FordPrefect-42

Innocence is a unique film that defies typical description and ignores filmmaking conventions. If you like films that confuse and surprise, you just might love this. If you need something loud, viscerally exhilarating or explicit, look elsewhere. Innocence is a film that plays with our preconceived notions about underage female sexuality. If you enjoy Suspiria of (the real) Alice in Wonderland this little-seen French gem comes highly recommended. However, this film does not glorify in cute girls dancing or wandering through fantastical dreamworlds. Yes, it is dreamlike and mystifying, but this is not Dario Argento.

Innocence approaches Picnic at Hanging Rock's dreamlike quality. What it manages to achieve is presenting what is both natural but unfamiliar through the eyes the young girls experiencing it. Innocence film is very dreamlike and doesn't rest on one main character's perspective.

Innocence is both haunting and sweet. This is a film about the loss of innocence in young girls, but it toys with our notions of innocence, sexuality and objectification. In short, what does being a woman today mean? You won't be satisfied though one viewing of this film. If watching something once only makes you want to see it again, it must be worth it.

Seek this out. Pass over the latest trending rental and add this to your Netflix queue.

You know that scene in Mission: Impossible with the helicopter chasing the train through the tunnel? I love that scene.

The A-Team is essentially that one scene for two hours. Sure there's some talky scenes and some flirty scenes and some other scenes I don't remember, but this film is wall-to-wall over- the-top summer action. Carnahan hits all the right notes of cornball and cheese without sacrificing good old fashioned thrills. It's trash, but it knows it and doesn't try to be anything more. It's also not a condescending mess or selfishly irresponsible cash-grab (I'm talking about YOU Sex and the City 2). It's just a dumb, fun summer action flick pulled off with style.

The Seventh Victim is a chilling b-horror picture with some great style that recalls other great moments in fright cinema. There is a fantastic moment that recalls the dreamlike quality of the twist in Laura, a tense pre-Psycho shower scene, and a vague essence of the menace underneath appearances from Rosemary's Baby. While these similarities make the film fun for cinephiles, it is not the most compelling aspect of the film. DP Nicholas Musuraca makes forbidding use of shadows and dark allies and hallways. The script incorporates too much (a love-angle, a mystery-angle, a psychological horror-angle, the obligatory morality-angle) but the haunting lighting and atmosphere, as well as Jean Brooks' noteworthy performance as a woman pushed to the edge of her control, keep you glued through to the dark but satisfying ending.

After drudging through underwhelming big-budget spectacles such as Clash of the Titans, Shrek 4, Prince of Persia or Alice in Wonderland, it's nice to find a well-made American film with characters and actors you can really invest in for 100 minutes. City Island is a pleasant, small picture that builds some strong characters in spite of a sitcom-y script. These characters could be from Everybody Loves Raymond, but the performers invest themselves in it and don't give us the same stupid caricatures we've seen before in countless other dramadies. I've never seen Garcia this appealing on screen, and Julianna Margulies manages to make her character cold yet sympathetic, not an easy accomplishment. Dominik García-Lorido and Ezra Miller are fine as Garcia and Margulies children, although their plot lines seem a bit contrived compared to their parent's problems. Strait is funny and interesting, Mortimer is charming (when isn't she?) and Arkin has a cheeky bit role. City Island is a welcome escape into a world of thought, charm and modest artistry during these summer months of (mostly) mediocre spectacle.

Prince of Persia: The Sands of Time is a light, highly entertaining popcorn flick with enough spectacle and imagination to keep you on a movie-sugar high for two hours. It's got the pace of a Pirates of the Caribbean flick, a plot that plays like Indiana Jones crossed with Aladdin, and some pretty nifty time travel. My biggest complaint is the action and editing. Newell and his editor could learn to sit back and let their action scenes breath; audiences WANT to see the skill/precision/choreography of a good sword or fist fight. Cutting so rapidly not only takes away from enjoying the action, but unnecessarily complicates the visual flow of the story. It might be to cover up Gyllenhaal's abilities, but surely a stunt double and some CG work could fix that?

No matter, Prince of Persia may not be high art, but it's a really fun guilty pleasure, and satisfied my fix for Indiana Jones-pulp adventure and time travel.

Sitting through Prom Wars, I felt like I was watching a bunch of rich high schoolers who hired someone to shoot and edit a movie they wrote. This is bad. All-teen casts can bring out some fine talent, but everyone here (I'll excuse Alia Shawkat) overacts like their lives depended on it. You'd think this was a Nickelodeon TV-movie except everyone swears for no reason and a Nickelodeon movie would have better production values. Also, you're making a stupid R-rated teen comedy, with no nudity? It's not like this thing could sink any lower, might as well throw something halfway dirty in there to give it some sort of energy.

Drew Barrymore's directorial debut doesn't score points for originality, but her cast is absolutely perfect. Everyone here has a moment or moments to stand out; from Kristen Wiig in a complete 180 change from her SNL-styled performances in past films; to Zoe Bell as a spunky roller-girl. Alia Shawkat finally gets a chance to really shine as what is basically a sidekick, but a well- written one (where are her leading roles???). Daniel Stern has some of the film's best scenes with Page as her father. Overall you know the basic mechanics of Whip It's plot (though there are one or two welcome moments that sidestep or completely change the clichés typically found in films of this genre) but the cast and Barrymore's first-class handling of them make it an incredibly fun and worthwhile ride.

I finally re-watched this after about ten years, and it's still great after all this time. No one can bring out the emotion and heart out of, what in any other writer director's hands, would have been just another romantic comedy. Crowe's script is funny, warm and thoughtful, and he brings out the best in his cast. Cruise is as charming as ever, and Crowe's script offers a deconstruction of the typical shark character Cruise can play with ease by giving him a wife to not only love, but rely and depend on. Zellweger is charming and really pulls off playing a single mom without feeling too much like a movie star. Gooding Jr's Oscar-winning performance is delightful, but characters like (the perfect) Bonnie Hunt as Zellweger's "disapproving" sister or Jay Mohr as a scum-bucket agent bring out the natural charm and joy in Crowe's script and stop Cruise and Zellweger from turning the picture into just another romance.

What really sets Jerry Maguire apart however is the focus that a successful marriage depends on both husband and wife giving themselves over to each other completely. What a great message in a world where most big romantic films end just as the real relationship begins.

A messy satire that works because it's really pretty funny. These messy but ambitious films always interest me, and there is plenty of interesting commentary going on in American Dreamz. What other film combines the war on terror with an American Idol-style show? Alongside the usual look at the shallow entertainment industry American Dreamz has quite a few inspired and funny political statements that include Willem Dafoe as a Cheney-modeled Vice President controlling Dennis Quaid's alternate-universe-Bush, a Jew, Gentile and a Muslim competing on the show, and a season finale that walks a fine line between dark comedy and plain distastefulness. Hey, this film is messy, like I said, but I enjoyed it, mess included.

Quaid is really funny here, his President feels like a good-natured poke towards Bush, making him out not so much a clueless tyrant, but someone kept in the dark and used a a puppet. Dafoe's VP is the puppeteer, and his performance is pretty inspired. He never goes for the frightening, deathly feel that an actual Dick Cheney impersonation would have produced, and the film is funnier for it. Hugh Grant does a fine Simon Cowell impersonation, but thank God the film doesn't rest on his shoulders because he seems to be off his comic timing lately. Also, it's nice to see Seth Meyers in the movies

The original Candyman is one damn good horror film. It manages to be consistently creepy and at times downright terrifying without resorting to cheap gore or jump scares. What really makes this film stand out is the unique premise of an actual urban legend needing people to believe and fear it to exist. Thank goodness someone like Clive Barker is around to throw interesting original ideas into genre films like this gem. Don't feel any need to check out the inferior sequels, just stick with the original for some scares, ideas, and some early work from Virginia Madsen. Filled with fright, hallucinatory images, a plot that will keep you riveted and some fine atmosphere, Candyman in one highly underrated horror film.

Some movies have great stories told compellingly through technical direction and craftsmanship. These films keep you interested even when nothing important to the story is actually happening on screen. However, some films rely solely on charm and chemistry between co-stars for success. Date Night is not the first film, it looks slick and vacant of anything worth watching except for it's two stars. As casting goes, Date Night does keep you interested with the excellent pairing of Fey and Carell as a married couple. While the script struggles to provide enough clever banter to satisfy, their chemistry and ad-libs are what keeps the film going. Marky Mark, William Fichtner, Mila Kunis and James Franco show up for some pretty funny cameos, while Ray Liotta looks like he stumbled off the set of whatever his last crappy movie was and didn't step out of character. Oh, and Kristen Wiig and Mark Ruffalo are in this for, maybe two minutes. See it if you need to see Fey and Carell together on the big screen, I did

That's a quote from one of the minor characters in Observe and Report, the second feature from Jody Hill and starring Seth Rogen as Ronnie Barnhardt, a Bi-polar mall security guard. This film suffers from an uncomfortable edge; at times it treats Ronnie and the film's world like a cartoon where anything can happen for a laugh, at other times though, dark, unfunny, sometimes painfully sad reality steps in, as when Ray Liotta (not stretching much acting abilities as a exceedingly angry police detective) shouts straight in Ronnie's face or when Ronnie learns he cannot become a police officer. Hill (who also wrote the film) seams to want to use Ronnie's mental issues as both comedic fodder and a tool to twist our emotions when he feels it is necessary. The film doesn't have the power or finesse to use Ronnie's problems these ways without making it feel uncomfortable and mean-spirited.

The cast is a mixed-bag as well. Rogen tries to balance Ronnie between a depressed average Joe and a total psycho and manages to pull off some pretty big laughs. Anna Faris is disappointing, forced to wear god-awful make-up and only having two or three really funny lines. Celia Weston has some funny bits as Ronnie's alcoholic mother, and their last scene together is one of the only scenes that finds a pleasant balance between sad and funny. Michael Pena is given a silly, underwritten role and speaks in a funny-at-first accent that gets old real fast.

While the film is uneven and often uncomfortable to watch, there are some really big laughs. Only about a third of the film is very funny, but each joke that works works well. The end chase scene, involving Ronnie and a pervert barreling through the mall set to "Where is My Mind" (a cover version by City Wolf) is hilarious and has a shockingly dark ending that, like Weston's final scene, balances sad and dark reality with humor.

So, if you go into this film expecting to laugh at a troubled man's misfortune, think again, it's actually kind of sad.

As a film, Cloudy With A Chance of Meatballs is merely 90 minutes of harmless escapism. The animation is simple and most of the jokes are aimed at the 12-and-under crowd. Still, in IMAX 3D it's a fun ride. While most of the jokes are for kids, there are a handful aimed at tickling adults and there are some really silly sight-gags (enhanced by the 3D) anyone will enjoy. While the animation never reaches far, there is one spectacular scene involving a spaghetti-tornado that stand outs, especially in 3D. The thing that surprised me the most about this was the voice acting. Sure you've got known stars such as James Caan, Neil Patrick Harris, Andy Samdberg, Lauren Graham, Will Forte and Bruce Campbell lending their voices, but only Caan and Campbell really have characters with any substantial amount of dialog (I couldn't even tell you who Graham and Forte played). Mr. T, however, has some fine lines and his celebrity is used effectively as a throwaway joke. As for Bill Hader and Anna Faris, I was pleasantly surprised at how well their voices lend to animation. Hader has a nerdy-goofy voice that makes his character sound anywhere between 16 and 30 years old and he can twist it around between completely silly to awkward and sincere in a way that feels natural (for a cartoon at least). Faris, who to me has a more recognizable voice, is able to transcend that crutch that most celebrity-voice-overs have: she is able to make the character own the voice. Her "Sam Sparks" character looks and sounds like her own character. I rarely, if ever, had that nagging image in the back of my head of Anna Faris acting this role because her voice lends it self so wonderfully to the film. Faris' comedy relies heavily on her physical performance, and she doesn't hesitate in contorting her face in all manner of outrageous and silly expressions, yet her voice is also a major element in her work. Here, we get that beautiful voice but a character that doesn't act the same way physically. Sam Sparks' physicality is toned-down here, but Faris delivers silly, bizarre and delightfully off-center lines that keep her character unique and enjoyable.

Cloudy With a Chance of Meatballs isn't a must-see film by any means. If you do see it, see it in 3D, and enjoy Hader's and particularly Faris' voices.

After a second viewing I can clearly tell what I love, and don't like about this picture. Mortensen, Harris, and Hurt are all great and Hurt would have deserved the Oscar he was nominated for. Also, Cronenberg knows how to tell this story in a way that is both thrilling and strongly emotional.

The main problem I have with the film is that Maria Bello, Ashton Holmes, and Heidi Hayes are not up to the standard that the three previously mentioned actors are. Hayes' is just a little kid, so I can understand why she sounds like she's just reciting lines given to her, but I expected more from Holmes who has a much bigger role as Mortensen's son. He isn't a bad actor, but sometimes his dialog seems forced and although I can understand his emotions during a few scenes, he sometimes acts in ways contradictory to what we've seen for his character. Bello's character seems to be an uncomfortable mix of several personalities: is she a loving mother, an independent self-sufficient lawyer, or a slightly kinky wife? Sometimes her character seems dependant on her husband, and at other times she seems ready to take on whatever comes at her. Also, like Holmes character Bello has a few scenes, most notably in a hospital room where I can understand her feelings, but she just acts like a bit of a bitch towards Mortensen. Instead of trying to understand him more why she was yells and accuses him instead of trying to understand why he wanted to change his life. Oh well, perhaps these character problems are because of the script, which I feel has a few scenes that ring false and occasionally forces its characters to do things for the sake of moving the script forward.

Really though, the problems I had with those three performances and the script aren't incredibly major, but they did distract me. I'm fascinated with how Cronenberg takes this film and makes everyone seemingly equally good and evil. One thing I came away with is that everyone uses violence to get what they want. The two men at the diner use it basically for money, Joey/Tom uses it to get the peaceful life he desires, Richie uses it to keep the money and power he has, Edie uses it to protect her family, the school bully uses it to feel important, and Jack uses it to get back at the school bully.

Decided to give it a second chance, but only found it more agonizingly self-absorbed and preachy.

It's not that I disagree with all of the (obviously) liberal views presented here, but they are just so painfully obvious and unnecessarily exaggerated. Also, do we really need a film to tell us not everyone in the Middle East is a terrorist, that many terrorist organizations draw young people in because they offer assurances that other organizations don't, that government is corrupt, and the current war is very much over oil? Well, some people might not know that, but then again, those people probably get excited over the latest "Scary" or "Epic" spoof movie.

The only aspect of this film worth any real praise is Clooney's performance. Although it may not have been as Oscar worthy as some of his others, he is the only character that we actually feel is real and not simply a stereotype. Clooney makes Bob a sad, lonely figure who has a need to know what is happening and why. I only wish I new what was happening, since Gaghan seems to pile on story after story while "interconnecting" them in ways only slightly more meaningful than those in Paul Haggis' overrated "Crash".

Ultimately, Syriana not only fails as a thriller, (because it is too confusing and complex to have a tight ending or focus) or a drama (some of the situations these characters are in seem artificial and a few of the actors are not to the task of creating meaningful and relatable characters), but also as a message film because you really won't find anything in this film about Middle Eastern culture or the oil business that you either didn't already know and have opinions about. No doubt the filmmakers had good intentions when making the film, but ultimately it feels over-elaborate, showy and pretentious.

The plot of David Cronenberg's 1999 science fiction film eXistenZ involves a futuristic video game designer Allegra Geller (Jennifer Jason Leigh) trying to understand why she is being hunted by assassins by playing her game. Allegra narrowly escapes a would-be assassin with the help of an advertising newcomer Ted Pikul (Jude Law) during a demonstration of her newest video game "eXistenZ". In this world, the video game systems are made from the harvested organs of mutated creatures and players interact by plugging the organ-like console into their bodies through an implanted "bio-port" or a hole at the bottom of their spine.

eXistenZ is full of all the things that made the similarly themed sci-fi action film The Matrix such a success; alternate reality, themes about existence and free will, and special effects, although the effects in eXistenZ are unlike The Matrix in that they are not used to add style to an action scene, but make the virtual reality world more realistic, bizarre, and grotesque. Jennifer Jason Leigh and Jude Law are both excellent in their roles. Leigh plays a god-like celebrity game programmer who is actually very shy, and Jude Law's Ted Pikul is believably skeptical and paranoid about the video game world. The most memorable performance in the film comes from William Defoe in a small role near the beginning of the film as Gas, the owner of a Country Gas Station.

Cronenberg has a style that is distinctly different from Andy and Larry Wachowski's in The Matrix which came out a month before eXistenZ and completely overshadowed it at the box-office. Instead of a slick, clean future Cronenberg creates a virtual reality where bone, flesh and grit are everywhere. The virtual reality world involves plants for the manufacturing of game consoles in which animals are cut open and dissected, guns made out of bones that shoot teeth, and Chinese restaurants that serve unusual and slimy specials. Cronenberg also addresses themes of reality and free will that are present in The Matrix, but his film (like Videodrome and Crash before it) is also fascinated with the strange sexual connections between technologies; in the game "eXistenZ" Allegra and Ted sometimes feel themselves saying and doing things that they cannot control (Allegra explains that this is because their video game characters need to do or say certain things to move the game's plot forward); the character's "bio-ports" are vaginal in nature and Ted even says he has "this phobia about having my body penetrated surgically." eXistenZ is a highly underrated science fiction film that contains more ideas and inspiration than similar films and is one of David Cronenberg's most interesting and compelling. The main qualities that set eXistenZ apart from many of the look-alike science fictions films of the past few years is its willingness to disgust the viewer with uncomfortable images, ideas and situations and truly challenge the viewer to think about their choices, actions, and freedoms.

If you have seen Back to the Future (1985) you may think this Francis Ford Coppola film is a bit of a knock-off, at least that's what I thought. But then I watched it. The beginning is fairly normal, Peggy Sue (Kathleen Turner) goes to her high school reunion and is complemented by her peers, even though she feels her life is a wreck because of her cheating husband. She wishes she could "go back and do things differently", and when she wins the title of class queen, she faints, and wakes up in 1960.

She soon realizes she actually does have the chance to make some changes in her life, and starts out trying to break up with her boyfriend whom she will marry in the future, Charlie Bodell, played by Nicolas Cage. But she keeps falling for him, even though she experiments with going out with the town poet, treats the class nerd better and asks for his help in getting back to her time, and tries to develop a better relationship with her sister.

In the end, she gets back to her time to realize not much has changed, and she ended up marrying Charlie. But now she realizes she can't go back and merely fix her past problems, she needs to work them out with herself and her family.

The entire film is very entertaining and feels a bit like Back to the Future, only less flashy and more serious. I enjoyed all of it, but a part near the end, involving Peggy Sue's grandfather and his lodge friends sending her to 1986, is very strange and a bit out of place. All of the actors do a great job with their roles, Kathleen Turner received an Oscar nomination, but I think Nicolas Cage does the best job. It's hard to tell if his character is genuinely in love with Peggy Sue, or if it is just a teenage infatuation, but in the end he tells her how much he wants them to work things out. Some people may find his voice strange and annoying, but I found it at times funny and sad, and it made his character seem just like the adolescent he is. He gives a truly Oscar worthy performance.

Overall, Peggy Sue Got married is an excellent drama with some great comedic moments. Francis Ford Coppola deserves credit for taking a story that could have been a rip-off of Back to the Future and turns it into a great story about love and life. I highly recommend this film and hope it becomes a bit more well known.

I got From Dusk Till Dawn at a used DVD store for two bucks, and it was a good deal. This is really a mesh between a Quentin Tarantino crime picture and a Robert Rodriguez horror film.

The first half involves Tarantino and George Clooney as Richard and Seth Gecko trying to get into Mexico and away from the FBI and the Texas Rangers since Richard broke Seth out of jail, helped him rob a bank and spilled a considerable amount of blood doing so. They kidnap Jacob Fuller (Harvey Keitel) and his two kids Kate and Scott (Juliette Lewis and first-timer Ernest Liu) and use their RV to get across the border. When over the border they go to the Titty Twister, a rowdy bar for bikers and truckers, where Richard and Seth plan on meeting their friend Carlos, sometime between dusk and dawn, so they can give him a cut of their loot. Little do they know, the Titty Twister is a front for a group of vampires who prey on unsuspecting truckers and bikers.

From Dusk Till Dawn is a violent, campy, and mostly entertaining movie. Tarantino wrote the screenplay and does a stellar job as Richard Gecko, and Rodriguez directed it which makes it feel a bit like Desperado and Pulp Fiction thrown together with some campy horror.

The main things I liked about this movie were the actors. George Clooney and Quentin Tarantino are really convincing as two criminal brothers. When Seth finds the dead, raped body of a woman who was supposed to be their hostage, he asks Seth if it's his fault and if he (Richard) thinks that's what he (Seth) is like. I also liked Harvey Kietel as a minister who seems to have lost his faith and Juliette Lewis, who I usually find annoying, as his daughter. Plus, Salma Hayek is ultra-sexy as an exotic dancer.

I preferred the first half of the movie to the semi-campy gore-invested second half. The vampires look like a cross between zombies and vampires, which I don't think works very well, and the special effects are obviously fairly low budget, plus I'm not a huge gory-horror movie fan. While the effects are fairly cheesy, I got the feeling they weren't supposed to look very real anyway since their are a lot of jokes and visual gags. A group talk about ways to kill vampires is amusing and pokes fun at vampire movie clichés and Juliette Lewis has a funny scene where she is unsure about stabbing a possibly bitten trucker.

Overall I'd give From Dusk Till Dawn seven stars of of ten, it's a entertaining movie with some fun performances and an original story, but the effects are awkward since it's hard to tell whether they are purposely cheesy or just low budget. Check it out if you get the chance.

Against All Hope is a very poorly made, sometimes painfully so, movie. This is Michael Madsen's first movie, and it shows, he isn't that good in it. Some people might find the story laughable; an alcoholic realizes his life and family are falling apart so he calls a preacher as a last resort for help. After telling the preacher his story, he accepts Jesus Christ into his heart.

I actually found many of the religious scenes, as when Cecil Moe (Madsen) goes to a church but walks away from it, pretty realistic. I also liked how Cecil knows his life is breaking apart and tries to get help, but realizes only God can help him. At the end he realizes with the help of God he can go through life without drinking again.

This movie is not well made at all. The acting is bad, the script could use some work, and looks worse than my home videos, but it has a good message. Now, just because you become a Christian doesn't mean you will automatically be able to stop an addiction or heal your broken family, and Cecil realizes this and works hard to stay on track. Overall, if your a Christian you will appreciate how this movie portrays Christianity and if you aren't, you may find yourself being called to find out more about the faith.

I read The Da Vinci Code a couple months before the movie came out, and thought it was pretty entertaining. I didn't really understand why so many people went crazy over it because I didn't think it was an amazing book. (Here's the spoiler) I'm a Chirstian and don't believe that Mary Magdeline and Jesus were married and had children, the main premise of the book and movie, but that doesn't mean I can't appreciate an entertaining two and a half hours. That said, this movie was not very entertaining.

I was hoping that Dan Brown's series of religious/adventure/thrillers would become a new "Indiana Jones" style series of movies. Unfortunately the move The Da Vinci Code doesn't have the exciting, fun spirit of Indiana Jones. It barrels along, explaining everything that happens, but not letting us try to figure out the puzzles that Robert Langdon (Tom Hanks) and Sophie Neveu (Audrey Tautou) encounter. The film looks great, and I for one did not mind the flashbacks to the "historical" events described.

In the end, the movie has it's moments, usually with Silas (Pual Bettany) or Sir Leigh Teabing (Ian McKellen), and looks very nice, but fails to capture the feeling of mystery or excitement that the book did.

Kicking and Screaming was decent. Will Ferrel plays the son of a dad who WILL NOT lose to ANYONE (Robert Duvall). He takes over coaching his son's Little League soccer team and goes nuts trying to win at all costs.

Kicking & Screaming seemed like it wanted to be the Anchorman of kid's movies, but it just lost me. There were some really funny parts, one involving the team needing to help out at the Italian kids family butcher shop, but overall, it just tried to hard to be a quirky movie that adults and kids would enjoy.

All in all, not Will Ferrel's best movie, but definitely not horrible. A good saterday night rental.

I saw this on AtomFilms.com and thought it was great. A guy dies, is sent to purgatory, and finds out he doesn't have enough "points" to get into heaven. He makes his way back to earth, trying to tell his loved ones that he will die and go to hell.

This is a really fun and different movie. it's definitely a comedy, but some of the moments are really sweet. I don't believe that we go to heaven or hell because we did more good things than bad things, and vice versa. I believe that you need to ask Jesus into your hart and forgive you of your sins.

Anyway, this is a great little movie. Go watch it at Atom Films. It's free!

I saw this last weekend because "The Island" wasn't playing at four. I was blown away! I was looking forward to seeing "Charlie and the Chocolate Factory" but did not think that it would be this good! I have seen the original and have never really enjoyed it very much, "Charlie" held my attention from beginning to end. Tim Burton creates a wonderful world of imagination, color, and magic.

I've heard a lot of people say that they didn't like it because Johnny Depp "Act's like Michal Jackson" Well, if you have read ANYTHING Johnny Depp has said about this you will know that he did NOT base Willi Wonka's Character on Jackson. I personally thought he was funny (as did everyone else in the theater I was in) and the back story that Tim Burton and John August have added to his character explain why he acts so... different.

This is a wonderful movie, and one of my personal favorites.

10 stars outta 10!

These shows are extremely funny. Sometimes just chuckle en-deucing, sometimes gut-wrenchingly hilarious! Strongbad is a midget jerk in a wrestling mask. Two brothers (Strongmad and strong sad) the main character Is... Homestar. You'll meet the other characters when you watch the toons.

Every week the "Brothers Chaps" make a new Strongbad email. The websites has toons and games and fan-sent art as well. You NEED to check this place out! Espessically if you aren't to old to not laugh at stuff that makes no sense sometimes! (Don't worry, nothing bad but still great!)

This is by far the best out of the three Potter films so far. Some might like "Chamber" better, but "Azkaban" Tops it in acting, plot, and visuals.

Harry begins his third year at Hogwarts while being stalked by a big, black, scary, doggy! He meets new teachers, and creatures (same thing, right?) and learns some new magic.

Daniel Raddcliffe who, some may say, stinks as Harry is really good here. I never thought he was bad as Harry, but he plays him best here. Probably because he has had two movies to practice. Rupert Grint as Ron is very funny, and Emma Watson plays Hermione perfectly. Michael Gambon, a very good Dumbledore was ALMOST as good as Richard Harris but.. I can't say he was better. That would be sacrilegious.

If you like Harry Potter, see this. If you like adventure, see this. If you like good movies, see this! Eight outta ten.