Mubi Monday: The Secret Agent (2025)

Knowing the praise and awards recognition it received throughout the past year or so, I went into The Secret Agent with a few expectations. I'm pleased to say that it still managed to surprise and impress me, and there may be quite a bit more to it than you've already heard.

It's 1977, Brazil. Wagner Moura plays a man forced to change his identity and keep himself relatively hidden away. He was once a professor, but has found himself caught up in something that puts him seriously at odds with people who have power, money, and the means to dispose of anyone resisting them. That's really all you need to know about this.

Written and directed by Kleber Mendonça Filho, who always impresses me with his features while never really doing as well in his short films, The Secret Agent is a masterful look at the ingenuity and connections of people doing their absolute best to survive, and fight back against, any dangerous regime that makes use of co-opted military and corrupt police forces to persecute those who find themselves marked as an enemy simply because of their opposing ideas. It has a gorgeous texture throughout that keeps viewers very much grounded in the time and place, and makes great use of Moura in a role that could very convincingly be chosen as his best yet (from his movie roles anyway).

Moura is impossible not to root for, helped by the fact that his character seems intent on trying to do the right thing without endangering too many others around him. He's cautious, but ultimately tries to live a normal life in extraordinary circumstances.  Luciano Chirolli is very believable as one of many bad men who isn't used to things not going his way, Robério Diógenes is the kind of corrupt authority figure who believes he is a friend to many, and others trying to maintain a strong resistance are played by Tânia Maria, Maria Fernanda Cândido, and Hermila Guedes.

The 161-minute runtime may put off some viewers, but it never once felt as if it dragged. This is a film that carefully guides viewers into territory that becomes increasingly dark and dangerous, allowing them to acclimatise to the way life is lived by those onscreen, and then keeps offering small slices of hope even as things become more dangerous.

The structure shows the importance of keeping history known, and how we have to rely on the people who work hard to connect all of the dots and dive deeper into family histories and personal stories that intersect with crucial moments of political strife, to put it midly. It's a look at state-sanctioned violence that inevitably leaves scars across at least one entire generation, but it's equally a look at the light sometimes so hard to make out when it's at the end of such a long tunnel. And it has moments involving a dismembered leg that will have some scratching their heads, but it all makes complete sense if you know about the time period, or if you do a bit of research once the film is over. I did the latter, and am glad that I did.

I might not think to rewatch this often, especially considering the extended runtime, but if I ever do . . . I'll enjoy it just as much, inspecting every sequence for more details and nuances that help to make the whole thing feel absolutely authentic without ever dulling the brilliantly cinematic storytelling on display.

9/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews

Netflix And Chill: FeardotCom (2002)

A film from the early 2000s that is all about a criminal apparently making use of the internet to ensnare victims, Feardotcom couldn't date itself any more if it tried. It doesn't help that it is helmed by William Malone, an inconsistent director who also gave us the fantastic remake of House On Haunted Hill and the sheer lunacy of Parasomnia. Malone likes to deliver films that have moments full of quickly-edited disturbing, sometimes mind-bending, imagery, and this is no different. It's just not as good as anything else he's done.

The basic plot concerns a killer (played by Stephen Rea) who is may or may not be infecting people with the help of a very dangerous website. Stephen Dorff is Mike, a detective who wonders why this killer is using the same method that led to him previously being caught, and Natascha McElhone is Terry, an employee from the Department Of Health, involved in the case because the first one or two victims have show initial signs of a virus being the cause of their deaths. With it being revealed that every victim ended up visiting www.feardotcom.com before they died, both Mike and Terry make the absolutely logical and sane decision to, ummmmm, visit www.feardotcom.com, which leads to dangerous hallucinations and paranoia. Can they keep themselves focused enough to catch the killer? MAYBE it would have been easier if they hadn't logged into the fucking website that seems to have killed off everyone else who visited it.

I have nothing good to say about FeardotCom, and this review could have easily been one profanity-laden stream of consciousness. The performances aren't great (Dorff is okay, McElhone has often just been a bit dead-eyed in her performances, Rea is aiming for a career low, and Jeffrey Combs is sorely underused), the visuals are downright ugly throughout, and the plot is just as ridiculous as anything churned out most months by The Asylum. I'm not surprised that this was the last feature script from writer Josephine Coyle, even if she was "helped" by a couple of other people, but I am surprised that anyone had the sheer nerve to give Malone a "Masters Of Horror" episode just a few years after this. Parasomnia currently stands as his last feature, and maybe that is for the best.

I have struggled to think of one thing positive to say about this, to end on a moderately upbeat note, and I have come up short. Even the Udo Kier cameo is far too short, while other supporting players who get a bit more screentime aren't as memorable. I quite liked the small role for Amelia Curtis, and her character gets to have what may be the only decent scene in the whole film, so I guess that will be the silver lining to this huge cloud. Feardotcom = worth struggling through if you're a REALLY big fan of Amelia Curtis. Everyone else should avoid it like the website at the heart of the plot.

2/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews

Puppet Master: The Littlest Reich (2018)

Although it absolutely perverts the essence of the characters that fans of the series have been invested in from the first movie, to varying degrees, Puppet Master: The Littlest Reich is a wonderful return to form for the series, and a fantastic way to reboot things after the tailspin of the past few years. Purists may balk at the puppets, and Toulon, now being on the side of the people they battled, and tried to stay ahead of, for so many years, but I would advise you to just get on board with the new direction and have fun. Because if this film has any purpose, it's to deliver fun.

Thomas Lennon is Edgar Easton, a man recovering at home with his parents after the end of his marriage. He finds a puppet in a box of belongings that used to belong to his younger brother, now deceased, and realises that it may be worth money. This leads to him heading along to a major auction, with a new lady by his side (Ashley, played by Jenny Pellicer), and his friend/boss Markowitz (Nelson Franklin). Unfortunately, so many of the puppets in the same place mean that things are, almost inevitably, about to get bloody and dangerous.

This is, arguably more than anything else, a reward for viewers who have stuck with the series through the many ups and downs. The script, by S. Craig Zahler, may not be as witty or smart as he possibly wanted it to be (although who knows what he was aiming for when crafting a Puppet Master script, it's not really the place to show off your best work), but that doesn't matter when the puppets go into crazy killer mode, the blood starts flowing, and everyone tries to figure out just what the hell is going on.

Directors Sonny Laguna and Tommy Wiklund, familiar to horror fans who previously enjoyed Wither and Animalistic from them, do enough to ensure that viewers know who everyone is, and where they are in relation to the carnage, even in the most hectic sequences (and there are a couple of wonderfully over the top bloodbath moments). Once the gratuitous gore and nudity appears, it then becomes a constant factor right up until the end credits, with a lot of impressive practical effects bringing the wilder script moments to life.

Lennon looks a bit out of place in the lead role, but he doesn't do a bad job. I'm just so used to enjoying his comedic performances that it felt odd to see him in the midst of this (particularly THIS series). Pellicer is a fun female co-star alongside him, and Franklin gets to play irritating, while staying just tolerable enough to make him someone you root for in the second half. Udo Kier is our Toulon this time around, and he does well with a very different portrayal of the character, Michael Paré is a cop with no time for any of the nonsense he sees around him, and both Charlyne Yi and genre favourite Barbara Crampton do well in supporting roles.

If you've made it through the previous eleven movies then you'll welcome this like a cool drink of spring water after a journey through a scorched wasteland. If you're some casual latecomer then, well done, you can jump in and enjoy this as a standalone film. And everyone who made it through every previous instalment will glare at you with an expression of judgmental resentment and anger.

7/10

You can buy the movie here.
Americans can buy it here.

Johnny Mnemonic (1995)

Johnny Mnemonic is a pretty silly movie, in both the plotting and the way of so many '90s movies showcasing the future of technology, and I can't help but love it. It has some interesting ideas in the mix, a great cast, and a wonderful vein of dark comedy running through it.

Keanu Reeves plays the title character, a courier of sorts. He does jobs that involve data being stored in his head, delivered to someone who has the code to retrieve it. In need of a decent sum of money to retrieve memories that have been wiped for his work, in what seems like a bit of a vicious cycle, Johnny agrees to make one final delivery run, and it's one that will take up a lot more space in his head than he is used to. It's also a very precious bundle of data, so precious that he ends up being helped in his journey by a kickass woman named Jane (Dina Meyer) as he tries to stay one step ahead of various people who want to cause him harm, with a number of them literally wanting his head.

Written by William Gibson, who adapted his own story, Johnny Mnemonic can be described as many things, not all flattering, but it's never dull. The dialogue may often be slightly risible, with one or two notable exceptions, but this is a film that strives to do what it can on the budget to realise a near-future world and have fun with the main concepts.

Director Robert Longo, who gave us this as his one and only feature (to date), does a decent job of keeping everything in line, tonally, with the script. Silly moments abound, some intended and some not, but at least the whole thing doesn't devolve into a collage of music video moments, which is all the more impressive when you look over Longo's back catalogue of music video work. The action isn't ever as good as it could be, and a couple of big reveals in the third act just feel mishandled, but I really don't see why people view this as a BAD film. Okay, that's not true, I can see why the view it that way, I just don't understand why they can't overlook the failings to enjoy something so clearly interested in providing fun entertainment for viewers.

Reeves isn't doing his best work but he's just fine in his role, even when delivering some of the worst dialogue in the script. Meyer fares better in her role, as do most of the other supporting cast members, including Udo Kier, Takeshi Kitano, Ice Cube, Dolph Lundgren, and a typically ranty Henry Rollins.

Highlights include Lundgren attempting to steal his few scenes, a third act reveal that will have you either chuckling and staying on for the ride or wanting to check out immediately, a dangerous villain with a thumb attachment that unleashes a laser garrotte, Udo Kier enjoying moments that allow him to be full Udo Kier, and (while watching it nowadays) an amusing naiveté inherent in so many sci-fi movies from the past few decades when it comes to trying to showcase the technological marvels that were supposedly coming along some years from now.

I can't seriously recommend this to people, yet I wholeheartedly recommend it to everyone. Give it a go. If you end up hating it then at least the runtime is just over the ninety-minute mark. But I hope you learn to enjoy it as much as I do.

7/10

You can buy the movie here.
Americans can buy the movie here.

Mubi Monday: Suspiria (1977)

It may seem paradoxical to say so but I've always thought that perfect films don't have to BE perfect. They just have to work perfectly for you. If you want to recommend Kangaroo Jack as your favourite film, and you genuinely see it as a perfect film for you, then it's a perfect film, despite the imperfections. I know that Jaws isn't a perfect movie (although, come on, it's nowhere near as imperfect as a Kangaroo Jack) but it is to me. It's my favourite film of all time, no matter how many scenes show how fake the big shark can look, or how the underwater footage rarely matches the supposed size of the "real" creature. It just doesn't matter. I am drawn into that film from the opening moments and I am absolutely wrapped up in the entire experience until the very end of the end credits.

That opening paragraph is a long-winded way to avoid upsetting people when I start saying that a lot of individual elements of Suspiria are far from perfect. The acting isn't great, even from the beloved leading lady (Jessica Harper), the script is a load of codswallop at times, and there's very little logic to be had for those who need such things. Not that any of that matters. Suspiria still manages to be a perfect film because it's a phenomenal marriage of sound and vision that contains at least two of the best set-pieces in the genre (one being the very opening sequence).

Here's the plot, for the little it matters. Harper plays Suzy Bannion, an American woman who turns up to attend a prestigious dance academy in Germany. She soon starts to realise that the place is a bit odd, and other girls start to disappear (due to them being killed by mysterious, unseen, forces).

Written by director Dario Argento and Daria Nicolodi, the script may not be all that memorable when it comes to the dialogue but it works well when hinting at the Three Sisters mythos that Argento would also use for some other movies. And the words come second to the visuals, which are no less than stunning.

Eye-searing reds complement deep blacks, whether it's the decor or the bright blood spilling out of victims. You get other colours too, but it's the reds that imprint themselves on the mind most vividly. This is such a gorgeous movie that, yes, almost every frame could be removed and hung up as a painting. It's one of the most beautiful movies you will ever see and easily remains the most gorgeous horror movie ever painted on film.

Then you have the audio work, layering on the atmosphere and chills. That classic score by Goblin is every bit as good as you've heard it is and the sound design throughout is flawless (not counting the dubbed dialogue), from footsteps being listened to by lead characters to breathing emanating from invisible observers, making it seem like the building itself is the main presence, and the moments that feature shattering glass and pierced flesh.

If you have still not seen this then change that as soon as possible. If you recently saw the remake and thought it better than this then I encourage a revisit. You may still prefer the new take on the material but it's worth reminding yourself of just how absolutely gorgeous and chilling the original is.

10/10

You may want to shop around, but here is one disc version of the film.
Americans can pick up this edition.

Prime Time: Brawl In Cell Block 99 (2017)

My brain works in mysterious, and usually successful, ways. Not for the benefit of anyone but myself, but it's really only myself that I care about when it comes to the movies. I don't mean that I am a completely selfish git, although at times I am, but I mean that I am the only one I want to spend time with, initially, when considering movies, and formulating my opinions on them. Well . . . unless my wife is beside me, and then we bounce ideas off one another. More importantly, my brain SEEMS to know when I am fully settled on my opinon, and also when I need more time, and perhaps another viewing, to really nail things down.

I first watched Brawl In Cell Block 99 some time ago, and I absolutely loved it. I was ready to rave about it, I was ready to give it a very high rating, and I was ready to tell everyone that Vince Vaughn had finally realised the potential that I'd seen in him in films like Clay Pigeons and, yes, the Psycho remake. But my brain did its thing, and kept me quiet for a while (about this film, I am rarely as quiet as anyone would like me to be).

Revisiting it very recently, I am first going to say that I would not have been unhappy to share my initial thoughts. It's a superb film, with writer-director S. Craig Zahler giving viewers some of the finest exploitation fare that we've had in some time. It may have the budget and star power separating it from true grimier and grittier films but it has the sensibility of any number of low-budget gems that show someone on a bloody and violent quest for revenge. It also does it all without the need to constantly wink at viewers and overtly reference all of those other movies (a la Tarantino, not that I dislike that approach from him).

Anybody waiting for a brief plot synopsis . . . that was basically it. That's all you need to know. This is a revenge film, and it's one that has a lot of broken bones and general trauma.

The cast includes Jennifer Carpenter, who does well with her relatively small amount of screentime, Don Johnson, who continues to enjoy his recent resurgence, Udo Kier, and Marc Blucas. Dion Mucciacito is a main baddie, but he's less important than all of the obstacles in between him and our "hero". And that "hero" is the standout. I stand by the praise I wanted to heap on Vince Vaughn when I first saw this. Having coasted along in comedy roles for a number of years now, it's almost a revelation to be reminded of how good Vaughn can be, especially in a role that doesn't let him settle into his usual, quick-talking, cocky persona. Vaughn is one scary beast of a man here, believable as someone with the strength and just enough smarts to be one of the most dangerous individuals you could end up tangling with.

Having heaped all of this praise on the film, is there anything it gets wrong? Yes. Not much, but enough to drag it down a bit. It's too long, for one thing, although it never felt to me as if it dragged. I just can't help thinking that this could have been whittled down to just under the two hour mark. It also peaks a bit too soon, because once viewers have been shown just how graphic and nasty things are going to get there's something a bit anti-climactic about the rest of the scenes that continue to heap on the extreme violence.

If you have the stomach for the content, and for giving Vaughn another chance, then Brawl In Cell Block 99 is HIGHLY recommended. I really liked Bone Tomahawk, also by Zahler, but I like this one just a bit more. I'm already looking forward to what he's giving us next.

8/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Downsizing (2017)

The latest film from Alexander Payne, who directed and co-wrote the script with Jim Taylor, is a very odd piece of work. In fact, it seems as unsure of itself as the main character, messily mixing together a sense of fun with some mixed messages about the way in which the human race can best move forward while attempting to undo the harm it has caused to this planet.

The basic plot revolves around the fact that science has perfected, pretty much, the ability to shrink things. Materials, products, even humans. And not only is that great for the environment, it can allow the humans to have a better quality of life. Which leads to Paul Safranek (Matt Damon) and his wife, Audrey (Kristen Wiig), wanting to give it a go. Things don't quite go to plan, and Paul finds himself in the downsized world with a telemarketing job, a fairly lonely life, and a sense that he isn't doing all that he wanted to do, despite not knowing what that is. An encounter with his more carefree neighbour (Dusan, played by Christoph Waltz) starts to open his eyes to ways in which he can improve his life, and the lives of others in the smaller communities.

Despite good performances from everyone involved, with Hong Chaun portraying the other main character not yet mentioned (a political activist who was downsized and now works as a house cleaner), Downsizing just can't overcome the fact that it is lacking focus. The opening sequences of the film show a sense of wonder, while also showing the division that also comes about from such major social change. The middle shows Damon adjusting to his situation and has a bit of fun with the fact that he is, ironically enough, still not thinking of the big picture. And then things get looser and more meandering as we move towards a finale that feels unsatisfying and, well, lacking any real impact or risk.

The script tries to get viewers to look at moments that it deems meaningful and important, and Payne directs in line with this, but it doesn't ever feel as if those moments really deserve the attention they get. And that's a shame for the likes of Damon, Waltz, and Chaun, all acting above and beyond the limitations of the whole thing. There are also enjoyable small turns (no pun intended) from Udo Kier, Jason Sudiekis, James Van Der Beek, Neil Patrick Harris, Laura Dern, and more. It's also a shame that the visuals aren't allowed to be as dazzling and impressive as they could be. This isn't a film about being shrunk down and looking at the giant world around you in awe. It's a film about being shrunk down and living in an environment that often matches that. But there still could have been one or two more moments that emphasise the wonder of it all.

As it stands, Downsizing is a lesser film from Payne. It fails to live up to its potential. Ironic.

6/10

Here is a link to order the American disc.

Surviving Christmas (2004)

Surviving Christmas is one of those movies that has a lot going against it. It starred someone that people loved to hate (Ben Affleck), it didn't do well when it was finally released (ten months later than originally planned to avoid it clashing with Paycheck, another star vehicle for, yep, Ben Affleck) and it was shot without a completed script. That's why I was surprised that for the first half hour or so the movie was fairly enjoyable. I had a couple of laughs and I liked the premise. Then it started to pile on more "comedy" and more and more and everything began to slide and fall apart like some kind of spaghetti tower under a warm stream of water.

Affleck plays Drew Latham, one of those handsome and happy self-made millionaires that only ever exist in the movies. After a wake-up call from his girlfriend (Jennifer Morrison), he is set to spend another Christmas on his own. Not really happy about that, he instead decides to offer a family a LOT of money if they allow him to spend Christmas with them. They live in the home that he grew up in as a child so it will be a way to relive some happy memories and remember what he once loved about family and loved ones at that special time of year. Inevitably, tempers fray, secrets are revealed and there are some scenes of a farcical nature.

Let me start by praising most of the cast members here because the cast is the best thing about the film. Affleck doesn't do great so those who hate the guy onscreen won't be won over. To be fair, he's stuck in one of those comedies that works under the mistaken impression that the lead character is always funnier if he's louder and more energetic than everyone else. That's not the case. Please stop thinking that it is. The rest of the cast, however, fare a bit better. James Gandolfini, in particular, is great as the grouchy head of the family trying to grit his teeth and think of the money he'll get for enduring this Christmas. Catherine O'Hara isn't too bad either though she's not given much to do with the obvious exception of a hilarious photoshoot that places Udo Kier in the role of quirky photographer. Josh Zuckerman is okay as the morose teenage son, Christina Applegate gets stuck with a lot of the worst moments in the movie due to the fact that she's the daughter and possible . . . . . romantic complication and Jennifer Morrison tries her best to be more than just a plot device.

The story may have originated with Deborah Kaplan and Harry Elfont but at least two other writers are credited with getting the script finished. That becomes more and more apparent as the movie progresses and then hits viewers over the head with a horribly clumsy and unbelievable third act.

Director Mike Mitchell should also shoulder some of the blame but there are times when he hits the easy notes with precision (the soundtrack, early exchanges between Affleck and Gandolfini and a few other decent moments) so maybe it all boiled down to those script problems. After all, his next movie was the very enjoyable Sky High. Oh, what the hell, in 2011 he gave audiences Alvin And The Chipmunks: Chipwrecked so, yes, let's just give him as much blame as the writers. He clearly has no moral compass.

Surviving Christmas is not entirely unenjoyable but it certainly tries hard to be. Casual viewers who flick through their TV channels and find that this is playing over Christmas would be well advised to watch it up to the halfway point and then turn it off before the rot sets in.

4/10

http://www.amazon.co.uk/Surviving-Christmas-DVD/dp/B000BNT96C/ref=sr_1_1?ie=UTF8&qid=1355437656&sr=8-1

Iron Sky (2012)

If you have an interest in movies that are a little removed from the mainstream, if you love b-movies and horror and sci-fi films as I do or if you just keep up to date with any release that quickly builds up a fervent fanbase then you will have heard of Iron Sky. If the name doesn't ring a bell then you may have heard it dismissively described as "that mad film about moon Nazis".

What you may be unaware of is just how well Iron Sky mixes the ridiculous and the dumb with a healthy dollop of smarts and satire. It is, in many ways, stupid and it knows it. Yet it also knows just how to wring the most laughs from the concept while also delivering some fun action moments and poking fun at world politics and the global leadership assumed by America in a way that would please Trey Parker and Matt Stone.

The plot is deceptively simple. We can go back to the phrase "that mad film about moon Nazis". When a couple of astronauts land on the moon and have a look around they find a whole bunch of Nazis living quite happily there while they prepare for the day when they will return to Earth as an invading force. The Nazis are quite shocked that one of the astronauts is black (James Washington, played by Christopher Kirby) and don't realise quite how much has changed in their absence. Mr. Washington has actually been sent to the moon by a female president (played by Stephanie Paul) who has used the slogan "Black to the moon? Yes we can" and that same president is about to get a big surprise thanks to the mission. A surprise that she may be able to spin to her advantage, thanks to the help of her assistant Vivian Wagner (Peta Sergeant).

Iron Sky is also well known to many people today because of the fact that it used crowdfunding to get more than 10% of the required budget. This may lead viewers to expect an amusing movie that can't help looking cheap but nothing could be further from the truth. Considering the relatively low budget, every penny has been wisely spent and almost every frame looks gorgeous. The plentiful visual effects are nicely stylised and very, VERY well done.

Thankfully, the fact that the special effects actually LOOK special doesn't mean that the cast members were a secondary concern. From Kirby as the traumatised astronaut to Paul as the president to Sergeant as her assistant and Gotz Otto and Julia Dietze as the two main Nazis who initiate contact with Earth - everyone does a great job, playing it relatively straight but keeping the tone of every moment just right. There's also a small role for Udo Kier. As well as giving decent performances, I have to mention that Peta Sergeant and Julia Dietze also have the advantage of being very attractive to look at. As I'm sure Gotz Otto is, from the female perspective. Why do I have to mention that? Well, it's just to forewarn any red-blooded males who are about to watch the film that they may want to try to contain their excitement while viewing a woman onscreen who is, don't forget, wearing a Nazi uniform.

Timo Vuorensola is the director and he also wrote the movie, albeit with a bit of help from others including those who came up with the original concept in the first place, so he can accept most of the deserved praise. The film could have easily gone too far one way or the other. It's ridiculous and yet grounds everything in a reality created for the movie that stops it all getting far too ridiculous. It comments on world politics and, indeed, the world of "spin" but does so without bringing things to a grinding halt. It has a bit of everything in the mix but never feels like it has simply tried to cram in too much.

If you already suspect that you might enjoy this movie then I'm pretty sure that you will. It delivers exactly what you'd expect it to deliver, and then puts a little extra on top for good measure. I'll be buying this one to add to my collection ASAP.

8/10

http://www.amazon.co.uk/Iron-Sky-Blu-ray-Digital-Copy/dp/B007ZZKWHY/ref=sr_1_1?ie=UTF8&qid=1347386039&sr=8-1