• Great casting. Routh has the looks and physicality of Christopher Reeve and he carries the role of Kent with the bungling albeit charming persona we know him to have… and of course the charisma and presence, and compassion of the man of steel.

• Spacey is as darkly funny as he is villaneous as Lex Luthor. His henchwoman, has sympathies for our title character.

• Bosworth, and another second Singer-reteamer Marsden fit well into their roles as the unmarried couple.

• I was also impressed by Singer's improvisational creativity when he salvages footage of Marlon Brando from Superman 2, hence no one else has to play Jor-El, and Mr. Brando's name is Jor El's billing in the end credits. As a student filmmaker, I have tried this once, salvaging Joint Picture Expert Groups imagery of a certain actress to imply her presence and persona in a short film, regretful at first, but beaming with pride after witnessing Singer's improvisation.

• Though we may not know if it was the intention of the makers at all, Superman Returns does indeed remind the keen movie goer and art appreciator that cinema is indeed the marriage of ALL performing arts. The classic score by Williams revived faithfully by Ottman, Singer's direction of course, top-notch performances and an exciting story. As someone who has his roots built on suspense and film noir, you can expect plenty of maturity in his handling of direction. Witness fancy camera movements and angles e.g. the piano sequence at the boat, and of course many more, CG or non-CG aided cinematographical strokes courtesy of Singer and his D.P.

All that being said, don't stop me from watching this movie in the cinema a second, or a third time if I do… I have come to admire Singer as a true visionary after seeing X2, and even THE USUAL SUSPECTS, I am glad he had to leave X3 before Warner Brothers could have God forbid pulled this project away from him. I hear that before he does the sequel to "Returns", he will return to his roots of crime drama and thriller, that I will wait to see. In the mean time, the master film maker and company have come up with something that is and always will be a classic in my book. 10/10

First of all, let me say it was never a surprise to expect the top-notch performance by Ms. Mitchell; one of my favorite Aussie talents, after "Phone Booth", "High Art" among the titles in her repertoire. I liked the maturity she brought to the character, and same can be said of course for Sean Bean - both players set the seriousness of the mood in the film's opening. Also, following "Flight Plan" it's REFRESHING to sea Mr. Bean play a good guy after playing the villain in countless flicks, Fellowship of Frodo, Patriot Games, Goldeneye, Ronin, et cetera.

• The "entrance" into the terror is one of the best cinematic moments I've seen but for some reason it was marred by the sudden explosive grandiosity of the demonic villains who were shown right on the moment Rose encounters them. I would have wanted an inductive motion in revealing them a little later on. You'll also see Rose's calm despite her missing daughter when she tries to make the female cop relax.

• As it progresses, you will see Sean Bean portray a father in a desperate time, fighting no matter what to get to his wife and daughter.

• The visuals are great, but like I said the sudden exposure to the bombast of the situation and the grotesque villains didn't work for me... They should have saved it or restrained themselves from being too overwrought.

• The score was masturbatory. Whoever scored this film should retire.

But in the end it raises some questions in the audience, like what would you do if your daughter was tied to a world so alien like that? And of course the theme of persecution is played out when we see the religious zealots as the "weaklings" fighting against the demons but a reversal occurs in the end when Rose is the one persecuted by the fanatics.

It's watchable. Worth a rental, in the least. Gotta love Radha Mitchell.

7/10

The movie was watchable and surprisingly good.

• I liked the fiendish atmospherics and foreboding, this was portrayed by some (cheap) BOO scares... and even visuals that are not for the faint-of heart.

• Beltrami's score is excellent. I really like the way he composes ominous melodies that suggest a frantic temperament, the presence of evil, or outright urgency for suspense.

• Shcrieber was intense in his role as an unbelieving yet scrupled man... you will see his character arc back and forth as he wishes the demon child dead... and when he is told to do so, hesitates. And in a very graphic scene, takes all back assumes responsibility at which point there is a thrilling final scene where the audience ain the cinema applauded and cheered for Schrieber.

• Mia Farrow and Julia Stiles were also very good players.

What's interesting is that the screen play was written by the same scribe as the 76 original.

As I have expected, this by no means surpasses X-Men United, it's previous one, nor the original film. Yet it pays off certain plot points, such as the fully unleashed Phoenix, and the final revolt led by Magneto. Ratner does a reasonably good job, although this could have done better with the writers that Bryan Singer have used in X2. It has an intensity when the Phoenix is being dealt with, certaind deaths take place in X3. But on top of this, Professor Xavier maintains his higher sense of morales, in one sequence, Kitty Pryde even compares his ideals with that of a theory of Einstein... well, Einstein wasn't a mutant, replied Xavier. Watch Magneto levitate the most gargantuan object he has ever manipulated, see Shadowcat fight bravely against Juggernaut in a compassionate mission to rescue the mutant boy with the cure. Who's hiding, dickhead? And later, see Rogue make a decision of her own, a character highly underused in this film, but a key player if only; in respect the movie's main plot line.

And it ends with Wolverine's flesh being subject to destruction in the movie's final sequence. All in all, it is watchable but does not pack a wallop as Singer's X-2; X-MEN UNITED has. But think of it as a sociological drama, with a few scenes of action, some frights that you can enjoy courtesy of Brett Ratner and company.

7/10

First of all, kudos to the cast and crew of the Da Vinci Code adaptation. The movie is more abridged than I would have it but it is certainly more faithful than Tony Gilroy reconstructing the Jason Bourne story or Steven DeZousa ripping apart Roderick Thorpe's story of Joe Leland for the betterment of the movie we now know as "Die Hard." The opening scene and the last scene are exactly what the mind's eye would see if one would read the book. The last scene even performs beautiful photogrammetry or "omnipresent" phantom camera-work to confirm the innuendos of Dan Brown's finale to the story. What is different? Among many, are the cryptex - I can tell you now if you've read that book that Sauniere in the movie obviously was more merciful than in the film, there was that shocking discovery regarding the cryptex in the airplane that was spared in the movie, the Hieros Jerjerous or whatever it was called was only flashed and not annotated by Langdon and instead of on the airplane, this flashback happens in the end. Let me also commend Howard for creating a beautiful atmosphere of the ages of old when Teabing or Langdon recount their interpretations of history. From the Council of Nicaea, to the execution of the Templars, and even later scene with "scepter-like" super imposition when Langdon explains about "A. Pope" and Sir Isaac Newton while crossing the street. And as one viewer has already noted, Akiva Goldsman was calculating enough to make Langdon and Teabing even debate a bit just so the unorthodox Gnostic ideas aren't necessarily fortified, and as Dan Brown stated in a forum - the audiences are free to believe which of the interpretations in these matters are correct. Langdon even emphasizes the words "MAY have... MAY have..." at one point in opposition to Teabing's strict affirmation regarding the Grail legend. Langdon also cracks the final puzzle instead of it being accidentally unravelled as in the book, the one regarding the missing orb. The five letter word. Missing are a great many things from the book, such as Sister Sandrine per Ron Howard or Akiva Goldsman's hand failing to say the line, "I do not see that one message in Opus Dei." before Silas silences the nun. Omitted also is the sequence when the otherwise maniacal Aringarosa, in the book tells Silas that forgiveness is God's greatest gift, in the end when they discover about the treachery. The reveal of The Teacher is less shocking in the film than it is in the book although I love the tease of cinematic sequence when Remy speaks to the initially anonymous villain. But among those which are made concise by Ron Howard, I appreciate the "instant library card" in the bus a very appreciated short-cut as to eliminate a rather taxing task that Langdon and Sophie had to do in the book.... I do NOT appreciate the fact that Sophie was not the one who deciphered the mystery language in the airplane, the engravings on metal, that Langdon thought was reminiscent of Semitic writing. It was a language, or system of writing that only Sophie knew about from her grandfather... And also, I didn't mind much about the absence of an extended recount of the Fibonnaci sequence, the androgyny theory of the Mona Lisa as these things I'm afraid are gonna require the observer to read Brown's novel. The discovery in the Rosslyn church is also altered much, but as I mentioned earlier it doesn't change the very very very last scene, but the revelations are similar nonetheless. Sophie, and no one else instantly spots the "blade and the chalice fused into one" in the church building which is not the case in the book. Zimmer's score is above par and it accentuates the visuals and nuances that Howard and his crew have put to the screen. And for Christians whether candid or the more religious, I may have sensed an attempt of Akiva Goldsman to put in Dan Brown's conscious thoughts and even his comments on the fact that Da Vinci Code and it's maker isn't one that has the luxury of absolute correctness. Langdon expounds more on his spiritual side, and regarding his childhood mishap at the well, and this tops off his unbiased convictions and makes ground for those who might be otherwise offended by the movie's Gnostic concepts. That scene was a payoff for what was foreshadowed, a question asked by Sophie in response to a question about belief that Langdon brought up earlier in the bank vehicle. By the way, Vernet doesn't get any denouement in the end, in the book he is only referenced but Goldsman probably chose to make him one we merely pass-by. Jean Reno is as intense as he can be as the zealous Fache, and it will also be a loss to NOT see his final exchange with Aringarosa in the book..... he has no resolve with Collet either and the funny alibi Collet makes about the error of the DCPJ on TV in the novel is nowhere in the film. Nonetheless Howard and company create a piece that reflects the bestseller and can hardly be called a sacrilege in light of it's source and author. But because of some writing decisions of Akiva Goldsman that I have disagreed with, I will give this an 8 instead of a 10 out of 10. And P.S..... P.S. Mickey Mouse doesn't get an explanation or an annotation of his presence in an appliance that Langdon owns, obviously to jive with how Goldsman put lesser bias in Langdon's stand of the Grail legend, the book gave Langdon more conviction on the theories and consequently the book chronicled hidden references to the legend in Walt Disney.

Grade B+

Luck. That is what Chris Wilton describes at the opening scene of MATCH POINT... Please take note that the thoughts explored in that opening are exactly what is explored in the closing scene. The film is a matter-of-factly depiction of the troubles one has to face during extra-marital affairs, or forbidden relationships for that matter. Jonathan Rhys Meyers plays the character with the much needed intensity and bustling pressure that occupy Chris Wilton. Johansson is able to stand out as the strong-willed Nola Rice, aggressive and anxious to put things to a resolve suspense builds as she always desires to make things her way if Chris's actions aren't enough for her... Bryan Cox is excellent as Alec, the father-in-law of Chris, this is the first time I have seen Cox with an English accent... same with all other players, they shine in this Woody Allen piece. Woody Allen handles his work with the D.P. and camera operators very well, some interesting shots, long takes e.g. the scene where Chris bumps into Nola in the sidewalk and walks her into her audition and many more.

The suspense in this tragic drama builds to an almost unbearable level when Rhys-Meyer's character decides to do the deed that will be the turning point towards the climax of the movie. The intensity of his portrayal of what Chris is going through in those scenes is perfect and only appropriate. As with most of the movie, that turning point of a scene is accentuated with some opera music as well, and more spine-chilling in it's melody at that during the sequence.

Well, the movie does not end as ... Nola Rice (Scarlett Johansson) would have had it, but it does not end on an "up" note either. And it does not end the way you think it would, if you can tell my train of thought (no, not a happy ending) but not that either. Instead it closes with a little discrepancy, in fact a little twist that happens against Chris Wilton's act in the end of the film... and as mentioned in the opening scene, it closes with a little bit of luck. Just watch what I mean. The "lucky" element is a visual parallel of the first thing you see when the film opens. Excellent filming of the "objects" involved in what I am referring to.

Allen has done a terrific job in weaving a tale of passion, obsession and the release of self-control and decisiveness and the consequences of it in this life. Whatever his intentions have been, MATCH POINT has been a most engrossing, suspenseful and riveting experience of cinema.

Grade A+

As in Neo? The Matrix? Nah, first of all the emotional intensity of this season finale is heavy. This is probably the episode where Melinda cries the most, or where YOU would cry the most.... I appreciated the fact that there was no redundance with the skeptic "I don't believe you" cliché that everyone realistically reacts with in this episode... Henry Czerny, the Authoritative guy and every one of the family victims - especially the husband and father of the young girl takes it in so easily. Oh yeah, the girl also tells Melinda that she is "The One." Whatever that means?? Will they expound it in the next season? Jennifer Love Hewitt and company do great... the ending is emotionally overwhelming, yes it's heartwarming when the souls cross over into the light and a few remaining stay with Wide-Brim Hat Man. But the most intimately emotional sequence happens in the end with Andrea, Melinda and Andrea's brother. "Love never dies." I guess that's true... The thing is, Wide-Brim Hat Man seems to get the last scene, there is lack of denouement in that issue... What about laughing man? Will these things be brought to closure in future episodes of Ghost Whisperer? And THE ONE. What does that imply? Will Melinda indeed pay for makign those souls cross over? I guess that is just to get us hooked for future plans of the series. This episode, helmed by Gray himself is one of my favorites along with GHOST IN THE CROSSING (a hilarious one, one of the season's earliest) and also MENDED HEARTS.

See this if you can.

Grade A.

First of all, I loved the straight seemingly uncut opening sequence. And I really liked the thrill and VFX of the sequence that is the turning point of the film. Richard Dreyfuss is as hysterical as he is hilarious. Watch the deed that is cancelled because of the huge wave. Kurt Russell and Emmy Rossum are great in the roles as estranged father and daughter and this theme is repeated throughout the film. Josh Lucas is ever zealous and tough as the man determined to survive along with his company. But what about more exposition? What was Dreyfuss's phone call really all about? He seems to forget the interpersonal conflict plaguing him during the ordeal... It was funny that I was tempted to answer Kurt Russell when his character states that "I used to be a fireman before..." Well yeah? In BACKDRAFT.... It also seemed intentional to kill of the sleazy drunkard who has all but been devoid of etiquette wishing to go ahead of Jennifer Ramsey (Rossum) in the crossing. The bastard got what he deserved...Kidding aside, there was an Armagedonny moment in the end when Christian, Rossum's fiancée decides that he is the best person for the job in turning the propellers off because of his swimmer's ability. But no real denouement is ever brought between Kurt Russell and Rossum. LIkewise what of Richard Dreyfuss and the person he was calling? There was also no expression from Rossum's part at least to her husband to be about how grateful she was for her Father and perhaps resolve between the two was reserved for the next life? Josh Lucas, the other lady and the kid were also obviously living happily ever after but because of the lack of depth of resolve and character study, at least in the climax, the happy ending isn't justified.

6/10

I was surprised to see extreme tension in the film... The movie was enjoyable popcorn fun, much much better from any stale rendition John Woo could ever do to a Mission Impossible movie. I'm glad the score of Lalo Schifrin wasn't as sacrileged as it was in MI2..... Phiip Seymour Hoffman does a terrific job of playing the very hatable antagonist - and the movie takes a few turns. What else is new? So much more is at stake, well at least for us, whom whose shoes we step into is that of Ethan Hunt's. I won't see more about what is at stake, but anyway witness superior IMF skills like forging a mask at a moment's notice, calculating math impromptu and in a very hilarious scene where our hero is captive - lip reading where Ethan must "show someone the courtesy of looking at him when he speaks." From righteous fury to retrieving what is personal is Ethan's character arc. A standard Hollywood piece, but I'd like to repeat - has plenty of tension to get you going.

Eight out of Ten.

What made me scratch my head between Arbuckle and Liz Wilson's relationship was that Liz, portrayed by the lovely and gorgeous JLH was always an understanding character. She takes initiative many times, yet doesn't cease to be feminine in her manner, and when Jon breaks the news that Odie has ran off, she doesn't hurl any accusations at Jon. What an understanding character Liz Wilson, DVM is in this movie. While there is no nerve-racking conflict and difference between our two human protagonists, the conflict takes place between Garfield and Odie, the story arcs at 30 minutes towards the main plot in the end, predictable that it would get to the point of when the cat would say "I can't believe I've sank this low" when in an animal pound he admits it's his will as he is the only able to rescue the poor dog from the deranged tele-plagiairus. A flop it may be but this motion pictures has enough charm and some one-liners from the feline title-character....

Grade C+

I've seen a few episodes of this already now, the one about a dead comedian, the one involving white noise, plus a chasm between father and son and a hidden secret. Then I've seen the episode about a boy who was killed in a railroad track and of course, the first episode, where Melinda gets married, we are introduced to her gift to speak to the dead as a child and a sergeant from Lo Valley seeks her aid. It was probably one of the creepiest episodes, but also the most emotional. In essence, Ghost Whisperer is a drama, almost never absent in an episode is Melinda shedding tears together with a faithfully or not-so faithfully departed. The one with the most comic relief was the episode about the boy in the railroad tracks, from Melinda's mother-in-law to Andrea her friend at the Antique store supposedly being blind, to Melinda getting caught while she's misty with the boy and has to pretend that she's "meditating." And one more scene where Faith Clancy, her mother in-law thought she was pregnant because of her behavior being "fairly transparent." It's also one of the least scariest but the most emotional of all, watch the scene where the boy tells the father what he used to tell him about what to do when he's mad. JLH, who also produces this is excellent as the title role, as well as her supporting cast, the players of Jim Clancy, her husband, Faith the mother in law and even Andrea her close friend at the antique store. A paranormal series that's very enjoyable to watch. I recommend it, watch it if it airs where you're living. You don't have to believe in ghosts to see this. I know I don't. I rate this series Grade A-