Film Reviews by JD

The idea of living life backwards is novel and interesting. Lots of facets of this are explored but the plot does feel a bit thin in parts. Brad Pitt is one of the best action adventure hero actors of our time but doesn't really carry off more complex roles. The make up is good in parts but two scenes in particular are quite poor (you can definitely see the join). Worth watching but not transfixing.

Delightfully eccentric film about a lad with a preoccupation with suicide. There are memorable scenes of his suicide bids, the first being the most shocking and subsequent attempts getting more comical. The style of acting and direction are dated and for my taste distant and impersonal. Some of the plot is unexplained. The unique humour is the outstanding feature which remains quirky and enjoyable throughout.

Steve McQueen is just fantastically cool there is no modern day equal. The filming has a nostalgic quality, difficult to pinpoint exactly, possibly the lighting or the lack of reliance on hand held jiggling to simulate action, but it gives the action a more personal, measured and sophisticated air. The dialogue is clear crisp and neat. I wouldn't cite the car chase as particularly memorable, more the characters and the feel of the film.

Lots of bits and pieces. All have the warm glow of nostalgia and some justly deserve a fond chuckle of an innocent uncomplicated era of comedy. Other bits are really quite thin. For me the best bits include Peter Sellars wrestling with Hattie Jacques, Les Dawson with Eric Sykes and the handcuff sketch.

Most of the famous names in the cast make token appearances. With Bill Oddie this is a merciful release (probably the most over-rated comedian ever), with Jimmy Tarbuck all too brief. The script is dreadful. I don't think it is its period (1967) just a sketch idea drawn out to a full length film. There is one good visual joke which is done by Roy Castle. Sykes has done much better stuff.

It has to be crystal clear before viewing this that it is about a French monastery where silence is the general rule. With this expectation it is a sensational film, brimming with such intense devotion and spirituality that even an atheist was moved. The film has many 8 second scenes depicting the soulful lives within the monastery, which once truly immersed, are in fact not long enough. It is definitely not a film for dipping into. All or nothing. It lived with me for many days and makes me calm whenever I remember it.

Robin Williams has brilliantly played dark roles before so I shouldn't be so amazed at his acting versatility but he is incredible again. For this alone worth watching. The plot has an ending which is only predictable shortly before it is unfolded. The film however is slow, unremarkable and could easily be improved. Needed the direction of Mark Romanek from One hour photo.

Most of the film is set in a transvestite cabaret club. There are several camp sing and dance routines which rival Birdcage for gaiety. It is considerably less amusing than Birdcage however relying considerably on the farce of women pretending to be men pretending to be women. The salvation of this film is the acting talent of David Duchovny who gives this film real interest and emotion and plays the pivotal role between the dazzling duo and the San Francesco queens with a contrasting skill.

Why does one watch a DVD? Sometimes there is an element of emotional escape from the unpleasant realities of life, sometimes an element of being entertained, sometimes to inspire or explore feelings. It is not in my opinion to be reminded of the most unpleasant things, bullying, fear and intimidation. These can be used to contrast or emphasise, or can be stylised. To have them in a bleak setting , with a dower plot, violently and grindingly portrayed is not why I watch a DVD and so after an hour I stopped.

Centred on the alienisation of a pubescent Jewish girl this film also looks at the effect of cold parenting. I didn't find the observations either perceptive or well portrayed. Descibed as a comedy / comedy drama examples include rolling a sock down as a symbol of rebellion and her brother's transition in devout Judaism because of a change of schools. Didn't really impress me but I suspect the target audience is girls; they must have been very disappointed with the censorship which stops their intended audience watching.

This is an absolute classic cracker. It is typical 1957 stuff. A bit "stiff upper lip chaps" and slightly swaggering acting but I defy anyone not to feel the need to whistle colonel bogey and feel a warm glow of unfounded optimism. The whole feel is different to modern cinema, I felt much more character to this film and a less calculated progression of the plot. You might need a cold one standing by; the tropical heat is tangible.

An unexpected gem. This is well worth watching. One of Clint's less famous films but I would say his best. The female boxer Hilary Swank is very endearing and her struggle to achieve recognition is enveloping. I found some of the closing scenes extremely emotional and have rarely finished a film so drained of emotion. All the characters are underachievers and all full of unstated passion. How these three (Freeman is particularly understated) manage to covey so much so quietly I can only admire.

There are so many scenes which have become etched into film fable. Without question in the top 5 most famous American detective action dramas. Some of the scenes I remember have been clipped possibly for violent censorship reasons. The baddie is the most detestable I have ever seen and Clint the most heroic goodie. I watched it mainly for the famous bits particularly the "punk...." scenes, but some bits are a bit incidental and slow.

There can be no one on earth who does not know this western. I found the poor synchronisation of sound with mouth movement annoying. I remember it being so when I first saw it. Can't it be realigned in this era of high tech? By modern standards the special effects (sun-burn for example) are a stretch of the imagination. For a cowboy fan though, there can be no greater classic. This is the film for those with a wild imagination and new pair of spurs.

Redford and Hoffman are at the top of their game. The determined effort of these two to trick tight prise information out of the committees of the Whitehouse leaves a feeling of frustrated admiration. It is utterly immersing. There have been so many imitators since that you forget how brilliant it was.