Sentimental Value (2025)

I didn't realise it at the time, but I have now seen every fictional feature from director Joachim Trier. All of them are worth watching, and some of them are truly fantastic. Sentimental Value has already received a hell of a lot of praise since it was released, which had me keen to check it out, but it's ultimately not there alongside the very best from the director.

Stellan Skarsgård plays Gustav Borg, an elderly film-maker hoping to recharge his career with a personal dramatic film that explores some important events that affected his family. He wants his daughter, Nora (Renate Reinsve), to take on the main role, but she refuses. So he hires another actress, Rachel (Elle Fanning), instead. This makes things strange and awkward, of course, and the film looks set to cause a major rift between father and daughter. Well . . . it looks set to widen the rift that was already there.

A look at processing issues through art, a look at sacrifice, and a look at how difficult it can be to let things go (whether that is resentment, a dream, or even a family home), Sentimental Value is smart, strange, and thought-provoking throughout. It will work especially well for those people who think back on their own family issues (and what family doesn't have issues?), yet there's also something surprisingly optimistic and sweet about the way things develop in the third act.

Trier, who co-wrote the film with long-time collaborator Eskil Vogt, has faith in his talented cast, allowing him to show their characters as flawed, abrasive, and still grasping for answers that could have been available to them many years ago. The world of art may be unfamiliar to most viewers, but everything here is grounded in that family dynamic, first and foremost, and the core idea just makes it easier to view parallels between the main characters as introspection and reconsideration of the past is encouraged.

Skarsgård is fantastic in his role, something akin to a softer version of the many people he has played for another celebrated director, Lars von Trier, throughout his career, and Reinsve is very believable as the daughter standing against what she sees as a horrible reappropriation of their family history. Inga Ibsdotter Lilleaas is also very good, playing the other daughter, Agnes, who is helped to stay a step removed from the situation by the fact that she isn't in the world of acting, and Fanning is quietly impressive, as she has been in almost every role she's had throughout her career.

While I would put pretty much every other Trier film from the last decade or so ahead of this one, Sentimental Value is a very good film. It maybe lacks some edge, and I would have liked more scenes showing the fractures between father and daughter developing and growing ever-larger, but it's a delicate and intelligent way to show an attempt to heal that not many get to try. Maybe if we just found it a bit easier to let go sometimes.

7/10

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Predator: Badlands (2025)

Another instalment in the Predator franchise directed by Dan Trachtenberg, fans should be very happy to hear that this is easily on a par with (and maybe even better than) his previous live-action Predator movie, Prey. In fact, between these two features and his animated side-project, Predator: Killer Of Killers, it would seem that nobody could be a safer pair of hands for the continuing success of this iconic character.

The story this time around concerns Dek (played under a whole load of make up by Dimitrius Schuster-Koloamatangi), a young Yautja who doesn't seem ready to take his place alongside many the others in his community. He's not managing to get through the standard rite of passage, despite his brother trying to help him, and his father thinks he should be killed. Which is why he ends up on a planet where almost everything is deadly, hunting a beast said to be unkillable. He soon ends up begrudgingly accepting some help from Thia (Elle Fanning), a synth who is currently missing her legs. The allies seek to get Dek his trophy, but there are others on the planet with similar aims, and they might end up also wanting to bag Dek. 

It's hard to overstate just how great this is. Written by Patrick Aison, this is a film that has a mix of superbly cinematic moments, inventive action, the Predator details that you want to see, and sheer fun. It makes the union at the heart of the film feel plausible, helped by the fact that Dek is young and sorely in need of whatever advantage he can make use of as he attempts to "prove his worth", and allows viewers to become invested in the outcome, especially when the characters change direction in the third act toward a different destination.

Shuster-Koloamatangi gives a superb physical performance, and it's one that draws you in and keeps you onside throughout (contrary to the many dissenting voices who were critical of the look of his character when the first trailer was released). Fanning is equally good, helped by make up in a different, but just as effective, way. Her upbeat manner juxtaposed alongside the rough and straightforward nature of her new "friend" makes for most of the fun in the first half of the film, and she also gets herself involved in some great action sequences. The fact that she also gets to show another side of herself later on is a bonus, and allows her to feel like a very worthwhile new addition to the ever-expanding WYCU (Weyland Yutani cinematic universe). 

All of the flora and fauna design is impressive throughout, the different environments all feel real, CGI is generally on point, accompanied by Jeff Cutter's superb cinematography, and Trachtenberg also helps lift everything up by making use of a frankly brilliant electro-infused score from Sarah Schachner and Benjamin Wallfisch.

This is what a modern Predator film should be. This is what a fun sci-fi action flick should be. If only they could do the same now with the Alien franchise then we could eventually look forward to a much better attempt to showcase both creations in one feature.

9/10

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A Complete Unknown (2024)

Here are the things I know about Bob Dylan. His video for Subterranean Homesick Blues is quite brilliant. A number of his songs have been covered by artists who have sometimes managed to eclipse the original. And his voice is somehow both pleasing to the ear and not unlike a musical vacuum cleaner. Those are the things I know about Bob Dylan. So I wasn't in a rush to watch A Complete Unknown, although the people involved ensured that I would get around to it eventually.

Timothée Chalamet plays Dylan, a young man we first see arriving in New York City as a talented 19-year-old on a pilgrimage to visit a hospitalised idol, Woody Guthrie (Scoot McNairy). Dylan meets Pete Seeger (Edward Norton) while visiting Guthrie, and this proves to be one of the first stepping stones on his path to great success. He also gets involved with Sylvie Russo (Elle Fanning), finds a strong connection with the fantastic Joan Baez (Monica Barbaro), and becomes more and more selfish as he commits himself to the lyrics and music that will transform him from a complete unknown to an enigmatic musical icon.

Based on a book by Elijah Wald, adapted into screenplay form by Jay Cocks and director James Mangold, A Complete Unknown manages a fine balance of showing the man behind the music while not actually showing you the man behind the music. It quickly becomes clear that Dylan wants his work to speak for him, and there's no denying that he has quite a sizeable discography from which to pull statements from. Mangold is a very capable director, able to turn his hand to a variety of genres, but this is one of his best works, although it come after a decade of him delivering one great film after another (albeit films not necessarily right in line with this one).

Everything is helped by Chalamet being so good in the lead role. Instead of delivering what could have been a clumsy impression, Chalamet really does seem to embody the spirit of the musician that he's portraying. He also convinces with the singing and guitar-playing, however that is performed onscreen. Norton is so good in the role of Seeger that it's a reminder of how good it is to watch Norton in the right role, and I feel as if we have missed some fine work from him for too long. Both Fanning and Barbaro are just as good as anyone else onscreen, and do very well to avoid being overshadowed by the man who ends up, to some degree, being the centre of the musical universe for many. McNairy doesn't get much to do, but does it well, Boyd Holbrook has fun as Johnny Cash, and many more secondary characters are played by a selection of pretty flawless supporting players.

There's not much more to say about this. It's quite standard biopic stuff, even if it is only looking at one key part of Dylan's life. The moments that are tweaked to make them more cinematic retain a core of authenticity, the many truths throughout the film are compelling and thought-provoking, and the decision to keep an air of mystery swirling around the figure being observed works for both the film and the enduring legend of Dylan.

Did I feel as if I knew a lot more about the man once the end credits rolled? Not really, and you could call that a failing. I wouldn't though. I decided that I appreciated the small amount of extra context that gave me even more appreciation for a body of work that I'm now keen to explore. Let's face it, I liked the film so much that I didn't spend this entire review trying to insert a load of Bob Dylan songs and puns. I guess the times they are a-changin'.

9/10

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Mubi Monday: Galveston (2018)

Mélanie Laurent has been acting in feature films for the past couple of decades. Unbeknownst to me, however, she has also turned her hand to directing. I need to check out some of her other directorial work, because this is a very good crime drama. In fact, I'm surprised to have not really heard this mentioned before, either in conversations about films in general or conversations about modern crime dramas.

Ben Foster plays Roy, a hitman who is told that he only has a short amount of time to live. It's a problem with his lungs. Despite his impending death, Roy fights back, successfully, when his latest job turns out to be a trap. He then flees, accompanied by a young woman named Rocky (Elle Fanning). Rocky also wants to rescue her younger sister, Tiffany, and Roy eventually finds himself making some tough decisions in order to keep both girls safe.

Written by Nic Pizzolatto, Galveston is nothing very new or unique. It is a film made better by the cast, and the straightforward and unfussy direction from Laurent (although there is one lovely bit of work that allows a scene to play out in an extended single shot, yet without feeling overly precious about the technique). But the strength of these things together - script, direction, cast - creates a film that shows how important every individual element is. Take enough care with the basics and you can easily end up with something that is more than the sum of its parts, like this.

Foster is very good in his role, playing the kind of pained and relatively tight-lipped character he has played in some other movies. Fanning is equally good, allowing her character to show the mix of optimism, slight naivete, and determination that is written in. Beau Bridges also does well, in a small, pivotal, role, but the film constantly revolves around the central trio of Roy, Rocky, and Tiffany (played by Anniston and Tinsley Price).

For a film that has a sense of foreboding from the very first scenes, Galveston is most surprising in the moments when viewers can contemplate a happy ending for some of the characters. The pacing, the characters, the journey, they all allow space for some big highs and lows. Laurent shows how good her instincts are, having faith in the script and the performances, and the finished product shows that you don’t need to reinvent the wheel to deliver something familiar that also manages not to feel tired and lazy.

 

8/10

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Maleficent: Mistress Of Evil (2019)

Although I really wasn't a fan of the revisionism of Maleficent, the strengths in that movie were still strong enough to ensure that I would watch a sequel (well . . . the strengths in the movie and the fact that I have to try and watch every film ever in a never-ending quest for completionism). From the very start of the film, Maleficent: Mistress Of Evil sets itself out as superior to the film it follows. The groundwork has been laid, the characters put in place, and this quickly turns into an entertaining mix of dark comedy and fairytale characters at war.

Angelina Jolie is, once again, the main character, and once again she's a villain allowed to prove that she doesn't have to remain in that box. Elle Fanning returns as Aurora, the young woman who happens to now have Maleficent as her guardian/godmother, and everything starts to move along at a rapid pace when Aurora accepts a proposal from Prince Philip (Harris Dickinson). What could lead to peace between humans and non-humans instead leads to a confrontation, and it's one that was planned by Queen Ingrith (Michelle Pfeiffer).

The main returning name behind the camera here is writer Linda Woolverton, now working with Noah Harpster and Micah Fitzerman-Blue, and she seems to enjoy being freed from the obvious constraints of the twisted familiarity required for the first film. The character of Maleficent gets to enjoy her powers while also, in a few amusing moments, wrestling with more civil interactions with people she would have previously avoided at all costs.

Director Joachim Rønning has a relatively easy life, considering the cast and crew at his disposal. That transfers to the screen, with every fun performance taking place in a fantasy land realised by top-notch, and often beautiful, CGI.

Jolie is still perfect in her lead role, whether she's fighting back against scheming humans or practicing a polite smile that hopefully won't terrify anyone she is trying to be nice to. Pfeiffer is equally perfect in her role, the Queen with the scheme, and she proves to be a worthy opponent to Maleficent, happy to make many sacrifices on her way to a greater good. Fanning is very sweet and likeable, Dickinson is as you'd expect a Prince to be (meaning he's not given all that much to do), and Sam Riley once again tries to steal a couple of scenes as Diaval, a "sidekick" to Maleficent. Chiwetel Ejiofor and Ed Skrein work quite well under a lot of make-up, Robert Lindsay is a King who is put out of action quite early on in the proceedings, and there are enjoyable little turns from Jenn Murray, Juno Temple, Lesley Manville, Imelda Staunton, David Gyasi, and Warwick Davis. (of course . . . is there a big-budget fantasy film that doesn't decide to use Davis?)

It's not up there with the best of these movies, and still has an air of predictability about it, but Maleficent: Mistress Of Evil is surprisingly enjoyable from start to finish. And it's easily much better than the first film.

7/10

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Yule Love It: The Nutcracker In 3D (2010)

Obviously, first of all, watching The Nutcracker In 3D in 2D feels like it's diminishing the experience slightly. Never fear, however, because this film being in 3D is the least of the "selling points". Oh, it has such sights to show you. I almost didn't include it in my roster of festive film reviews, but the recent thoughts of people losing their minds over Cats reminded me that other people deserved to hear about it.

Essentially a telling of the classic tale, with Elle Fanning in the role of Mary, the main young girl who finds herself going on an adventure with a nutcracker who comes to life, this is a wild fever-dream interpretation of the material, with additions that just genuinely boggle the mind. Don't believe me? You will, by the time you have sat through a musical number which allows Albert Einstein (played by Nathan Lane) to sing a song about relativity to a famous melody from the suite. Yes, that happens. And it's one of the most memorable moments.

Director Andrey Konchalonskiy (AKA Andrei Konchalovsky) also co-wrote the screenplay with Chris Solimine. Konchalovskiy, director of such '80s hits as Runaway Train and Tango & Cash, THAT Konchalovskiy. He has mixed things up over the years, and I'm not saying that making those action movies means he should give us nothing but more films in the same vein, but this seems like a wild departure, even when considered alongside his more varied films from the past couple of decades. It's so unrelentingly bizarre, in relation to the main choices made, that it becomes something you need to see, just to give yourself a badge of honour. I haven't even mentioned the talking monkey, or any of the other supporting characters who help to make up the bizarre menagerie populating this cinematic world.

There's also a good cast in place for the main roles. Fanning is good as Mary, Aaron Michael Drozin does just fine as her brother, Max, and Lane is at least fun in the role of "Uncle Albert". Richard E. Grant is the father, Shirley Henderson is the voice of The Nutcracker, and John Turturro and Frances de la Tour provide nightmare fuel with their portrayals of, respectively, The Rat King and The Rat Queen. Turturro takes the first prize for terrifying children, especially in the one or two moments that have him snarling in a way that turns his face more ratty while his civil facade slips a la Bilbo Baggins in The Lord Of The Rings: The Fellowship Of The Ring.

Despite the oddness of it all, The Nutcracker In 3D (in 2D) somehow manages to stay fairly uninteresting throughout most of the runtime. The direction from Konchalonskiy is on par with that of an ambitious festive special for the BBC (to be fair, they probably could do something much more impressive than this nowadays). Perhaps the problems lie with the tale itself, which is better suited to a theatrical performance than any attempted narrative film, but that doesn't let anyone off the hook when they come together to have a stab at it.

3/10

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Ani-MAY-tion: The Boxtrolls (2014)

Another slice of fine stop-motion entertainment from Laika, The Boxtrolls may be their weakest film so far but that doesn't mean it's bad. It just means that I have enjoyed their other films a little bit more. Laika have yet to disappoint me, and the visual beauty and creativity of Kubo And The Two Strings will take some beating as the jewel in their crown.

You won't be surprised to find that The Boxtrolls is a film about creatures called boxtrolls, trolls that live underground and wear boxes as clothing. They are deemed a dangerous menace, ever since they kidnapped and killed a young child, and an exterminator named Archibald Snatcher strikes a deal that will reward him handsomely when they are all gone. Of course, unbeknownst to the locals, the boxtrolls aren't really dangerous. There's a different story behind how they ended up with the child in their midst, but will anyone learn of it before all of the boxtrolls are dealt with?

With the usual level of beautifully detailed animation, Laika once again show that they're up there with the very best studios working in this field today. The world depicted in the movie may be a grubby one, for the most part, but it's rendered in such an eye-pleasing and stylish way that every scene still manages to look gorgeous.

The screenplay by Irena Brignull and Adam Pava, based on the novel "Here Be Monsters!" by Alan Snow, is very good when it comes to the development of the central characters and the main themes that come to the fore. There aren't loads of fun one-liners or verbal gags, it's not that kind of film, but the script carries everything surprisingly effortlessly while the animation layers on the comedy and quirkiness. And praise must be given to those who decided that a large part of the plot should revolve around a love of cheese tastings and the desire that Snatcher has to be sitting in on such an event, despite the reaction he has to cheese.

Isaac Hempstead Wright is the boy raised by the boxtrolls, he does well enough in his role, and Elle Fanning is a young girl who discovers his real identity after initially fearing him, and his troll brethren. Ben Kingsley is superb as Snatcher, the scheming exterminator, whether in his standard guise or in the form of  . . . well, you'll have to wait and see. He is in charge of three characters who are wonderfully voiced by Nick Frost, Richard Ayoade, and Tracy Morgan. Last, but not least, you have Jared Harris, the town official who thinks he is doing a good thing by hiring the services of Snatcher. The character played by Harris is also the father of the character played by Fanning, with the latter continually exasperated at the way she is ignored or dismissed by the former.

Directors Graham Annable and Anthony Stacchi do a great job at keeping things tonally perfect, helped by the script and the performances of their cast members. This is in line with every other Laika film in that it talks to children without ever talking down to children. Which is how the best animated movies are, and why every Laika movie is worthy of being considered among the best.

8/10

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Prime Time: The Nines (2007)

It's really hard to consider how to even begin writing a review of The Nines, a film that is quite often overlooked in the filmography of Ryan Reynolds. It was only brought to my attention just over a week ago, in the midst of an online conversation about Reynolds, and I'm very glad that it was.

Reynolds plays a number of characters, I think it is safe to say that. And all of those characters seem to be going through a bit of a tough time. He keeps meeting incarnations of Melissa McCarthy and Hope Davis, among others, and tries to piece his mind together, while viewers try to figure out just how, if any, of this makes sense. There IS an explanation, and it's probably not one you would see coming.

Written and directed by John August, there's plenty here to mull over as you start to wander deeper and deeper into a story that is either about deteriorating mental health or something less easy to explain. In fact, despite the end of the movie seeming quite clear, I would argue that you could view the whole film as a look at a deluded individual, someone seeing patterns that aren't necessarily there while creating a wild theory to explain everything.

Reynolds is superb in his multiple roles, even better than he was in The Voices (a film that many seemed to love, but I just liked), and he's matched by his co-stars. Davis does well, but it's McCarthy who almost steals the show, mainly thanks to a large portion of the film that sees her playing a version of herself for the purposes of the plot. Elle Fanning, David Denman, and Ben Falcone also do solid work in smaller roles.

August has a varied and interesting filmography, from his short film God to Go and on to the Charlie's Angels movies. This is much more in line with the former than the latter, and allows him to tell his own tale in his own way, rather than take part in the blockbuster machine. The fact that he found some quality names to go along for the ride, and it is a wild ride indeed, is a major bonus.

The technical side of things is a-okay, utilising a few special effects moments here and there when showing cracks in the reality around the main characters but mostly keeping everything grounded by the effectiveness of the script and performances. The dialogue is always lively, with one or two lines that brilliantly punctuate scenes at vital moments, and it's a film that will continue to entertain on rewatch, even if it doesn't become any easier to fully untangle.

Not quite a 9 but . . . 8/10

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How To Talk To Girls At Parties (2017)

It's the 1970s and three young lads (Enn, played by Alex Sharp, Vic, played by Abraham Lewis, and John, played by Ethan Lawrence) want nothing more than to revel in anything that retains the essence of pure punk and be allowed to revel in the company of girls that they fancy. Lost on their way to an after party, they end up in a building that houses a number of aliens. But they don't realise that the inhabitants are aliens. Enn meets the lovely Zan (Elle Fanning), who then runs away with him to see more of the outside world, and to experience some punk.

Based on a short story by Neil Gaiman, this is a blend of genres that will be familiar to anyone who has had the pleasure of reading his work. Gaiman loves to throw together different ingredients to create his own new recipes, and I am sure that the source material of this is very enjoyable. It's unfortunate that the film doesn't get things right when translating the material to the screen.

Director John Cameron Mitchell, who also worked on the script with Philippa Goslett, doesn't seem to know what to do with the story. Unable to decide on whether to focus on some comedy, the sci-fi elements, or the romance, or even the desperate need of the youngsters who found a voice in the sound of punk, he fails to find the right approach to anything, and is unable to compensate for it with required style and energy. To make a film that is so based around punk rock without a sense of energy is just, well, it would seem to be a difficult thing to do. Yet Mitchell manages it.

The script works when providing shorthand notes on the alien life cycles, but falters in so many other scenes, either by not making the dialogue sharp enough or just giving characters lines to say that feel tonally jarring compared to other moments in the film. Not that it's entirely unsuccessful. There ARE some genuinely good moments (most of the scenes featuring Nicole Kidman are great, and the very end of the film is surprisingly effective) but they make the lesser scenes all the more disappointing.

The youngsters all do decent work, even if Fanning feels less convincing when she's called upon to try her hand at singing like an actual punk, but it's the older cast members who help to save this from being unwatchable. Kidman, sporting a decent British accent too, is absolutely wonderful as an older punk who has sacrificed a hell of a lot in the hope of being present during great moments in punk history, Joanna Scanlan is good as the mother of Enn, and Ruth Wilson is great fun as a dangerous alien who seems to enjoy all of the life cycle her species goes through.

Some people may get more out of this than I did, of course, but it was hugely disappointing for me. Not being sure of the tone and focus is one thing, not making the best use of Fanning is another, but to not even have a good enough soundtrack to detract from those failings . . . well, that should have been avoided at all costs, considering the wild, strong spirit at the heart of the whole thing.

4/10

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Bonus Review: Maleficent (2014)

Maleficent, for those who may have forgotten, is the main villain in Disney's Sleeping Beauty, a film that remains an undeniable high point amongst so many animated classics from the House Of Mouse. This film is all about her, and allows people to see a different side to the famous baddie. Apparently, the story that we all thought we knew didn't play out quite as we were told. Maleficent changes that, giving viewers the other side of events. It is to Sleeping Beauty as Wicked is to The Wizard Of Oz, to make the obvious analogy.

I don't want to give too much away, as there are a number of pleasant surprises here in the way that the plot unfolds, so all I will say in my summation of the storyline is that Maleficent is introduced as a happy, winged fairy (played by Isobelle Molloy) and then experiences something that turns her into the scary adult that cursed a princess named Aurora. The scary adult version of Maleficent is played by Angelina Jolie, and the Aurora who is due to suffer on her sixteenth birthday is played by Elle Fanning.

Let me start with the positives here, because I liked a lot of aspects of Maleficent. The first, and main, ace up its sleeve is Angelina Jolie in the lead role. There may be scenes in which her cheekbones are far too distracting (no, really, I'm serious, I thought they were going to rip through her skin at some points), but her performance is almost perfect throughout. She puts on a decent British accent, looks superb in the costume and make-up, and manages to move from scary to funny to sad as the scenes demand. I know, I know, that's a basic requirement for many actors, although you wouldn't always know it, but she really dances through all of the mood changes with ease. The rest of the cast also do good work, although Sharlto Copley is left to go overboard as the distraught king/father who becomes obsessed with destroying Maleficent before any harm comes to his daughter. Fanning is very likable, and Sam Riley is an absolute standout as Diaval, a crow transformed into a man. Lesley Manville, Imelda Staunton, and Juno Temple are fine as fairies (although they are given far too many comedy moments that aren't really all that funny), and Brenton Thwaites is perfectly acceptable as the bland Prince Charming type, Prince Phillip, to be exact.

The production values, and the design of the world shown onscreen, are also excellent. There are often an over-abundance of FX shots in each sequence, but they're pretty gorgeous. This is eye candy, and it's eye candy that many will find most satisfying when things move from the sweetness and light of the opening scenes to the darker visual style of the next hour.

Unfortunately, that's about all I have in the way of compliments.

Director Robert Stromberg, enjoying his first time in the big chair, fumbles things from the very beginning. I have little doubt that many decisions were dictated to him, and I should have expected a final product like this from Disney (damn my eyes for letting the trailer deceive me), but the bright, colourful moments don't feel as if they belong in this movie. When things darken, however, they don't go dark enough. This isn't a twist on familiar material. This is an entire rewrite to make everything sweeter, which makes the movie lazy and clumsy when it should have been interesting and much more impressive.

Thankfully for Stromberg, he can quickly point a finger at screenwriter Linda Woolverton, because this is one stinker of a script. Oh, there are some great lines here and there, mostly made great thanks to the delivery by Jolie, but it's 95% awful, made worse by the fact that it's clearly meant to be clever and fun throughout. The voiceover narration, by Janet McTeer, is especially bad, often relating information that could have been shown onscreen. In fact, it's occasionally describing exactly what IS being shown onscreen. At the start of the movie I thought it was irritating, but acceptable, as a shorthand way to throw viewers into the world. But I soon wanted McTeer to just shut up, which she doesn't (okay, she does, but the narration keeps cropping up at various points throughout the movie).

This is a film made enjoyable by the sheer force of Jolie's adopted personality in the main role, and even she can't always do enough to improve the lines that she's given. That would take real magic, and there's none of that here.

5/10

Enjoy Maleficent's original appearance when this is released in the UK in a few days - http://www.amazon.co.uk/Sleeping-Beauty-Blu-ray-Ken-Anderson/dp/B00JGTSWBK/ref=sr_1_2?s=dvd&ie=UTF8&qid=1401307120&sr=1-2&keywords=sleeping+beauty

I WILL keep reminding people that every copy of my book sold gets a few pounds in my pocket, and gets you a good read (if I say so myself). So please feel free to remember me whenever you're visiting Amazon.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

And American folks can buy it here - http://www.amazon.com/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_fkmr0_1?ie=UTF8&qid=1395945752&sr=8-1-fkmr0&keywords=TJs+ramshackle+mov

As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.