The Apparition (2012)

There are a few bells and whistles on this movie in an attempt to supplement the supernatural stuff with some pseudo-science, but viewers won't be fooled for a second. This is a simple ghost flick, and it's a simple ghost flick that never does enough to raise it above the level of average. That's a great shame, because it has the potential to be something really good on a number of occasions.

Ashley Greene and Sebastian Stan star as Kelly and Ben, a young couple moving into their new home. It's not long until things start to go bump in the night. The couple seem to be perplexed by just what is going on, but Ben may know a bit more than he's letting in, especially considering the frantic messages that he's been receiving from Patrick (Tom Felton), an old friend that he doesn't seem to want to speak to any more.

With its familiar structure - opening scares, calm introduction to main characters, building of tension, standard third act stuff complete with twist that can be seen coming a mile away - and the fact that it's covering some well-worn territory, it's no surprise that The Apparition fails to stand out from so many other modern horror movies. Writer-director Todd Lincoln has a few good ideas, and creates some great moments of quiet unease in the first half of the movie, but it soon becomes apparent that he can't sustain that quality for the entire movie. When things start to unravel, it's fast and unpleasant, dragging the film down and never recovering.

Greene is a decent actress (she's an actress that I really like, at any rate) and she does a perfectly adequate job here, as does Sebastian Stan. Felton is . . . . . . . . another matter entirely. I want to like Felton, I really do, but he seems intent on filling up his post-Potter career with either bad movies (like the godawful 13 Hrs) or mediocre-to-poor performances in good movies (Rise Of The Planet Of The Apes). He breaks the pattern ever so slightly here by giving a mediocre performance in a mediocre movie.

This isn't a painful viewing experience, it's relatively short at about 82 minutes, but it's not one that I can imagine anyone revisiting. It's not good enough for horror fans, and I doubt that it's even good enough for the more casual horror viewer.

5/10

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Crimes Of Passion (1984)

I've said it before and I'll say it again, god bless the brilliant and bonkers Ken Russell. Crimes Of Passion is his usual mix of sex, death, and blasphemy. It's a good film, but it's lifted up further by a starring role for Kathleen Turner and a brilliantly off-kilter turn from Anthony Perkins.

Turner stars as Joanna Crane, a successful businesswoman who leads a double life. At night she likes to dress up, head out, and get her kicks as a prostitute named China Blue. Many of her clients, end up smitten with her, and it's not hard to see why. She knows just what everyone wants, and will enthusiastically work to please almost any fetishist. She risks losing her anonymity and security when a man (Bobby Grady, played by John Laughlin) is hired to shadow her, all because her daytime boss suspects her of theft. Bobby finds himself joining the long queue of smitten men, but China does her best to stop people getting too attached to her. Meanwhile, an unbalanced preacher (Anthony Perkins) becomes determined to save China's soul.

Written by Barry Sandler, Crimes Of Passion is blessed with a script that's profane, witty, lovably ludicrous, and consistently entertaining. The introduction of Turner as China Blue is a scene that no viewer will ever forget, and with good reason. Everything is, quite rightly, skewed towards adoring China and showing just how good she is at her job, and also how being naughty in all the right ways doesn't necessarily make you a bad person. The numerous men who want to save China from her situation fail to realise that she doesn't need saved. She will choose when and how she wants to change her life, and when she will return to a life of being Joanna Crane full-time.

Russell directs with a fearlessness that defined most of his movies. He revels in the material, even if it's somewhat lighter fare than some of his more acclaimed pictures, and doesn't do anything by halves. Russell may be an acquired taste, to put it mildly, but I feel sorry for anyone who can't relax and enjoy the exuberance and sheer cheek present here, and in the majority of his work.

Laughlin is decent enough, I guess, in his role, and Annie Potts is as solid as ever in the role of his unhappy wife (the marriage is not in good health), but all of the best moments revolve around either Perkins, or Turner, or both. Both are brilliant, happily going up to the very edge and then, in different ways, completely over it. Perkins almost seems to be foaming at the mouth during his every moment, while Turner effortlessly mixes comedy, confidence and sexiness in a lead performance that acts as the keystone for the entire film.

It's ridiculous, but it knows exactly what it's doing. Crimes Of Passion will keep you entertained throughout, and also have you laughing out loud at times, but you'll be laughing WITH the film, which may be the highest compliment I can give. Because, in lesser hands, it would have been so easy to laugh AT it.

8/10

http://www.amazon.com/Crimes-Passion-UNCUT-China-Blue/dp/B006PM86JO/ref=sr_1_5?s=movies-tv&ie=UTF8&qid=1401637528&sr=1-5&keywords=crimes+of+passion

TPB AFK: The Pirate Bay Away From The Keyboard (2013)

Most movie fans nowadays have heard of The Pirate Bay. It's the world's most well-known torrent site. It's the scourge of Hollywood. The people who run the site are devious criminals, committing actions that help to fund terrorism, the drug trade, and human trafficking. Well, that's what some opponents of The Pirate Bay would have you believe.

The reality is that Gottfrid Svartholm, Peter Sunde, and Fredrik Neij (the three main men responsible for running The Pirate Bay) are just young men battling against the steely grip of copyright laws that have gotten out of control over the years. In fact, they're almost completely innocent, justifying their actions by claiming that all they do is provide space for people to share things over the internet. Well, that's what they would have you believe.

The truth, as it so often does, lies somewhere in the middle, and this documentary tries to present some differing opinions, to allow viewers to make their own opinion on whether or not the three lads, filmed here during an important trial, are heroes or villains.

I guess you can't discuss a documentary about The Pirate Bay without stating how you feel about illegal downloading and torrents. Personally, and it may be obvious from my constant movie viewings and reviews, I always like to support the film-makers when I can. BUT I do appreciate that downloading is still an option for those people still having their viewing material decided for them by archaic, and often overly sensitive, censors. I also don't think that sharing something, as long as it is being recommended to others, is the worst crime in the world. We've all made someone a mixtape at one time or another, right? Plus, it's often the case that the most torrented titles on The Pirate Bay also do great when it comes to sales numbers.

That ends up not being as important, however, as the personalities of Svartholm, Sunde and Neij. It becomes clear quite early on that the men have started to believe their own hype. They are crusaders against ruthless, greedy corporations, and to jail them would be unthinkable. The geek shall inherit the earth. Unfortunately, cracks start to show while the threesome spend too much of their time being clever and smug. It's only Sunde who seems to take things seriously, most of the time. Svartholm is having too much fun getting one over on "the man", and Neij just ends up revealing himself to be a very unpleasant individual, especially under the influence of alcohol.

Of course, it shouldn't matter what their personalities are like when thinking about the accusations against them, and when considering their guilt or innocence, but it's unavoidable. It's good that the documentary doesn't try to show everyone in stark black and white morality, throwing up moments that will make viewers on either side of the torrenting debate question their opinion.

All in all, this is an interesting piece of work that I recommend people watch. Whether you pay for it or not . . . . . . . . . . . . . . . that's another matter entirely.

7/10

http://www.amazon.com/TPB-AFK-Pirate-Away-Keyboard/dp/B00BSBXDGI/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1401723385&sr=1-1&keywords=tpb+afk

A Million Ways To Die In The West (2014)

I quite like Seth MacFarlane, despite the fact that he often sets off my Spidey-sense when he delivers gags that feel more mean-spirited than actually funny. Ted was a lot of fun, but a lot of good work,and goodwill, was undone by MacFarlane's stint hosting the 2013 Academy Awards. He just didn't seem as funny when not hidden behind a character.

The premise is standard stuff. MacFarlane plays Albert, a peace-loving sheep farmer living in the wild west. He doesn't really fit in there, due to his lack of courage and the fact that he's never fired a gun, but he's happy enough with his lady, Louise (Amanda Seyfried). Until Louise ditches him, claiming that she needs time to herself before quickly latching on to the dapper Foy (Neil Patrick Harris). Just when he's at a real low point, Albert meets the lovely Anna (Charlize Theron), a woman who decides to help him grow a spine and perhaps even win back the love of his life. Unfortunately, Albert and Anna grow close, which causes some serious friction when her husband, the outlaw known as Clinch Leatherwood (Liam Neeson), arrives in town.

Let's get straight to the point here, the biggest problem with A Million Ways To Die In The West is Seth MacFarlane. He directed the film, he co-wrote the script (with Alec Sulkin and Wellesley Wild), and he stars in the lead role. Despite weakness in all three areas, it's probably his attempt to be a leading man that drags the film down the most. He's just not a likable enough onscreen presence to hold together a movie. When not delivered from behind an animated curtain,  the gags and dialogue just come across as smug and obvious.

The rest of the cast try their best, with Theron particularly enjoyable for every moment that she's onscreen. Seyfried and Harris are fun, and Neeson does okay, but isn't given enough screentime to make a better villain. Giovanni Ribisi and Sarah Silverman are a loving couple, despite the fact that the latter works every day as a prostitute while convincing her man that they should both save their own sexual activity for when they get married. There are also some great cameos, with one being SO good that it almost made me want to give the movie a bonus point, but to name names would spoil the surprises.

But the cast can only take you so far. At just under two hours, A Million Ways To Die In The West is far too long and far too misguided in attempts to wring humour from the scenario. Oh, if people think that seeing a sheep's penis in detail before it urinates on someone is funny then they will enjoy themselves. Similarly, anyone wanting to see a hat pretending to be filled with liquid excrement might chuckle, but someone hoping to see the unnecessary shot of the hat being knocked so that the liquid excrement starts to spill out onto the ground will find that this is their dream movie. Oh yes, those "gags" are in the movie. Thankfully, a lot of the other gags are better, but not by much.

There's some nice cinematography, and the kind of rousing score that you'd expect from a Western, but those are the only two elements that MacFarlane gets right. There's no love here for the movies, and certainly little attempt to twist the tropes of the genre (other than the obvious High Noon stuff). And, worst of all, the whole thing constantly feels just like a movie. It's self-conscious at almost every turn, but also self-satisfied, which makes it feel lazy and irritating.

Feel free to disbelieve me and check it out for yourself, but this is yet another film that packs most of the best bits into the trailer (and at least one gag that wasn't present, which I'm sure will be shoehorned into the "unrated, even ruder, even more dangerous" extended version that will hit shiny disc). It's not really worth your time or money.

3/10

http://www.amazon.com/Million-Ways-Blu-ray-DIGITAL-UltraViolet/dp/B00KM9MP9I/ref=sr_1_1?ie=UTF8&qid=1401818195&sr=8-1&keywords=a+million+ways+to+die+in+the+west+blu+ray

Stone Cold (1991)

People who have met bikers in real life will be able to tell you that, for the most part, they're often a lovely bunch of people. Their image is enough to scare some folk, and they may not always want everyone knowing how nice they are, but I've yet to meet a biker with a bad attitude. In the movies, however, it's a whole different story.

Stone Cold is another movie that features a dangerous gang of bikers (who seem to be accompanied by an invisible lead guitarist wherever they ride). Led by Lance Henriksen (playing a character named Chains Cooper), this bunch are never happier than when they're making money from drug deals, shooting guns and just being as rowdy and violent as possible. Of course, with William Forsythe in the gang, trouble was almost guaranteed. Enter Brian Bosworth, an undercover cop who is tasked with getting enough on the gang to lock 'em up for a long time.

Never mind the cliche-ridden script by Walter Doniger, nor the dodgy fashion choices of Bosworth in the lead role, Stone Cold is all about macho men all squabbling with one another. There's one main female character, played by Arabella Holzbog, who manages to make a decent minor impact despite being cloaked in the fug of testosterone, but, from the opening sequence to the grand finale, this is all about alpha males, and all about showing Bosworth as the most alpha of them all.

Craig R. Baxley directs competently enough, compensating for the ridiculous aspects of the script by moving things along at a decent pace, and also revelling in some of the silliness. The first half of the movie, in particular, shows Bosworth puffing out his chest and beating his way into the biker gang in a way that delivers some decent action moments, while also providing no small amount of amusement.

But it's the cast making this truly memorable. Well, three of the main stars, at any rate. Bosworth may not be a great actor, but he has muscles, the ability to ride a motorbike, doesn't mind wearing some jewellery, and has a fine mane. Which makes him perfect in his role. Henriksen is a strong leader who often relies on his actions to speak louder than words, and Forsythe is at his barmy best, never warming to The Boz and always looking for an excuse to start trouble with him. Holzbog, as already mentioned, does well enough in her role, and Sam McMurray is entertaining as the agent helping to run the operation (a character who grows stronger as things move towards the finale).

If you're after a quality piece of cinema to echo through eternity then this probably won't be your first choice. But if you're after a fun action thriller with lots of bikers, a hero who owns a large pet lizard, and over the top moments in almost every main scene . . . . . . . . . well, this is exactly what you need to be watching.

7/10

http://www.amazon.com/Stone-Cold-Brian-Bosworth/dp/B000OPOAR0/ref=sr_1_3?s=movies-tv&ie=UTF8&qid=1400558003&sr=1-3&keywords=stone+cold

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I Spit On Your Grave 2 (2013)

As soon as it was announced that a movie entitled I Spit On Your Grave 2 was being released fans of exploitation fare started to get a bad taste in their mouths. The original movie was an astonishing, powerful piece of nastiness, praised and pilloried in almost equal measure. The 2010 remake, on the other hand, was better than expected, mainly because it walked a fine line between the unpleasant aspects of the material and the fun to be had watching the leading lady get her revenge. I Spit On Your Grave 2 has nothing to appeal to fans of the previous movies, other than a title that instantly lets people know there will be rape and revenge.

Jemma Dallender plays Katie, a young woman who wants to try her hand at modelling. Her portfolio needs updating, but she can't really afford it. Well, that is until she finds an ad that offers a free photoshoot. Unfortunately, when she's at the photoshoot, Katie is asked if she wants to do some topless shots. She doesn't. And THAT starts off a chain of events that lead to her being kidnapped, raped and abused, which then leads to a vengeance-filled third act.

There's a degree of technical competence on display here, and that's the only reason that I rate this movie as highly as I do. Director Steven R. Monroe tends to keep the camera pointing in the right direction. Oh, and Jemma Dalllender does fine in the lead role, and there's one pleasingly nasty moment during the final few minutes. That's it. Three reasons to save this from the lowest score possible.

Everything else in this movie is dross. The script, by Thomas Fenton and Neil Elman, is lazy, none of the supporting cast members make a decent impression (and Joe Absolom is the worst of them all with his horrible, fake accent), and both the first and second half fail at whatever they're supposed to achieve.

It's obvious that those involved just didn't have the guts to go through with something genuinely shocking, but they should have realised that you can't make a rape revenge flick for a wide demographic. When the main abuse is either too polished, or edited in a way to make it easier to stomach, it loses a lot of its power. Watching any such abuse should make viewers uncomfortable. It's the least that any such cinematic victim deserves, because this kind of thing can't just be a plot device for a lacklustre thriller. It's not something to be used lightly, otherwise we'd end up with a situation that puts Liam Neeson in a film entitled Taken III: I Spit On Your Shamrock. Or something.

Likewise, revenge being doled out should be visceral and harsh, but also believably delivered. As sorta-decent as Dallender is, she never convinces in the second half of the movie, which leaves the revenge feeling quite flat and unentertaining (strange choice of word, but you know what I mean - it's always satisfying to see scumbags get their just desserts onscreen).

So, I think that just about sums up all of my feelings on this piece of rubbish. I know that some people will enjoy it more than I did, but I seriously doubt that this is a movie that any of us will even remember by next year.

3/10

http://www.amazon.com/Spit-Your-Grave-Blu-ray/dp/B00DMUFYZQ/ref=sr_1_2_bnp_1_blu?ie=UTF8&qid=1401480117&sr=8-2&keywords=i+spit+on+your+grave+2

Among Friends (2012)

A bit of a fan favourite in the horror community, Danielle Harris takes a turn in the director's seat for this enjoyable horror comedy. She doesn't take any great risks - it's firmly planted in the genre that made/kept her a star, and a few of the people onscreen seem to be people that she's been friends with for a while - but that doesn't make it unworthy of your time.

It's a familiar scenario. A bunch of friends are all invited to an evening out, and it's not long until everyone realises that someone has an axe to grind. Once things start going painfully wrong, the guests are offered the chance to either take some punishment or allow someone else to be dealt with, similiar to the sadistic, twisted fun of films such as Would You Rather.

The assembled cast, featuring the likes of A. J. Bowen, Jennifer Blanc and Brianne Davis, all do decent work here. Nobody is going to the Oscars on the strength of this movie, but they're all having fun, and many of the faces will be recognisable to horror fans. There's also a cameo by Kane Hodder that some will enjoy, although I just found it a bit irritating.

Alyssa Lobit is always enjoyable whenever she's onscreen, and she also wrote the script. Unsurprisingly, she gets most of the best lines, although she shares a number of enjoyable dialogue exchanges throughout the movie, allowing everyone to have at least one particularly good utterance.

As for the actual direction, Harris does a decent enough job. The movie is small, keeping a tight focus on the dinner table and the people in attendance (with one or two flashbacks making use of different rooms), but it never feels dull, or even claustrophobic. I guess that's to do with the character interactions, and the way in which the plot is teased out, despite the predictability of the individual moments.

Horror fans should still get enough enjoyment out of this to make it worth at least one viewing. It may be lightweight, and it may not deliver anything original, but it still manages to entertain, and the first third of the movie lets horror fans feel as if they actually ARE among friends.


6/10

http://www.amazon.com/Among-Friends-Alyssa-Lobit/dp/B00D920HT0/ref=sr_1_2?ie=UTF8&qid=1401499507&sr=8-2&keywords=among+friends

Ani-MAY-tion Month: Despicable Me 2 (2013)

Supervillain Gru (Steve Carell) returns in this animated sequel that stays very much within the parameters of "if it ain't broke, don't fix it". Oh, things are a bit different, but they're also just the same. And those little minions, so popular with the younger viewers, get plenty of fun moments en route to their own spin-off movie (due in 2015).

Gru has left his evil life behind, and is now a lot happier. He is a father to three adopted girls, and uses the lab and his staff to create a range of flavoured jellies (jams to us folk in the UK). His idyllic life is interrupted, however, when the Anti-Villain League ask him to help as they try to find a dangerous stolen substance. They have tracked its signal to a shopping mall, but need Gru to go in and find out just which one of their main suspects is the thief. Lucy (Kristen Wiig) is an agent able to offer assistance, and also quite an admirer of Gru.

With everyone returning to the main roles behind the scenes, this is clearly a project in capable hands. Directors Pierre Coffin and Chris Renaud, as well as writers Cinco Paul and Ken Daurio, all know the characters well, and all know what worked from the first outing. Of course, for anyone who isn't as easily amused by those minions, that approach isn't without its shortcomings. But giving the little guys more screentime is clearly something that pleases the target demographic, and you can't blame the film-makers for wanting to keep that section of the audience happy.

Carell and Wiig are a lot of fun in the two main roles, Miranda Cosgrove provides amusement as Margo, the eldest of the girls who causes Gru some angst when she starts to take an interest in boys, and Steve Coogan and Ken Jeong also do well. But it's Benjamin Bratt who deserves a special mention. Taking over so late in the game, after original star Al Pacino had already spent so much time on the project that the animation was created to his dialogue, Bratt had to both create a fun character, Eduardo, and also match the speech movements already animated. That couldn't have been the easiest task, but you'd never guess from the final product. Bratt never seems like a replacement. He's fantastic in the role, and viewers should be glad that he was able to step in and "save the day", as it were.

If you liked Despicable Me then you'll like this sequel. Children will love it, and there's plenty for adults to enjoy. Be warned, however, that if you never warmed to those minions then you may want to give this a wide berth.

7/10

http://www.amazon.co.uk/Despicable-Me-Blu-ray-UV-Copy/dp/B00E9SUTHI/ref=sr_1_5?s=dvd&ie=UTF8&qid=1398221084&sr=1-5&keywords=despicable+me

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Bonus Review: Edge Of Tomorrow (2014)

Live. Die. Repeat. That's the tagline for Edge Of Tomorrow, a film most easily described as Groundhog Day meets Saving Private Ryan, with the sentinels from The Matrix movies added to the mix. Tom Cruise is the leading man, sharing the screen with Emily Blunt, for the most part, and director Doug Liman is the man doing his best to ensure that viewers get plenty of bang for their buck.

Cruise plays Cage, the hero of the movie, but you wouldn't know that from the first scenes featuring his character. Because Cage is not a soldier. He's a Major, yes, but one who has always managed to avoid being involved in any major battle with an invading alien force that has been waging war against humans for the past five years. When Cage defies a request to lead troops into a final battle that his military superiors predict will lead to victory he is arrested, demoted, and thrown in with a squad of soldiers who are all making final preparations a day ahead of going into the battle. When tomorrow comes along, Cage can't even work his battle-suit properly. He has no idea how to turn off the safety. He dies pretty quickly. And then wakes up again, handcuffed and about to be bawled out by Master Sergeant Farell (Bill Paxton). This happens again. And again. And again. It turns out that Cage has absorbed some power from the enemy, an ability to reset the day when he dies, but it's only a woman named Rita (Emily Blunt), a war hero who has, at one point, gone through exactly what Cage is experiencing. Can they use the power to change fate and win the war?

Based on source material by Hiroshi Sakurazaka (which goes by the better title "All You Need Is Kill" - the original title for the movie), Edge Of Tomorrow delivers everything that you expect from it. If you've seen the trailer then you won't be sold short. Many reviewers have already commented on the fact that this is the ultimate videogame movie and that's a good point. Cage has to learn with each journey, and whenever he's killed he ends up "respawning" back at the start, although viewers are saved the full journey on each occasion, joining the characters instead at every main junction to see how bad decisions are overturned, and how the main character develops his muscle memory on each attempt. The script, by Christopher McQuarrie, Jex Butterworth and John-Henry Butterworth, is sharp and witty throughout. You do get one or two scenes of exposition, of course, but they're perfectly done, brief and informative, before everyone gets back to battleground manoeuvres.

There will always be people who hate Tom Cruise, no matter what he does. Well, screw 'em is what I say. I've been a fan of the man for years, and he almost always delivers the goods when it comes to blockbuster fare of this type. This is another good performance. It's fun to see his character develop throughout the movie, especially in the first third, which makes it clear that he's not a soldier. He is, in fact, a bit of a useless coward. Cruise puts on his big grin, and isn't afraid (as he never has been) to twist it in a way that shows just how his character has managed to get to where he is without seeing combat. That grin brings a whole backstory that the writers don't need to make explicit. But when the grin disappears and the constant battling starts to reshape Cage into something he never thought he would be - a soldier - it becomes easy to root for him, and easy to believe in his transformation. Because Cruise makes it easy.

Nobody seems to hate Emily Blunt, and her performance here isn't likely to upset anyone. She's tough, likable, smart and naturally beautiful without ever being made into "the girl who needs saved" or any of that nonsense. Oh, there is added motivation for the character played by Cruise, but throughout most of the movie it is Blunt's character who plans and drives everything forward, reminding everyone who needs reminding that their lives are a small sacrifice if it means stopping the slaughter of the human race.

Elsewhere, Brendan Gleeson is enjoyable in his small role, Bill Paxton steals a couple of scenes as soon as he appears, and Noah Taylor is the scientist who provides some exposition. Jonas Armstrong, Tony Way, Kick Gurry, Franz Drameh, Dragomir Mrsic and Charlotte Riley are the main soldiers who end up stuck with the rookie in their midst. The main thrust of the storyline demands that these characters stay on the sidelines during many sequences, but the script does a great job of making them identifiable enough for whenever they get to move back into focus.

Liman spins a number of plates here and makes it all seem pretty effortless. The action moments are as intense as they need to be, but never headache-inducing, the plotting and pacing are perfect, and the humour running through almost every scene helps to offset the darker elements of the film. Cruise can't just fall asleep every night and then wake up again. He has to be killed. Remember: Live. Die. Repeat.

There are one or two big plot holes (almost always inevitable with this kind of material), but if you're sitting thinking of them while the movie is unfolding then you're a tough viewer to please. I was, admittedly, ever so slightly disappointed by the final few minutes, but this is superior sci-fi action fare, and I don't see why anyone should write it off because of some very minor flaws. On the contrary, I encourage all sci-fi movie fans to check this one out as soon as possible. Ironically, after the first trip you may even want to watch it again.

8/10

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Ani-MAY-tion Month: The Lord Of The Rings (1978)

As flawed as it is ambitious, animator Ralph Bakshi's attempt to make an epic movie from The Lord Of The Rings may have left viewers with a rough, unfinished product (it all ends rather abruptly after the battle at Helm's Deep), but it stands up as a damn fine take on the familiar material. In fact, knowing just how much screentime was allocated for the Peter Jackson movies, it becomes easier and easier to see how well done this animated effort really is.

For the benefit of anyone who somehow doesn't know the story, a small hobbit named Frodo Baggins (Christopher Guard) ends up going on a quest to destroy a very powerful ring that has been left in his possession. Helped by the wizard Gandalf (William Squire), Aragorn (John Hurt), some dwarves, and a few fellow hobbits, he journeys from his home in the serene Shire to the ominous Mount Doom, the one place where the ring can be destroyed.

J. R. R. Tolkien certainly didn't seem to have any movie adaptations in mind when he wrote his most famous work. It's a dense, at times uneven (yes, I said it), novel. The fact that the tale eventually became a hugely successful trilogy is a pleasant surprise, but the fact that this animated movie from the '70s comes so close to capturing the feel and scale of the story, while also including all of the major narrative strands and set-pieces, is nigh-on miraculous.

While Bakshi is the man who gets to put his name at the top of the list, major credit should go to writers Chris Conkling and Peter S. Beagle, the men responsible for condensing so much source material into a script that's entertaining and succinct, but not insubstantial.

John Hurt is, arguably, the biggest name in the cast, but everyone fits the role that's given to them. Anthony Daniels is also part of the group, playing Legolas, and Annette Crosbie and Andre Morell both give enjoyable vocal performances as, respectively, Galadriel and Elrond.

Despite it being unfinished and imperfect, the film still holds a strange allure which I think is due, in no small part, to the rotoscoping technique mixed with the traditional animation. I certainly still hold on to the childhood memories of fear that I felt when first seeing the dark ringwraiths (I didn't know what rotoscoping was at the time, of course, but I knew certain characters in the film seemed different from the others, with the ringwraiths being the most unsettling). Perhaps when watching the film nowadays I still view it with some nostalgia colouring my perception, but I like to think not. I like to think that it really IS a strange and glorious animated epic that reached for the moon and remains full of fallen stardust.

7/10

http://www.amazon.com/Lord-Rings-Animated-Remastered-Deluxe/dp/B0033090D2/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1400860373&sr=1-1&keywords=the+lord+of+the+rings+1978+animated+movie

Bonus Review: The Amazing Spider-Man 2 (2014)

Here it is. The sequel to the superhero reboot that nobody felt was really needed. Marc Webb returns to direct, everyone gets to reprise their onscreen roles, and the new faces are all welcome additions. It may still lag behind the Raimi movies, but this is a step up from the film preceding it.

Things are about to get pretty stressful for your friendly neighbourhood Spider-Man/Peter Parker (played by Andrew Garfield). He's worried about how his superhero duties may endanger the lovely Gwen Stacy (Emma Stone), he still wants to find out more about his parents (played by Campbell Scott and Embeth Davidtz), and there's a new villain to deal with in the shape of crackling, supercharged Electro (Jamie Foxx). And when Harry Osborn (Dane DeHaan) comes back into town . . . . . . . . . . well, I think most fans of Spidey will know what's going to happen there.

Deftly stepping between light and dark moments, The Amazing Spider-Man 2 feels, at times, like a teen comedy riff on the character. From the opening sequence, showing a determined villain (Paul Giamatti), driving through town with a load of stolen plutonium while Spider-Man tries to stop him, to the very last scene of the film, Spider-Man seems completely at ease win his role, and sure that he'll win out. Thankfully, the movie throws enough at him to give him doubt, but it's fun to hang out with a superhero who doesn't spend the majority of the film as a tortured soul. Oh, he has his moments, but they don't taint the entire movie. This is a fun blockbuster, but one that ups the stakes just in time for a gripping third act.

The script, by Alex Kurtzman and Roberto Orci, is fine, I guess. Everything is sketched out well enough, and Garfield gets a lot of lines that provide laughs, but it's also very heavy-handed at times (although that's nothing new when it comes to Spider-Man movies). It's admirable that the film never feels rushed or overloaded, despite the extra villains in the mix, as well as the developed backstory for Peter's absent parents.

Webb clearly has a blast this time around, and that feeling is shared with the viewing audience. Swing around the town with Spidey, revel in some of the huge set-pieces that provide some great eye candy, and enjoy the fights that always seem to allow Spider-Man one or two of his usual smartass lines, no matter how beaten and out of breath he is. The CGI certainly dominates at times, especially in the second half, but it's all polished enough to make the excess a bit easier to accept.

The other element making things easier to accept is the great cast. Garfield and Stone are still fantastic in their roles, with the former especially good at doing the slightly mopey teen schtick without seeming too irritating. Sally Field is fine as Aunt May, and Scott and Davidtz are good to see in their small roles. But it's the villains that everyone gets excited for, and what a selection of good folk being bad this movie has for you. Foxx is great, both as the timid and "invisible" Max Dillon and then, later, as the powerful Electro. You really feel sorry for him, in both incarnations, before he decides to embrace his powers and make his mark. Dane DeHaan doesn't get as much sympathy, but he's no less enjoyable as Harry/Green Goblin. Anyone hoping to see much of Giamatti will be disappointed, as his role is little more than an extended cameo this time, but he still does well with the limited screentime. Colm Feore is easy to dislike, as a conniving member of the Oscorp team, Chris Cooper is Norman Osborn, the man responsible (directly and indirectly) for most of the events in the movie, Felicity Jones is sadly underused as Felicia, an assistant to Harry, and there's another Stan Lee cameo, although it's more groan-inducing than amusing in this instance.

The Amazing Spider-Man 2 looks good, sounds good (top marks to Hans Zimmer for the score, especially anything accompanying the scenes featuring Dillon/Electro), and doesn't disappoint anyone looking for superior blockbuster entertainment. It also sets everything up for a mouth-watering next instalment without those building blocks feeling like too much of a distraction. It's not up there with the best of the recent superhero movies, because some of them have really raised the bar of late, but it's a fun time at the cinema and one that I look forward to picking up on shiny disc.

7/10

http://www.amazon.com/Amazing-Spider-Man-Blu-Ray-UltraViolet-Combo/dp/B00JPS6A3O/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1401313145&sr=1-1&keywords=the+amazing+spiderman+2

Ani-MAY-tion Month: Puss In Boots (2011)

Here it is. The spin-off movie for a character first introduced to viewers in the Shrek sequels. Puss In Boots is a character that I, and many others, enjoyed when he joined in with the other established characters and helped to mix things up a bit. He never, however, seemed like someone who needed his own movie. And Puss In Boots proves me right.

Part adventure romp, part "origin story", Puss In Boots puts Puss (Antonio Banderas) in the middle of an adventure with his former friend, Humpty Dumpty (Zach Galifianakis), and a talented, attractive thief named Kitty Softpaws (Salma Hayek). Will the adventure have a good outcome, allowing Humpty to finally forgive Puss for letting him take a great fall some years ago, or will old wounds be reopened as the trio attempt to get hold of the magic beans that will let them grow a giant beanstalk and grab themselves a golden goose?

Some movies just grab you and some don't. Puss In Boots fell into the latter category for me. So much of the movie has been done before, and done better, and it feels like a trip back to a drying well (although, good grief, there's a sequel planned at the time of writing, so I may be in the minority).

Banderas and Hayek both have rich, warm voices, suitable for their kitty cat characters, and there are no problems with the line delivery. Galifianakis isn't as enjoyable, but he does what's asked of him. The main problem seems to be that the script, mainly written by Tom Wheeler, just isn't good enough. None of the dialogue stands out, and most of the set-pieces suffer from a sense of overfamiliarity (e.g. another dance off, but, y'know, with cats instead of people).

Director Chris Miller doesn't do much to help, but I guess he doesn't have to. There's enough here to make the film passable entertainment, it's not as if I will say that it's a poor film, thanks to the decent animation, movie references, and the fun that comes from heroics being accomplished by such cute cats.

Basically, this is a movie that will probably keep the kids entertained even if it doesn't try to be half as good as it could be. Considering the amount of great family entertainment that has appeared in recent years, that's a great pity, and puts this low on any list of prioritised viewings.

5/10

http://www.amazon.com/Boots-Triple-Blu-ray-Digital-Region/dp/B005A5YYZ2/ref=sr_1_5?s=movies-tv&ie=UTF8&qid=1399902918&sr=1-5&keywords=puss+in+boots

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.

Ani-MAY-tion Month: Persepolis (2007)

Perspolis is a perfect mix of thought-provoking content and cinematic entertainment. Showing the life Marjane (Chiara Mastroianni), who we see develop from a little girl into a strong and confident woman processing the turbulent, repressive and often horror-filled world around her. Marjane, you see, grew up in Iran and witnessed the Islamic Revolution and great change. Unfortunately, that change wasn't all for the better, although it may have seemed that way at the time.

Depicted mostly in black and white throughout, Persepolis manages to effectively show a number of horrors without ever being too explicit, but also without coating everything in sugar and honey. It really gives viewers a good general idea of how people live under the shadow of an oppressive regime by showing how Marjane at first explores her environment with childish curiosity, and then eventually rebels against much of it with a strength developed over the years.

Writer-directors Vincent Paronnaud and Marjane Satrapi (with the latter translating her autobiographical graphic novel) do fantastic work. The animation is stylised, yet all of the main characters feel like very real, well-rounded human beings, which is so vital when showing how people have been held down, and often dehumanised, in the context of the movie.

Mastroianni is very good as Marjane, while her real-life mother Catherine Deneuve does a great job in the role of her onscreen mother. Simon Abkarian is Marjane's father, but Danielle Darrieux steals a number of scenes (or, at least, her animated character does) as Marjane's grandmother, the savvy matriarch of the family who proudly watches her granddaughter find her voice when it's most needed.

I was very pleased that I'd finally given Persepolis a watch as the end credits rolled. I'd been made to think about many freedoms we take for granted, I felt as if I'd learnt a little bit more about some quite important world history, and I'd been hugely entertained by an animated woman steeling herself ready for a new stage in her life by singing "Eye Of The Tiger" enthusiastically, if amusingly out of tune. But I also know that there's more I should look into, that this is just one small part of events that shouldn't be forgotten. I will be hoping, at some point, to educate myself further on the central subject, and that's, arguably, where Persepolis succeeds most.

8/10

http://www.amazon.com/Persepolis-Chiara-Mastroianni/dp/B000YAA68W/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1400896224&sr=1-2&keywords=persepolis

Bonus Review: Bad Neighbours (2014)

Bad Neighbours (or just Neighbors, as it was originally titled in America) is one of those all-too-common cinema releases, a comedy that packs all of the best bits into the trailer. And, as is also all-too-common, it's all the more frustrating because it had the potential to be so much better.

Seth Rogen and Rose Byrne play Mac and Kelly Radner, a pair of adults who are trying to hang on to their youth and spontaneity. Viewers know this from the very first scene, which shows the couple trying to have some fun, spicy sex while the blissfully ignorant gaze of their baby daughter proves to be too off-putting. Perhaps the two will just have to accept that their adults now, with all of the responsibilities that entails. In fact, they have to act like real adults when the house next door to them is turned into a fraternity house (led by Zac Efron, as Teddy, and Dave Franco, as Pete). Mac and Kelly initially try to be cool, and even join the youngsters at their first big party, but it's not long until they realise that they have to do whatever it takes to ensure that the parties don't carry on. Teddy and Pete, of course, will do whatever it takes to keep the music loud and the alcohol flowing, and so begins a battle of wills.

Director Nicholas Stoller makes Bad Neighbours very much a party movie. There are loud tunes, neon-infused moments of drunken dizziness, and scenes that focus on general shenanigans. "Isn't this fun?" it seems to say. But those moments jar when the tone shifts, when it becomes clear that it's not as fun as it looks, when it's all about people partying or fighting because they don't know what else to do to reassure themselves of their position in life.

The blame lies squarely with writers Andrew J. Cohen and Brendan O'Brien, who just don't seem to be able to navigate the territory that they themselves laid out. Being unsure about how to mix the laughs with the darker moments wouldn't be so bad if the laughs were funny enough, but they're not. Instead, we get a lot of typical Rogen lines from Rogen, and lots of juvenile gags about penises. I like Rogen, but his character in this movie really needed to be more removed from his usual persona, and it isn't.

When it comes to his performance, Rogen is fine. If you like Rogen (which I do). Rose Byrne is also fine, although she's not treated as well by the script. Ike Barinholtz and Carla Gallo create some laughs as their friends, a couple now separated from one another, which makes for some obvious friction when they have to be in the same space. Dave Franco, Christopher Mintz-Plasse, Halston Sage, and Craig Roberts also do just fine in their range of roles; a well-endowed frat member, the girlfriend of Teddy, and a poor, bullied lad nicknamed Assjuice. The worst person onscreen here is Zac Efron, which shows how badly his character is written.

I like Zac Efron, I really do. In fact, if it was anyone else in the role that he has in this movie then the whole film would rate even lower. He manages to improve things slightly thanks to his charisma and, well, sheer force of will. But this role may be the worst that he's ever been handed in his career, so far. He's the antagonist, but he's also given too little depth too late in the proceedings as the writers try to layer the whole film with some meaning that isn't required. This is a film in which the funniest moments include the misappropriation of airbags. Okay, comedies can be layered with drama, but when things are shoehorned in as clumsily as they are here . . . . . . . . it just doesn't work out.

I wanted to enjoy this movie. I'm often a sucker when it comes to any cinema experience. Despite my years of experience, and disappointment, I still watch a well-edited trailer and think "yes, can't wait to see that". And, as many people know, I am easily pleased. It would have only taken one BIG laugh, or a better balancing act between the comedy and the slightly darker undercurrent, and I would have at least thought of this as a worthwhile way to pass some time. Sadly, that wasn't the case.

4/10

http://www.amazon.com/Neighbors-Blu-ray-DVD-DIGITAL-UltraViolet/dp/B00K89VBV0/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1401224051&sr=1-2&keywords=neighbors

Ani-MAY-tion Month: The Princess And The Frog (2009)

Loosely based on a story by E.D. Baker, The Princess And The Frog is, for me, one of the most unjustly dismissed Disney movies from the past few decades. I think that's all to do with the soundtrack. I enjoy the songs when they're on, but I must admit that I can't recall a single one as soon as the last note is played.

The story, set in New Orleans, concerns Prince Naveen (Bruno Campos), who has been turned into a frog by the deceptive Dr. Facilier (Keith David). He needs to be kissed, of course, in order to turn back into his human self. Unfortunately, when he convinces a young woman named Tiana (Anika Noni Rose) to kiss him the end result isn't what either envisaged. Tiana also becomes a frog, Which means that the two have to hop off together in search of a remedy. On their travels they are joined by Louis (Michael-Leon Wooley), a trumpet-playing alligator, and a firefly named Ray (Jim Cummings).

Written by Ron Clements and John Musker, with help from Rob Edwards and quite a few others, The Princess And The Frog is a very traditional Disney movie in terms of the overall style and feeling throughout. There aren't really any/too many sly gags for adults, the focus is on the characters and flavour of the setting. That's no problem, however, when New Orleans provides such a wonderful backdrop to the events, and when the characters are such enjoyable company.

Keith David stands out as Dr. Facilier, but that may be a little unfair - the villain is, after all, often the most fun part to play. Campos and Rose are both absolutely fine in the lead roles, with the former going through the usual Disney journey of self-discovery while the latter helps to point him in the right direction. Peter Bartlett is also very good as the conniving Lawrence, the valet to the prince who works with Dr. Facilier to keep his former master in froggy form. Wooley and Cummings are both a lot of fun, and the supporting cast includes fine work from John Goodman (always so good in voice roles, I find), Oprah Winfrey, Jenifer Lewis, Jennifer Cody, and Terrence Howard.

With its beautiful animation, memorable characters, and the usual selection of moral lessons this has almost everything required from a Disney movie. It's just a shame about those songs. But I hope that anyone who has seen the movie, and subsequently forgotten how good it was, revisits (and possibly reappraises) it, and I hope that anyone previously dismissing it as lesser fare ends up giving it a chance. There may well be some people who end up enjoying it as much as I do.

8/10

http://www.amazon.com/Princess-Frog-Two-Disc-Blu-ray-Combo/dp/B0049GYXDQ/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1400896131&sr=1-1&keywords=the+princess+and+the+frog

Ani-MAY-tion Month: Cloudy With A Chance Of Meatballs 2 (2013)

I really enjoyed Cloudy With A Chance Of Meatballs. Really REALLY enjoyed it. So I don't know why I assumed the sequel was just some rushed cash-in, without any of the same people in the main voice roles. It's not. In fact, this is a sequel on a par with the first movie. It's consistently cute from start to finish, but manages to undercut that cuteness with sharp humour, amusing puns (okay, I found some of them hilarious), and bright, imaginative sequences throughout.

Leading directly on from the events of the first movie, the residents of Swallow Falls are invited to move elsewhere while their island and town are cleaned up. Inventor Flint Lockwood (Bill Hader) is given the chance of a lifetime, when he's offered a job at LIVE Corp, the company ruled over by his hero, Chester V (Will Forte). But Chester V has a secret agenda, and only wants Flint nearby to keep an eye on him. The machine that caused so much trouble in the first movie hasn't shut down. It is, in fact, now helping to create a variety of food-based lifeforms. Flint is asked to go back to the island to help fix the situation, and his friends won't let him go back alone.

Just like the first movie, every aspect of this film just feels right. That's not to say that it's a perfect film, oh no, but it IS a load of fun from start to finish, full of creativity and jokes that should make you laugh out loud (well, they made ME laugh out loud). Hader and Forte are both very good in their roles, but they're helped out by a supporting cast that includes Anna Faris, Andy Samberg, Benjamin Bratt, James Caan, Terry Crews (voicing the character originally voiced by Mr. T in the first film), and Kristen Schaal.

Directors Cody Cameron and Kris Pearn have a lot of fun working from the script by Erica Rivinoja, John Francis Daley and Jonathan M. Goldstein. They have so much fun, in fact, that it fills up almost every frame, guaranteeing that viewers of all ages will keep smiling throughout.

Anyone who hates some quality punning may be a bit put out, but I distrust anyone who hates some quality punning anyway. Everyone else is pretty much guaranteed a great time. If you liked the first movie as much as I did then you'll also like this. It's smart, it's silly, it's highly rewatchable. Get to it ASAP if you have good taste (taste, see, because of all the food content in the movie - see? See?).*

8/10

http://www.amazon.com/Cloudy-Chance-Meatballs-Disc-Combo/dp/B0090SI39I/ref=sr_1_4?s=movies-tv&ie=UTF8&qid=1399762396&sr=1-4&keywords=cloudy+with+a+chance+of+meatballs+2

*Yeah, sorry about that.

Ani-MAY-tion Month: The Triplets Of Belleville AKA Belleville Rendezvous (2003)

Written and directed by Sylvain Chomet, The Triplets Of Belleville doesn't have any names familiar to me in the vocal cast, doesn't have a high concept at its heart, and doesn't have built-in fanbase that it's aimed at. What it does have is inventiveness, humour and a lot of heart.

The story is all about Madame Souza and her grandson, Champion. From a very early age, Champion has loved riding his bike. Over the years, he keeps cycling and cycling, supported and trained by his grandmother. He's aiming for one thing, of course, and that is a shot in the Tour de France. Unfortunately, once competing in the race, Champion is kidnapped, along with some other cyclists, by some crooks who want to use them in a scheme that will make them a lot of money. Despite the odds against her, Madame Souza heads off in pursuit of the crooks, with her loyal dog, Bruno, by her side. She is determined to save her son, and soon finds some unlikely allies in the shape of the three singing ladies also known as the Triplets Of Belleville.

The Triplets Of Belleville is a beautiful piece of work, full of gorgeous details throughout and lots of fun stylistic choices (such as the broad-shouldered criminal henchmen, or the overdeveloped muscles that Champion uses when pedalling on his bike). A lot of the characters are caricatures, but they're either treated in an affectionate way or used perfectly in moments of comedy, showing just how much thought has gone into each design choice.

Although the movie is French through and through, with affection for the country shining through just as the affection for Edinburgh was front and centre in Chomet's The Illusionist, most of the story is told visually. There are noises, and a few lines of dialogue, and a wonderful score (by Benoit Charest), but you could watch the film with the sound off and still understand most of it. I wouldn't recommend that, of course, as you'd miss out on some gags and great moments, but it's possible.

Old ladies rarely get such prominent leading roles, especially in stories revolving around kidnapping and dangerous criminals, but thank goodness that Chomet created Madame Souza and the Triplets Of Belleville. The characters allow him to lace every scene with humour and quirkiness, completely twisting any "seen it all before" moments into something witty and original.

Sylvain Chomet is a great talent, and The Triplets Of Belleville remains his best film. I'd encourage all animation fans to check it out whenever the chance arises.

9/10

http://www.amazon.com/Triplets-Belleville-Mich%C3%A8le-Caucheteux/dp/B0001IN0MQ/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1400860522&sr=1-1&keywords=belleville+rendez-vous

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.

Ani-MAY-tion Month: Heavy Metal (1981)

An interesting, quirky, sci-fi anthology movie, Heavy Metal, with its gratuitous nudity, wish fulfilment moments and title-appropriate soundtrack, is pretty much designed for teenage boys. That's not to say that it's a bad film, but it does seem to fill many sequences by going for easy options and rather juvenile moments.

The stories in this movie are all connected by a deadly, glowing orb. The orb has intelligence, and also the ability to voice its thoughts, and the framing device of the movie is the orb relating some cautionary tales to a scared young girl. The stories all tend to show how the orb affects those it comes into contact with, for better or for worse, and violence occurs frequently.

Mostly based on material from a long-running magazine of the same name, Heavy Metal is easy to enjoy, even if it's not so easy to love. The stories often have a nice, old-fashioned feel to them, they're all pulp pleasures taking place in different environments, and sometimes developing interesting mythologies in the limited time they have. Screenwriters Daniel Goldber and Len Blum have a great selection of stories to work with, including some written by the great Dan O'Bannon, and they manage to keep the tone consistent while hopping from one story to the next, mainly by populating the tales with a mix of robots, space travellers and topless women.

Director Gerald Potterton keeps everything moving along nicely, helped by a voice cast that unexpectedly includes John Candy, Eugene Levy, John Vernon and Harold Ramis, among others, and it never quite outstays its welcome (running at just under 90 minutes), although it comes close during the last section.

And then there's the soundtrack, which caused the film to be unavailable for a number of years due to problems with the music licensing, apparently. The bands/artists getting to invade your ears include the following: Blue Oyster Cult, Stevie Nicks, Journey, Cheap Trick, Nazareth, Black Sabbath, and more. Okay, none of the songs will appear on any greatest hits album, but they're an extra part of the appeal to the target demographic.

It's not a great film, and the love that some people have for it surprises me, but it's enjoyable enough. And has plenty of those robots, space travellers, and topless women to keep me happy. Which may just be yet another sign of my struggle to keep wearing the disguise of a mature adult.

6/10

http://www.amazon.com/Heavy-Metal-Collectors-Richard-Romanus/dp/0767836316/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1400860259&sr=1-2&keywords=heavy+metal

Bonus Review: Anchorman 2: The Legend Continues (2013)

Most people will already know whether or not they're going to like Anchorman 2: The Legend Continues. It reteams writer-director Adam McKay with writer-star Will Ferrell, it brings back all of the main cast member, and it fills the screen with many gags riffing on material from the first movie.

Ferrell is Ron Burgundy, of course, and this movie sees him at another crossroads in his life. He's having relationship problems with Veronica (Christina Applegate) and he's not the success he once was, but Freddie Shapp (Dylan Baker) comes along at just the right time to make him an interesting offer. 24 hour news. The idea seems ridiculous, but when Ron is allowed to get his old team back together he sees no reason not to at least give it a go. Which allows viewers to spend more time with Ron, Brick Tamland (Steve Carell), Brian Fantana (Paul Rudd), and Champ Kind (David Koechner).

I was hoping to love this sequel, and perhaps one day I will. But not today. It has some decent gags here and there, but too many moments feel either overdone and stretched out, with the film coming in at just under two hours, or far too reliant on replaying jokes from the first movie, with minor variations.

I must say, however, that when I first saw the first Anchorman movie I wasn't impressed. I didn't see what all the fuss was about. And then I ended up watching it almost every day for a fortnight, eventually coming to the conclusion that it was the funniest movie of the year. I'm not sure if the same thing will happen here, but I will allow for the fact that this may well grow on me.

As well as Dylan Baker, Meagan Good is a new addition to the sprawling ensemble, adding some more discomfort for Burgundy by being both a woman and black. Yes, you can imagine some of the awkwardness that ensues, but Good matches everyone in the cast with her fun, fiery turn. James Marsden gives yet another great performance in an increasingly long line of great performances (seriously, the guy is turning into quite the scene-stealer) as Burgundy's main rival in the studio, Greg Kinnear gets a few good moments as Burgundy's main rival elsewhere, and Kirsten Wiig bumps up the laugh quota as a female counterpart to Brick Tamland. Fans will also be happy to hear that there's another cameo-filled fight scene to liven up the third act.

McKay and Ferrell seems to bring out both the worst and the best in one another. They have some great ideas, and great running gags, but the self-indulgence on display sometimes outweighs the thin material, and an excessive runtime really doesn't help.

Of course, those who enjoy the whole thing more than I did will welcome every extra minute.

Those who want to stay classy for much longer will do well to pick up Anchorman 2: The Legend Continues on Bluray, which also contains the alternate version of the movie (complete with 763 new jokes, according to the advertising) and more extras than you can shake a glass of scotchy scotch scotch at.

5/10

http://www.amazon.com/Anchorman-Legend-Continues-Blu-ray-Digital/dp/B0083XXWRE/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1400860610&sr=1-2&keywords=anchorman