Another beautiful and moving film from Almodóvar, this time focusing on a mother's grief and her desire to come to terms with the past after her son Esteban is killed on his 18th birthday, just minutes after she promises him to tell him all about his father.

Almodóvar has a talent for telling emotive, meaningful stories at a snappy pace which never for a second bores. He even brings in entertaining characters and parallel strands to bring out the ironies of life. The city of Barcelona is given an interesting, almost metaphorical role, being debauched and painful, but irresistible, much like the relationships that the various women get themselves into.

The acting is mostly strong, with Roth being fragile and strong as the grieving mother who is a little off-the rails, but yet at the same time draws our admiration. The weakest performance by far comes from Penélope Cruz, who can't decide whether she wants to be pitiful or just downright weird.

To sum up, it is another entertaining watch, with the trademark balance of wackiness, out-there elements and delicate handling of the human psyche that has become to be associated with Almodóvar.

Roux -- 19th November 2005

I have always been a firm believer that strong actors are able to make a bad film watchable. This is the movie that has done much to weaken that belief. Spencer (Depp) is an astronaut who loses contact with ground control for 2 minutes, and when he returns to earth safe and sound, his wife Jillian (Théron) starts to believe that something is not right with him, that her husband is no longer the man he was.

The one thing the film does and fails miserably to do is to make itself a 'non-conventional' Hollywood film. It tries to filter in arty camera angles and poignant, lingering scenes, but often ends up falling flat on its face, and with quite a loud 'splat' too. Maybe it's the plot which lets it down, or maybe it's the annoying soundtrack, but somehow none of these seem to be good enough reasons or even excuses for how bad a film it is. Especially annoying is how it seems to skip through the story which shows a glint of potential for development or mild excitement, before spending ages on trying to prove a point which no one gets.

Depp and Théron try hard, bless them, but there is nothing about this film that they can lift with their attempts to act beyond the ridiculous script. Cliché upon cliché is piled up, and not a single word of dialogue seems to be believable. The clincher is probably the so-called climax, where alien tentacles spark from Depp and into Théron, leaving you feeling as if you had just spent the last watching aliens hatch from within.

Shallowness only takes one so far, and even the delectable charms of Depp isn't going to get me watching this film again, and I suggest that unless you are seriously insomniac, spend the two hours on something more worthwhile like getting your teeth flossed.

Roux -- 8th March 2006

Any film that deals with the Catholic church and altar-boy molestations is bound to raise eyebrows. Yet, this offering by Almodóvar has so much more to give than that. Years after being forced to leave his Catholic boarding school, Enrique (Martínez) is a successful filmmaker who is stuck with writer's block. A visit by his friend and first love, the struggling actor Ángel (Bernal), whom he knew as Ignacio, takes him back to the events of many years ago, and he decides to take on the script loosely based on Ignacio's life, hovering around how it was affected by the abuse Ignacio suffered at the hands of Padre José (Cacho).

It is a complicated, meaty plot filled with so many twists and turns that forces you to pay full attention to the story, and even then you might start wondering whether you did manage to catch everything. Striving to question the effect of nurture, it also brings in peripheral issues such as homosexuality, trust, deception and even (grossly misplaced) love. Would we react to a person in a different way if we thought they were someone else? Would we have turned out differently if we had different experiences?

The traditional slowness that characterises movies which strive to be 'artistic' are replaced with a snappy pace and intriguing flashbacks, yet remaining tasteful but sexual at the same time. There are no frontal shots, but it gets the message across more effectively than what a more explicit director would have done.

All this is backed up efficiently by a fantastic cast. Bernal cements his status as an excellent actor, switching somewhat effortlessly between his roles as Ángel, Juan and Zahara, making it seem like flipping between a desperate, earnest young actor and a transvestite is all in a day's work for any actor. Martínez too hold his court against Bernal, and is brilliant and fragile as Enrique.

Brave and audacious, while at the same time littered with subtleties, one realises why it has been cut or banned in more conservative societies. And it is a shame that audiences around the world have not been allowed to watch the movie in its entirety, because it is a beautiful piece that has the rare combination of an exceptionally strong script, cast and direction.

Roux -- 24th October 2005

Once a classic, always a classic. Who better to direct Batman than Burton, the master of all weird and wonderful things himself? In the first live-action feature film of Batman in ages, Keaton stars as the rich playboy Bruce Wayne, whose alter-ego Batman roams the streets of Gotham after dark, preying on criminals and whatnot who have been unfortunate enough to come across him. He confronts Jack Napier (Nicholson) on one of his attempts to wreck havoc in the city, and pushes him into a large vat of radioactive waste. Of course, the villain fails to die, and rises as the Joker to terrorise Gotham.

Burton's vision of Gotham City is beautiful in all its squalor, clearly modelled on New York City, complete with cheesy politicians and mayors promising law and order which their police forces will clearly struggle to keep. There's also hints of Burton's love for social piss-taking, in the scenes of the over-blown ball scenes and social obligations that Wayne has to keep. His cast is a strong one, with Nicholson being scarily demented, Keaton being convincing, and Michael Gough his every-loyal friend and butler, Alfred. Even Basinger manages to almost break out of the heroine in distress mode that threatens so many super-hero female leads.

For an adaptation of a comic book, Burton even manages to add in tender but not saccharine moments, bringing back the truth about Wayne's parents and how they were killed by Jack himself. Danny Elfman's music as usual is excellent and fits well with the rest of the theme, and all this is achieved with minimal computer graphic effects and whatnot that every new and slick comic book adaptation these days. It is precisely why even after so many years, the film still stands and doesn't feel at all dated and still worth a watch.

Roux -- 22nd February 2006

The sequel to the earlier Batman, one sees rightaway why sequels are generally a bad idea. It's not a bad film on its own, make no mistake, but there is a sense of deflation that comes from the eager anticipation after a great like the original. Keaton is Batman/Bruce Wayne again, and he is joined this time by DeVito as the deformed Penguin, abandoned as a child, and the lovely Pfeiffer as Catwoman.

Yet in spite of the initial disappointment, childhood cheese comes rushing back at us, and one cannot help but enjoy the movie. As usual, Keaton is debonair and his villain DeVito mental, while Pfeiffer does a very good turn as she switches between cat and woman mode. It takes the whole film away from the helpless heroine situation that plagues super-hero films, and feminism reigns as she kicks Batman's butt. The tension between both is culpable, both as their alter egos and as their masked personas, and here the film truly improves on its predecessor's rather lame romance.

A good high adventure romp filled with laughs and winces, and the Penguin's domain is downright bizarre as he rides in his amusement park duck ride, as well as decides to send his little fluffy minions into the city to wreck havoc. Danny Elfman comes back as composer, and the Batmobile returns in a highly souped up, slicker, meaner version which makes you whoop with joy as it hurls around corners and attempts to beat the crap out of the bad guys. It is, first and foremost, a jolly good adventure, and one you'd be a fool to miss.

Roux -- 22nd February 2006

Altogether now: Awwwww. Perhaps one of the fluffiest, sweetest movies I have seen. Ever. The movie tells the story of Benny (Quinn), a mechanic charged with looking after his sister Joon (Masterson), a somewhat mentally unstable (the psychologist in me wants to cry schizophrenia, but I doubt the screenwriter had anything specific in mind) young lady who is talented and clever. Through her fits, she has managed to run through the whole list of willing caretakers, and Benny is at his wits end of how to look after her. Enter Sam (Depp), a misfit himself, full of simple innocence, who is forced upon the siblings after a poker game loss by Joon. Of course, love blossoms etc..

In case the plot had your toenails cringing and your split-ends curling, let me say this: the movie actually escapes without being cheesy. Sure, another romantic comedy? But this one is different. It doesn't try too hard, and one can definitely see what has probably 'the hand of Depp' in its randomness. Who could have thought of making toast by using an iron on bread? There is no doubt that it is so off-kilter without trying it's refreshing.

Those who think me a Depp-obsessed fan might turn away and scoff at the suggestion, but I will risk stating that he is absolutely beautiful in his role as Sam. Just watch his physical comedy acts with the shoes and the hat near the beginning and middle of the film, and you will know instantly just why he has become to be regarded as the best actor of his generation. He manages to bring out a simple child-like innocence in his eyes and every movement, that makes you want to cuddle him and give him a nice pat on the head. Equally, Masterson is fragile and manages to pull off her role with sensitivity and beauty, while Quinn as her distraught brother at his wits' end ensures Depp doesn't get away with stealing the entire show again.

It is a sweet movie that anybody from the most romantic to the most cynical will enjoy, because it is almost-saccharine without being cloying, and deals with questions about the mentally unwell in a light-hearted but sensitive way. Who needs special big-budget films with clever CGI when you can produce a beautiful, thought-provoking film without being too heavy or filled with angst?

Roux -- 9th October 2005

One of the first movies to capture the German story during the war without any apologies, it is a startlingly human one that emerges from the stewing interior of a U-boat, which preyed the waters of the North Atlantic with deadly stealth. It is a terrible strain, and it is nail-gripping from start to finish.

Shot in the Bavarian film studios in the 80s, it is said that the crew kept hurting themselves during the filming as it was so narrow and cramped. It has made for a great nugget of information to tell tourists visiting the set, but also comes across clearly in the faces of the actors, who look like they are truly suffering throughout the shoot. It is fascinating to watch the change from men convinced they were out to served their country with everything they had, to beings struggling for mere survival. Prochnow as the Captain of the boat is sympathetic, even valiant, and his concern for his men is genuine.

On the sensual side, one is drawn straight into the heart of the movie by the dim lighting and the swaying and tipping motions (making me feel sea-sick, something the sea isn't able to do), drawn into the world of the soldiers fighting for what they once believed in. The theme as the boat cruises the oceans is rousing and tinged with an element of fatality, and the utter silence which accompanies the ceasing of enemy fire, only punctuated with the loud creaking of metal being crushed by water pressure is far more eerie than any horror movie with cheap cinematic tricks is.

Filmed at a time when most filmmakers would have given a topic such as this a wide berth, it is one with a human core that will not fail to touch, irregardless of the strong sentiments that still run about the war more than half a century on. Others have commented on how intricate the film is, and I have to agree wholeheartedly. There is no overdoing of the drama, and it tugs at you in all directions at once, and leaves with a feeling of utter pointlessness.

Roux -- 4th May 2006

Once again, Lee has proven that he is a director capable of taking on anything. Ledger is Ennis, a ranch-hand who has to take to the mountains in the hope of supporting his fiancée Alma (Williams), and he is joined amongst the lonely landscape of Wyoming by Jack (Gyllenhaal). Loneliness soon takes a physical manifestation as the pair are drawn together, and a guilt-ridden relationship starts between them that is to last for years.

Given the amount of hype surrounding the film, it is difficult to know what to expect. Mayhap it is simply the 'right film in the right time', but I cannot help but feel that there is something more to it. For one, 'gay cowboy flick' simply misses the whole point: that the film is simply about two people who are unable to conduct themselves as they wish, of the regret and the sadness the permeates their surroundings, and the loneliness that they wish to run from. Sure, it is a awkward, controversial topic, but it is unfortunate that many people have not managed to look past that.

The directing is beautiful, making use of the seeping landscapes of Wyoming to convey a touch of wild, untamed beauty is evident in Ennis, and right down to the brief shots of Texan rodeos, which once again reflect the more showy, expressive character of Jack. It is heart-breaking to see an uncommunicative Ennis breaking down time and again, and Ledger handles these scenes beautifully, swinging from a stoic, heartless exterior into a little boy whose heart has just been broken. Gyllenhaal also holds up well, although his is a much less frightening character, and the pair are lovely to watch together. The rest of the cast cannot have said to be anything beyond 'not bad', and the hype surrounding Williams's performance is puzzling to say the least.

So once again: the movie is not about gay cowboys, and it would be a terrible misjustice to the work and effort put in by Lee, Ledger and Gyllenhaal to dismiss it so. Cringe some may at the thought, but this movie is at least relevant to everyone of us, for it is about a strong emotion that makes us human: regret.

Roux -- 1st March 2006

Finally, a fluffy film after all the serious stuff. Directed by Terry Gilliam, Brothers Grimm stars Damon as Will, the arrogant ladies' man elder brother, while Ledger takes time off his usual hunky roles as the bookish Jake, a dreamer and a story-teller. Set in French-occupied Germany, the brothers are a pair of con-artists who earn their living by pretending to banish evil spirits for superstitious villagers. Of course, their fame grows too big for them, and they are forced by the French soldiers to solve the mystery of missing girls from a Bavarian village.

While the storyline is predictable and formulaic, there is still some fun to be offered by the script's clever introduction of familiar Grimm stories into the narrative. The sets are a visual-treat, the forest in particular being dark and atmospheric, with a sinister feel that the camera captures well. The special effects are chilling and realistic, with the scene with the Gingerbread man being of note. Damon is a presence, as always, but it is Ledger who surprises with his turn as Jake, managing to be rather convincing as the nerdish, bullied younger brother. It is the villains, however, who start off being amusing, but get old and annoying after a while (there are only so many times you can laugh at their outlandish behaviour in a torture chamber, where the poor Brothers Grimm are about to get killed, and even Jonathan Pryce as the French commander goes over the top with his pompous strutting about.

There is not much more to the movie than what meets the eye, and thank goodness it doesn't try to come across as being anything other than that. It is a good mix of humour and action, though, and anybody who has grown up to the stories of the Grimm Brothers will find recognition in every twist and turn of this adventure.

Roux -- 2nd October 2005

Miyazaki's first feature film is a real treat, all about the adventures of Arsene Lupin III, descendant of the master-thief, and himself a wonderful crook. This time around, he follows the trail of fake money into the depths of Cagliostro, where it becomes clear that the Count himself is involved in dastardly deeds. There's also a princess to save too, and Lupin has to make use of all his wits and skills to fight evil.

The plot is relatively straightforward, but simplicity is the key to the brilliance of this film. Lupin's cheery nature and whiz-gadges alone make it worth watching, while the Count is delightfully evil with his plot to unite the two houses of darkness and light. Freed from symbolism and imagery that are rife in his later films, Miyazaki shows himself to be the master story-teller that he is, taking us through a good high adventure the likes of which is rarely seen these days.

Comparing it with the later work from Studio Ghibli, one sees lots of gratifying influences, including his trademark grass billowing across fields and the nursery later seen in Spirited Away. Not much else to say apart from that it is undeniably a good watch and leaves one feeling happy right at the end, which surely is reason enough for it to enjoy a good thumbs-up.

Roux -- 26th March 2006

Burton-Dahl-Depp sounds like an amazing combination to any fan of the macabre and bizarre, and it does indeed live up to the hype in a weird but wonderful way. One cannot help but view the entire movie as a piss-take of every and anything that is 'conventional', and you can tell that Burton and Depp are right in their element by the increasing height of eyebrows as the show progresses.

At the risk of sounding clichéd, one cannot help but giggle in delight at the giddy sets and amazing colours, feeling exactly like Charlie himself as he enters Wonka's amazing but slightly off-skewer world. The chocolate waterfall is amazing, and the boat-ride is loads of fun. And when you think Burton has eschewed his love for everything gothic, we get thrown back into the grim but somehow sweet world of Charlie's humble existence and Wonka's childhood. Burton handles the source material with extreme care and a wicked sense of humour, often causing the imaginable but usually impossible to happen (take the scene with the puppets: hands up those of you who thought 'wow that'll be really cool if they caught fire. Pity that never happens in real life'). Better still is his attention to his characters' reaction to the goings-on around them.

Admittedly, Johnny turns in a performance as Wonka which is miles off from anything I've ever imagined Wonka to be, but it somehow works in a twisted way. As with the rest of his characters, there's always an air and a layer of vulnerability beneath his outlandish portrayals, but is so subtle that it's almost impossible to catch. Also watch out for the flash of extreme intelligence on his face during the boat ride that flags up the possibility that this is no one-dimensional madman. More so than in the book, we get the feeling that Wonka has planned it all along, from the way his face lights up when bad things happen to the bad kids, and his pathetic attempts to look concerned when he couldn't care less. It takes some getting used to, but when you do, the result is gratifying indeed.

Freddie Highmore's spin as Charlie is sublime, and he is all emaciated sweetness and innocence, whether as a wide-eyed child in chocolate heaven, or as a boy determined to not let one man take his family away. You cannot help but let out a cheer as he wins the little contest that Wonka has come up with. Also noteworthy are the other child actors, with Veruca Salt (Julia Winter) and Violet Beauregarde (Annasophia Robb) having expressions that would put any office bitch to shame. Deep Roy as the stoic Oompa-Loompas is hilarious.

All in, it's another successful Depp-Burton outing, and although the movie does seem to fizzle out of manic energy in the middle, it is quickly picked up again by the cast and carried through every Oompa Loompa song and dance routine (kudos goes to Danny Elfman for another excellent score) with as much enthusiasm and bounce as a Mexican jumping bean.

Roux -- 3rd August 2005

This historical enactment of the debate that went on regarding the finer details of the Final Solution in Wannssee is a sterling example of how efficient movie-making. Recreated from the sole surviving document of the meeting, the movie stars an excellent cast including Branagh as Heydrich, Tucci as Heichmann and Firth as Stuckart.

The film makes one uneasy, what with the endless proclamations of hatred for the Jewish race, and it is chilling to watch men sitting around a table in a so-called civilised setting discussing the finer points of how to sentence millions to their gruesome deaths. It is the methodological process that they employ in their discussion of how best to make it legal and whose Jews should be 'processed' first. It is this element, coupled with the petty nature of their squabbling, politicking and power-play that makes it so fascinating in a morbid way.

Also a joy is the way the film seems to hark back to the days where film-making was about things of a more intimate nature, where a single set was all that was needed, and the entire film held up by superb acting and a strong script. The nagging feeling of horror is never far from the mind, and you just know that the threats Heyrich makes towards each of the dissenters will be carried through. You can also sense the desperation of the men, of how they want to believe they are doing good for something they believed so fanatically in, but finding it more difficult as the war dragged on.

An excellent film overall, a must-see for anybody interested in politics, human interplay,, or the Holocaust. Given enough time, one can even forgive how clipped British tones sound nothing like German.

Roux -- 13th January 2006

One of the films garnering lots of Oscar buzz, it is a powerful story about a British diplomat Justin Quayle (Fiennes) who gets involved in a ruthless conspiracy involving transnational corruption and betrayal as he tries to investigate the death of his beloved wife Tessa (Weisz). He soon unearths the betrayal being meted out to the people of Africa, and is drawn deeper into the quagmire, with disastrous (albeit predictable) consequences.

It is a film beautifully shot, making use of the breathtaking panoramas of Africa and a non-linear storyline that brings across Justin's confusion and pain very well. Moods change with every scene, from the manic, tortured, romantic, playful, to the downright brutal, each charged with so much energy it is breathtaking to behold. Also a joy is the full utility of Fiennes and Weisz, undoubtedly some of the best British talents of their generation.

Yet, if you were looking for the relation to gardening, forget it. It seems to be a feeble attempt to link up with the book of the name, the scenes of Justin busying himself in the garden seeming superfluous and unnecessary. There were times too when it felt as if the movie had worked itself up into a real frenzy without a suitable outlet, leaving the viewer feeling somewhat dissatisfied with the anti-climax that invariably followed.

Minor quibbles apart, it was indeed a real treat, no less because of the gracefulness of the lead couple, and the sensitivity with which it has skirted away from being too politicised or overly sappy.

Roux -- 3rd February 2006

Before I start talking about the specifics, let me just say: this is a stop-animation film. I choose to start of the review with this, as I am completely blown away by the graphics, which look to be either drawn or computer-generated. But no, I can vouch that the puppets exist (I've seen them at the Oxford Street HMV store in case any of you want to worship before that altar), and that they are beautiful. Doesn't hurt too that Victor looks disturbingly like Depp.

Moving on from that bit of gushing, the story is a short one, about how one Victor Van Dort (Depp), the son of a wealthy fishmonger is arranged to marry Victoria (Watson) of the distinguished (but broke) Everglot family. In a fit of nerves, he wrecks the wedding rehearsal and runs into the forest, where he accidentally marries a Corpse (Carter). She then whisks him away to the colourful and boisterous underworld, where he must find his way back to his true love, Victoria.

The story is simple, but has its entertaining moments. Burton-esque moments crop up all over the place, from the ridiculous stereotypes of the upper classes to the gothic darkness that is all-pervasive. Yet, his later fascinations with riotous colours as seen in Big Fish and Charlie and the Chocolate Factory is slavishly represented in the all-singing, all-dancing world of the dead, complete with excellent tap-dancing skeletons. It provides an excellent contrast to the stodginess and greyness of 19th Century England in the world of the living.

Yet, it is the singing and musical numbers that I find somewhat unsatisfactory, and almost Disney-fied. There are good moments, but the film, for all its visual spectacles, appears to lack something that makes Burton's other films such a joy to watch.

Roux -- 19th November 2005

Once again, this is not a happy movie. It is based on the last days in Hitler's (Ganz) underground bunkers, as the Soviet army presses in on Berlin, as seen from the eyes of Traudl Junge (Lara), his last stenographer.

Still a highly controversial and debated topic, it is especially striking that this is a German movie. After all, it is one thing for Hollywood to produce scores of films on the 'terrible holocaust' and the 'evil devil himself', but another for the Germans to attempt a movie about a man they still have a very uneasy relationship with. But the time has come, and it must be said that the matter has been handled with much delicacy.

Of course, it is obvious that the movie attempts to dodge controversy by attempting to evade any mention of the Holocaust, confining its focus on the complete degeneration of a once-powerful man (or indeed men). Once the invincible army starts to fall apart, there are many who take more than a while to come to terms with it, and what a result when they do. There is real desperation in the dingy bunkers and the distant booms of enemy fire, but the delusion carries on, right till the end, when they pull the trigger against their shattered ideals.

Ganz is excellent in his role as the broken, demented Hitler, adding a nervous tic to the great dictator, and is all madness during his rants. One cannot help but flinch at the way he spits and shouts in his disbelief and desperation, banging on about how people die because natural selection dictates that they deserve it. Yet, it is obvious to any casual student of Hitler that the man is nothing but a closet of dichotomies. Thus, any movie about Hitler that ignores how he was probably the first animal-rights activist and a homicidal maniac, a pathological hater of cigarettes but a cocaine addict, will be a pretty pointless movie. So, what's this about an overly-sympathetic portrayal of Hitler? The whole criticism loses its bite, because Hitler was a human (admittedly a really screwed up one) watching his entire world of beliefs crumbling to nought. Same too for the generals and various confidantes around him, who see the complete annihilation and disintegration of their Reich, and if you look at it from a purely academic and/or artistic point of view, you'd realise that moral questions should be asked on a different plan.

At the end of the day, while there might be various reasons for making a movie, to watch Downfall and get carried away by realism would mean to miss out on what movies should be about: being human.

Roux -- 9th October 2005

Another film about the uneasy youth of a Germany torn between Socialism and Capitalism, Jan (Brühl) and Peter (Erceg) are best friends who break into houses of the rich, trashing it and leaving behind their socialist messages. When Peter goes off to Madrid, Jan takes Jule into the house of the man who ruined her life, a rich businessman (Klaußner) who has insisted she paid for crashing into his car. Needless to say, things go wrong, and the trio end up having to kidnap him. Whisking him into the Black Forest, they realise that things aren't always as they seem.

Parallels with Goodbye Lenin are inevitable, given the subject matter and Brühl's participation, but peel away the layers and you realise that it is a film in its own right. It has a clear message about the young growing up to be the very enemy they hate, and the message against capitalism is more than resonant. Yet, it is genuinely funny, with many rib-tickling moments while not forgetting the emotional plays too.

While the 3 young actors are strong in their own right (Brühl showing he can be suitably morose and tortured), it is Klaußner who is the most interesting by far. You start off dismissing him as the fat kidnap victim, but gradually realise that there is more to him than meets the eye, as he starts to empathise with his young kidnappers, who remind him so much of his youth. Especially touching is the scene when he puts on a marvellous show to protect Jan from an inquisitive villager.

It is a film that is highly recommended, especially in the wake of recent more in-your-face political movies that have been churned out; subtlety and tongue-in-cheek rules the day after all.

Roux -- 3rd February 2006

Another unhappy movie, the 2004 winner of the Palm D'or at Cannes is loosely based on the Columbine school shootings which resulted in the death of --- students. It traces a day in the life of various students as they march towards the tragedy being planned by two neo-Nazi misfits.

One of the reasons the film is so harrowing is the director's use of amateur actors with their real first-names to make his point about how anonymous the students are, and how this could have happened to anybody. While I do not claim to be an expert on American public schools, it appears that he has done justice to their world. While some of them are simply trying to get on with it, others struggle to deal with insecurities with their looks, boyfriends, and other important things like sports and photography. Of course, all that is swept out of the window once the killing begins, and things like bulimia seem so trivial compared with that.

While the film has been criticised for being 'slow', the detached, anticlimactic feel is something that teenagers fighting to survive what seems like an endless day at school will identify with.

Also, don't expect to come away feeling satisfied with the movie or to look for answers, because it doesn't bother to come with any. It was (and still is) a pointless and senseless waste of life, and nothing any grim-looking political sleezeball can say about the freedom to own guns being part of the inviolable right of a human will ever change that.

Roux -- 30th September 2005

Perhaps I am being harsh, but this movie by Cameron Crowe will only appeal to you if you're a certain type of person. And the class I am referring to is a very small group. You'll love if it you are 1) A die-hard Bloom fan who doesn't see how he can do any wrong; 2) A die-hard rom-com addict who doesn't care what happens in a film as long as you laugh and the protagonists end up together at the end (oops I just gave away the ending); or 3) A die-hard fan of movies about small-town America whose sole purpose is to showcase how weird and wonderful they are.

The movie centres around Drew Baylor (Bloom) and the journey of discovery he takes to recovery his father's body after his unexpected death in Kentucky (or somewhere down South, anyway). He meets an (extremely annoying) flight attendant, Claire (Dunst) along the way, and hey, romance blossoms. The plot crawls on, outrageous things happen (what was with the screaming child? And don't get me started on the flaming auditorium!) that are completely unbelievable, and I was just about ready to kill Claire by the end of it. Also, why choose a young British actor to play the role of an American discovering what small town America is like? It is the obvious ear out for the ringing on the cash registers that really defeats all integrity in my eyes.

That doesn't mean to say the movie was a complete flop, of course. The cinematography was interesting and even snappy, and I did laugh out loud a few times. Bloom and Dunst were clearly doing what they were told to do, although I don't understand how they thought it would work with the terrible script and completely unrealistic character. What I did enjoy, though, was the phone sequence, which was realistic and yet quirky at the same time. Half of me thinks there must have been some reason for the almost piss-taking exaggeration and overblown characters, but that us mere mortals aren't intelligent enough to understand what Crowe had in mind.

Really couldn't recommend this movie to anybody unless you were a) ridiculously bored, or b) a member of those 3 groups mentioned above. That said, wouldn't you want to witness what has been (rightfully) billed as Bloom's best performance to date?

Roux -- 20th November 2005

Is it a sign of a good show when you stagger away from it convinced that you too are tripped up high on adrenochrome and various other mind-altering psychedelics? The story about a drug-filled crazy spin in the city of sin takes us into the mind of Raoul Duke (Depp) with his crazy lawyer as they search for the American Dream in their drug and booze-filled convertible, the Red Shark.

Perhaps it's just me, but any story about the American Dream is simply going to float right over my head, so what's left of this is a madness that is difficult to come to terms with. Gilliam is clearly a unique director, and one is shown glimpses of his trademark hyper-realistic scenes such as the flooded hotel room which Duke trashed after a particularly manic trip. The saying goes that the film contains every single drug known to man since 1524 or thereabouts, and scarily enough, it's believable. People might have lampooned the movie for having no point, not realising for one moment that it's the utter pointlessness of the American Dream which is being expounded.

Depp is suitably demented, and Del Toro frighteningly psychotic, although there are times when you wonder just what is going through their heads as they pull of another loony stunt. Much as I would like to give a reasoned comment, I cannot help but feel rather out of my element here. After all, all this talk of Gonzo journalism and the mad drug binges is as alien to me as 'Lord Denning specials'.

Roux -- 12th January 2006

Having seen this film more than 30 years after its making, and as one of a generation far removed from the items depicted, the beauty of the film is perhaps more stunning. Brando is Vito Carlone, the Godfather, an ageing Don of his powerful mafia dynasty, desperate to keep his youngest, Michael (Pacino) from getting enmeshed in the deep, dark underworld of crime and revenge. Yet, an attempt on his life and Michael's revenge sets of a string of tit-for-tat attacks forces Michael to step into the shoes of the Godfather, and into it he does with brooding skill, aided by the ever-faithful Tom Hagen (Duvall).

Where do I start my exultations? That the music is haunting and beautiful (anybody who hasn't heard the famous Godfather theme to the dry landscape of Sicily cannot claim to be a movie-buff)? That the plot is one of the best ever brought to screen so far, cramming an entire lifetime into 3 hours at a time when audiences weren't demanding 180 minutes of Legolas shooting Orcs? And of course, who doesn't know the chilling lines: 'I'll make you an offer you can't refuse'?

Brando deserves every inch of that Academy Award he received for his work on the film. From the start, he is menacing and composed as the leader of his empire, but at the same time strangely humane for a man who goes about ordering the demise of people who have offended his poor godchildren, but at the same time adamant that war-hero Michael does not get drawn into the fray. After his attack and his second son Sonny (Caan)'s death, he is a broken man, haunted by his past, and reduced to babysitting his grandchildren while Michael carries out the business. Pacino too goes through his own journey, as the somewhat callow youth just returned from the war, down to the tormented, chased youngest son of the mafia don, and finally emerging cool and composed, the new Godfather with everything under his thumb. Caan and Duvall more than hold their own against these two giants, although Keaton is consigned to the unfortunate role of long-suffering wife.

Drawing together these strands is a plotline any director would kill for. There is so much behind the film, bringing together disparate themes like the family, the loss of innocence, the power of love, the self-made migrant, honour amongst thieves, and most importantly, the passing on of the torch to the next generation. Try to fit that much into any other film and immediately one gets whiplash, but within the world of the Carleones, it works beautifully.

It is true then, that even with the increased expectations of movie goers these days, this film still stands out as being a strong contender for Best Film of All Time.

Roux -- 27th January 2006

I will start off with saying that I begrudged the 3 hours of my life I spent in the cinema. This was without doubt one of the weakest scripts I have come across in the cinema for a very, very long time. Taking place in Harry's (Radcliffe) 4th year at Hogwarts, he comes under threat by a returned Lord Voldemort (Ralph Fiennes in an excellent performance) and yaddah yaddah yaddah.

Forgive me for being so disparaging, for after all, the source material was 734 pages long, and editing it would have been no mean feat for anybody. Yet, why were completely irrelevant parts like the World Cup left in? I acknowledge that the visuals and the concept itself was stunning, but was it at all necessary given the time limit? On top of that, character development was next to non-existent, and the audience is often left feeling whiplashed and confused as to why the beautiful people on-screen are reacting the way they are without precedent nor consequence.

There are, however, redeeming factors, as the acting (with the exception of Watson's being criminally wasted) has improved in leaps and bounds. Grint in particular shows himself to be a promising actor. Also, the direction and music are of note, and the team has finally learnt how not to use CGI *coffdobbycoff*.

The verdict: only watch it if you are a die-hard Potter/Radcliffe fan who has 3 hours to spare at the cinema. Otherwise leave it running on the telly when the time comes as you struggle with juggling your books that refuse to be balanced.

Roux -- 10th December 2005

Before a proper view on the movie can be taken, a little rant on dubbing is warranted. Why is there the need to dub every single foreign-language film in sight? Surely those billions spent on education means the majority of movie-goers would be able to read? One of the beauties of watching foreign films is the sound of a language one does not understand.

Anyway, back to the movie. After having waited more than a year, it seems Britain is finally ready for the latest offering from Ghibli. And what a worthwhile wait it has been! After the disappointment of The Cat Returns, Miyazaki is back at the helm with a rich, layered, and beautiful offering. Based on the children's story by Dianne Wynne Jones, the movie is about how a young girl, Sophie (Mortimer) is enchanted by a witch for getting involved with the gorgeous sorcerer Howl (Bale), and is turned into an old lady (Simmons). Ashamed by her oldness, she leaves home and is swept up into the magical world of Howl, taking up the post of cleaning-lady in his castle. Meanwhile, the King has summoned all the sorcerers to help him in the terrible war, and it is all Howl can do to resist it.

As usual, the animation and colours are amazing, and the storyline is intriguing. Using an old lady as the protagonist for more than half of the movie brings about a refreshing change, even as it becomes obvious that the audience is being primed for a love story. Sophie as an old lady is gutsy and three-dimensional, although she does fall flat as the helpless young girl. Howl is a hoot and a darling, the usual side-kicks are present in the side-splitting form of the fire-demon Calcifer, Howl's assistant Markl, a lazy dog named Hin for the sounds he makes, and the enchanted Turnip Prince.

What really catches the imagination, however, is the world that Miyazaki has created. Sophie's hometown has his signature blend of Central European with Japanese influences, while the castle itself is a grotesque being that has a life and off-kilter character of its own. Even the wastes are beautiful in a desolate way, and Howl's special place of solitude puts the Lake District to shame.

Yet, the movie isn't Miyazaki's best. Leaving aside Disney's take that Americans (indeed English speakers in general) are too illiterate to read subtitles, the story takes a while to warm up, and there are gaps in the story that aren't addressed (why did the Sorceress end the war again?). Too much of it remains unexplained, and the clever spin that Sophie is able to control Calcifer because she is the only one able to control Howl's heart is too saccharine for my liking. One also cannot help but feel that the increasing number of cute little side-kicks shouts 'Disney!'.

In spite of my nitpicking, I believe it was a wonderful movie, living up to the Ghibli name that has become synonymous with exacting standards.

Roux -- 3rd October 2005

In spite of what the artistic types might claim, there is room in the world for brainless, mind-numbing action flicks, and The Island is indeed one of them.

Set in the not-too-distant-future, two clones Lincoln Six Echo (McGregor) and Jordan Two Delta (Johansson) find the truth about themselves, and decide to make a run before they go under the knife to have their organs 'harvested'.

Indeed the movie is filled with glitzy special effects and maybe 237 too many cars being blown to bits, but it's actually watchable. Yes, it is predictable, and the number of times 'RUN!' is shouted does get on your nerves. However, if you sit back and relaxed, the future it paints is one that is realistic. Breath-taking panoramas, and face-clutching special effects abound, as do vague attempts at philosophising from time to time.

What is fresh about the movie is the casting on two non-conventional action stars, neither of whom seems to have any difficulty fitting into the flick. Gone are the days of Obi-Wan Kenobi's pained expression as he tries to act with a blue screen, and it is good fun to watch Lincoln meet and fight his sponsor. The real star of the show, however, is Sean Bean in his turn as Merrick, the evil British villain, intent on milking all the money the rich and famous have got to spend on their wild stab at immortality. His bespectacled and soft-spoken demeanour hides a foreboding presence that is unleashed in the climax -- and it is always a joy to watch Bean go mental.

Another Hollywood popcorn no-brainer (for want of a better description) that deserves a chance. Who knows, you might actually come away with a few thoughts or two.

Roux -- 20th July 2005

Mendes's latest offering is impressive. It is a story about the first Gulf War, yet it is the training sequences which are horrifying, and the absence of actual battle scenes which make its impact. Following Swofford (Gyllenhaal) as he enlists with the Marines and gets shipped off to Iraq for Desert Storm. As the days drag by, the Marines find themselves trapped in sweltering heat, oppressive boredom, and an inevitable sense of expectation that they will soon be plunged into conflict.

Gyllenhaal is clearly a talent to watch, as he handles his scenes with delicate nerve, swinging from moody to scared to mental as the waiting starts to take its toll. He is supported by a strong cast including MacDonald and Sarsgaard. It is, however, Foxx who, as Staff Sergeant Sykes stands out with his ability to convey murderous intent with one glare and yet be concerned about his men at the same time.

Its scenes are set to an excellent soundtrack that propels the movies forward, and most notable is the one when the Marines come upon the burning oilfields, having been so set by the retreating Iraqi troops. While many films try and fail to bring out the human element in a war scenario, Mendes has ensured that his piece succeeds just by taking a step back to offer a glimpse into what happens before a conflict.

Absolutely powerful stuff, whatever your views towards war, and definitely worthy of a couple of watches.

Roux -- 8th March 2006

For those who complain that they did not like the movie, may I suggest one thing: don't complain until you have properly understood what the movie is about. Many reviewers turned their noses up with the criticism that 'debauched has been done better before'. But that is scarcely the point of the movie, as it is not a story about how wild sex but instead the disintegration of a soul, a story of a dying man.

Originally a play, this movie chronicles the last days of the 2nd Earl of Rochester (Depp), favourite of Charles II, following his rise and eventual death at the age of 33. Here is a man who has never known peace with himself, who is deeply talented, but hates himself for being so. We see a little bit of ourselves in Rochester, and despite his brave proclamations of being detestable, one cannot help but start to live with him and feel for him. The story meanders a fair bit, and patience is very much recommended as the movie enters its second hour, but it does pick up again towards the end, especially as it all starts to fall into place.

Who better to play the fragile soul who enjoys presenting a cavalier attitude to the world than Depp? Every flutter of the eyes, every tilt of the head suggests a reason behind it, and his eyes (even after they start to dim) have never been more expressive. Depp layers on the make-up on the outside, the conflict on the inside, and the result is a painfully conflicted man with everything to lose and much to cry about. Credible performances are also apparent from Morton, Malkovich and Pike, but they are hardly given room to flourish given the script.

Of note too is the interesting use of candlelight for a grainy, gritty effect, abetted by the morose landscape of the Isle of Man, bringing to life Restoration England. The score is also strong, adding to haunting wispiness that surrounds the film.

This was without doubt one of the best films of 2005, criminally overlooked and bashed by the critics. Subtlety sometimes does prevail over dramatic displays of emotion, and seeing a man fall to pieces on screen is never easy, not especially when all of us would be able to find a piece of ourselves in the life and eventual death of Rochester.

Roux -- 11th December 2005