Le meraviglie (2014)

I begin by saying it was a sweet little Italian movie. It is not here to entertain you, but to give an alarming message. The world's human population is growing rapidly, but within, the farmer's counts are shrinking. Hunger will be one of the future's biggest concerns to deal. This film is about a farmer family that depicted from the perspective of what's causing for the people like them to disappear. There are a very few movies on this theme, in that, all the farmer's movies won't illustrate harvesting and hardworks rather focuses on romance, revenge and other subplots. I think this was true to what it was promised and you would feel glad watching this if you are capable to realise the facts.

A 12 years old girl, Gelsomina, with her parents and three younger sisters lives in a rural Italy. They are the bee farmers, living with a strict order of the life, especially when it comes to the profession. And this story was told from the Gelsomina's viewpoint about everything she and her family goes through. After her father who got no son, she has to carry on the family's tradition to the next generation. She's absolutely on it as she's naturally gifted and stronger than anyone in the family, including her father who's no match for her. Moreover, she's already running the family with moral. But when they reach a crossroad, some unexpected decisions have to be made which is basically the remaining portion.

"You would need a slave. Instead of 4 daughters."

I can't say it is a must see, because it is still a movie and looks for an opportunity in between to amuse you. Either, it is not afraid to unfold the reality, that's the best of this film. It had an amazing cast, but I don't know anyone of them, of course, except Monica Bellucci in a cameo. Cinematography was great, they were not trying to seduce the viewers with the beautiful countryside scenic rather presenting as it is. Beside the film let you know about bee keeping and honey extraction. It is not an easy job, thinking bees do all the work and we just snatch it using protection costume. But surrounding environment and all matters. There's no CGI, some of the dangerous scenes were shot under the guidance of the real pros with a specialised documentary crew.

It proves a coming-of-age story can also be told in this manner. Urbanising, hunters, tourism influx, name it... all these are affecting peace in the rural life. This film covers most of the factors in a simple fashion, It was not that easy for everyone to understand the end part as it contained two way meaning, literal and metaphor. One is a report card for the actuality and the other one is a cinematic conclusion. Overall, it tackles on the matured contents and children are the part of it, especially the last quarter all about them. And finally, everyone won't desire for a movie like this, but IMO certainly worth spending time for it.

The Great Debaters (2007)

This wasn't about my Texas, although I am familiar with many of the topics in this film. I have been to Marshall in my travels over most of the highways in Texas, I know about Paul Quinn College and Prairie View A & M University. This wasn't even about my Daddy's Texas, as he was just a small boy at the time. It was, however, my Grandfather's Texas. he typified the characters in this film.

With Denzel Washington directing and acting, I expected an outstanding film. I was not prepared to be so emotionally taken in that I left the theater wiping tears from eyes. This was a powerful statement about the differences in American. Differences that were typified by Franklin Roosevelt's affirmative action program for whites - the New Deal; differences that would be repeated twenty years later after WWII when the whites again received affirmative action in the form of the GI Bill. Robert Eisele's story really brought home the pain and deprivation of being Black in America, and how some could overcome that deprivation with the right help, but could never overcome the pain.

Besides Washington, there were outstanding performances by Forest Whitaker, Nate Parker, Jurnee Smollett, and Denzel Whitaker, as a 14-year-old in college.

Tears in my eyes, I will long remember this film as one of the best of the year and of many years.

Antwone Fisher (2002)

Not having seen the film in the original theater release, I was happily surprised when the DVD arrived, since this film did not have the wide distribution it merited.

Denzel Washington directorial debut and the finished product have nothing to envy other films about the same theme by more accomplished directors. The film has a very professional look. It shows that Mr. Washington has learned a lot being on the other side of the camera. He brings a different angle to this film.

One of the best things the film has is, without a doubt, the fine performance by Derek Luke. He is an actor who, with the right guidance, will go far, no doubt. His take on the troubled young man, at this point of his life, in turmoil and suffering for a bad hand life, up to now, has dealt him, is very true. His Antwone is a fine portrait of a man in pain who is basically very good and has so much to give, but no one seems to see that side of his character.

At the worst time of his despair, Antwone is sent to Dr. Davenport, played by Mr. Washington, in a very sober, if somehow subdued manner. Because of the angst within Antwone, he misses the opportunity of opening himself to this man, who wants to help, but because of the constrains placed on his office, just have three sessions and then has to dismiss his patient.

Things work out, as Antwone is able to convince the doctor to keep on working with him. Antwone's past is revealed in detail. The abuse he suffers at the hands of Mrs. Tate, his foster mother, is brutal, to say the least. The attempt at the hand of an older woman in the Tate's household of a sexual molestation, gives Antwone a bitter taste that stays with him throughout his adult life, as he has been scarred by the shame he carries with him.

Antwone finds love at last with Cheryl, who is patient enough to make him see a different world by the love she and support she gives him.

The lead performances are very good indeed. Denzel Washington's Dr. Davenport has his own problems too. He is not a happy camper either. He can help Antwone, but he cannot help himself, or his relationship with an adoring wife.

The talent in the film is incredible. Joy Bryant makes a fine Cheryl. Novella Nelson, who is a fine actress is superb as Mrs. Tate, the abusing foster mother.

The reunion of Antwone with his unknown family is a bit too sugary and sentimental, but of course, if one is to believe that Fisher finds happiness at last, one has to accept that part of the film as well.

Mississippi Masala (1991)

that explores, opens up, reveals the unconscious, socially conditioned ways we limit ourselves. Because the film deals primarily with the Black and African-Indian communities, I found myself wishing that I could have seen it in a Black/Indian audience to see what the film stirred up!

This is a good film for those of you who like explosions, cool mafia hit men, and high tech because it is about real human difficulty and real courage -- not the Die Hard and Terminator fantasy versions of those virtues.

It also happens to be a very sweet, often tellingly funny love story about two believable people you will end up really liking.

Legend (2015)

The story of the Kray twins is a fascinating one, full of violence and deceit. In Legend, that story isn't really taken to its full potential, thanks to an unfortunately clunky structure despite brilliant performances, good humour and violence.

Let's start with the best part of this film, that is Tom Hardy's performances as Ronnie and Reggie Kray. The amazing special effects make the dual show possible, but within minutes of the start here, you completely forget that these two characters are played by the same man.

Hardy completely disappears into both men, with an unnerving but humorous turn as the psychotic Ronnie, and a more understated but powerful performance as Reggie, and that really deserves some praise.

What's more is that this film does make use of the very violent nature of the history very well. As bloody as it is foul-mouthed, this isn't a pleasant film to watch, but the level of violence does leave an impression with regards to the Krays' crimes, making it seem all the more real, and all the more frightening.

The big issue I have with this film, however, is that it's not an exhilarating watch. Historically interesting it may be, but at over two hours long, it's not something that will consistently entice you throughout.

There are side plots that aren't picked up on enough, some characters don't get the development they really deserve based on the size of their role, and the plot takes a really long time to get going.

The disappointing thing is that Legend isn't a bad film in any way, nor is it boring, but it gives you a sense of growing importance and tension towards a hopefully climactic end, but it never comes as you want it to.

The Program (2015)

'Champion. Hero. Legend. Cheat.' reads the tagline for The Program, Stephen Frears' film about the controversial and illegal route Lance Armstrong took to winning seven Tour de France titles between 1999-2005. It sure is simple yet delivers a powerful message about one of the once most iconic heroes in sport.

David Walsh (Chris O'Dowd), an Irish journalist for The Sunday Times, first meets Lance Armstrong (Ben Foster) before his Tour de France debut in 1993. Impressed with his enthusiasm yet wary of his chances, Walsh predicts Armstrong will only make a minor impact in the world of cycling.

Fast forward to 1999, Armstrong has beaten testicular cancer and won the first of his seven consecutive Tour de France titles, as well as launching Livestrong, a charity to help those affected by cancer. Walsh, curious of Armstrong's miraculous recovery and performances, begins to doubt the champion and embarks on a journey to uncover the truth in regards to whether Armstrong was using banned substances to enhance his performance.

With the whole world seeming to side with Armstrong, Walsh faces a lonely battle to unearth the truth and bring both justice and respect back to the sport he loves.

What struck me most about The Program was the extent of Armstrong's deception and the program he and his team imposed to both use and hide the use of performance enhancing drugs. Being a true story, I knew that he had confessed to the use of these substances, I just didn't know how he went about it. The Program was a real eye-opener for me, that's for sure.

Frears' film is precise and wastes no time in trying to paint Armstrong in any good light, in fact the film paints Armstrong in the style of Picasso, his character becoming distorted to the point where he becomes almost unrecognisable. There is no time wasting here and with Walsh's brilliantly titled book, Seven Deadly Sins, being the inspiration for the film, Frears has plenty of ammunition to play with.

The performance of Ben Foster as Lance Armstrong has to go down as one of the best of this year. For a long time, Foster has been impressing in supporting roles, even if the films aren't that good however, The Program marks the first time where Foster gets to take centre stage and he well and truly knocks it out of the park as Armstrong, very much portraying him as the villain of the piece.

There is good support from O'Dowd as the persistent Walsh, taking a step away from the comedy roles you would normally associate him with, and Jesse Plemons as Floyd Landis, a member of Armstrong's team who saw both the good and bad in what Armstrong was doing.

The editing by Valerio Bonelli and Danny Cohen's cinematography of the race sequences perfectly capture just how much of an advantage the drugs gave Armstrong and his team, a task made even more achievable with the fact that Foster was taking performance enhancing drugs while shooting the film.

Armstrong may have been shamed and stripped of his seven Tour de France titles but The Program will bring the story to a whole new audience who may know nothing about his deception. Everything he has ever achieved in sports and with his charity is all based on a lie and Frears' film really powers this home.

Scouts Guide to the Zombie Apocalypse (2015)

Simply put, this is a future cult film for a new generation. The zombie sub-genre is one that is so incredibly saturated that it can be hard to find a decent new film as we have to wade through tons of sewage to find anything with some value. Thankfully, after a fair bit of digging, we have one with Scouts Guide to the Zombie Apocalypse. It's a film that will appeal to the new generations of horror fans who were born into this nutty zombie infested pop culture, and it should also resonate with the well travelled horror fans who grew up on a diet of Evil Dead and Re-Animator. It's not going to be a mainstream success, and it's not going to appeal to everybody but Scouts Guide to the Zombie Apocalypse is a blast of fun from start to finish.

It's clear from the opening scene of the film that aims to be a bucket of bloody fun. As a foolish janitor messes around with some laboratory equipment and comes across a strange looking comatose patient, he accidentally causes the them to flat-line and awkwardly tries provide CPR. His efforts are clearly in vain as he pushes his hands through the patients chest and wakes up the living dead, thus causing the zombie outbreak.

The comedy in the film ranges from hilarious mutilation of corpses, wacky animal zombies to plain stupidity, but it is none the less entertaining every step of the way. Highlights include a scene involving a trampoline, which had my body cringing in disgust and almost laughing hysterically at the same time, and a surreal rendition of a classic Britney Spears song. The climax owes a lot to the gaming franchise Dead Rising as the boys use the scout skills to craft hand- built weapons from a hardware store for maximum zombie killing impact.

Despite the zombies being a primary part of the proceedings, it would have been a shell of a film had it not had the central friendship between the characters of Ben, Carter, and Augie. We can all relate to a group of friends on an adventure, and their dynamic has shades of 80s classics like The Goonies and Stand By Me. It isn't drawing on anything new but it doesn't pretend to either as it feels like a hokey sentimental tribute to cult favourites such as The Monster Squad. The 80s are very much beating in the lively heart of this horror.

I'm a horror fan through and through, and the genre needs feel good films like this, equal parts gore and laughs with a splat of gratuitous nudity for good measure. At the end of the day isn't that what fun horrors are all about?

Burnt (2015)

Burnt is an upcoming 2015 American comedy-drama film directed by John Wells and written by Steven Knight from a story by Michael Kalesniko. The film stars Bradley Cooper, Sienna Miller, Omar Sy, Daniel Brühl, Matthew Rhys, Alicia Vikander, Uma Thurman and Emma Thompson.

Adam Jones is an up-and-coming chef whose drug use and erratic behaviour lead him to lose his restaurant. He attempts to rebuild his life and his career in London, in the hopes of returning to Paris to open a new restaurant that will gain three Michelin stars.

Burnt is truly an excellent comedy-drama film.

Rated R for language including some sexual references, and drug use.

The Lord of the Rings: The Return of the King (2003)

Obviously, I'm aware of the fact that the Lord of the Rings trilogy is actually one giant movie, but since it was released in parts, that's how I'm judging them. The Return Of The King is the final chapter, and since it is the climax and resolution of the epic journey, it has a little more intensity and urgency than the previous installments.

At this point everyone has come to know and love all of the characters, and the stakes have become tremendously high. Kingdoms are at their knees, and the only two characters who can save the day are getting weaker and weaker. The tension was very high in this episode and I can honestly say that out of all 3 this was the only one that had me on the edge of my seat. There were many memorable scenes (one of my favourites including the part with the giant spider)that made this the classic that it is sure to stay for decades to come.

This is the longest of the series, mostly because of the ending that seems to last a while. This was a good ending, and I can see why Frodo did what he did. He, and us the audience, have gone through an incredible ordeal and I think we needed that 20 minute linger. When the battle is over, and the celebrations have ended, there is a sad emptiness felt. The films spanned over 3 years, there have been the extended cuts of course, but after that, it's all over. Peter Jackson gave us an ending that was both appropriate and admirable.

These were some amazing movies and this one in particular is the best, in my opinion. As whole, the Lord Of The Rings is a phenomenon. An absolute phenomenon. Much more than just movies. They have a universal appeal and have touched the hearts and imaginations of millions. I'm one of them.

Sorry if I'm being all fanboyish and kissing this movie's ass, but I really admire it. It may not be among my personal favourites but generally this seems to be the movie event of the century. There will never be another Lord of the Rings film, and that's a bit depressing.

The Lord of the Rings: The Two Towers (2002)

Seriously, I never thought a movie could get better than the Fellowship of the Ring, but it did. This movie should be #1 on the IMDb top 250. This movie, as long as it was, captivated me from start to finish, and those who are not entertained by this movie can not be entertained period.

Yes, I have read the book. Any chapters cut out at the end of books III and IV will probably themselves in the next installment. If you haven't noticed, the beginning of the Two Towers was actually closed the Fellowship of the Ring on the big screen.

Gollum was a CG masterpiece. He added some light to this incredibly dark movie. At the same time, there are areas where you feel sorry for the poor guy, or just want to kill him. Smeagol was probably the most diverse character I've ever seen.

Elijah Wood put on a better performance than he did in the first movie, as did Sean Astin. Ian McKellen, who captivated us in the last movie, captivated us even more in this one. Viggo Mortensen, John Rhys-Davies, and Orlando Bloom made a great trio. They laughed together, cried together, prospered together, and suffered together. This trio gave life to Aragorn, Gimli, and Legolas. Eowyn expressed her emotions clearly through Miranda Otto.

The music need not be discussed. Its greatness speaks for itself.

Favorite Scene: The Battle of Helms Deep. Possibly the greatest scene in the book, 50% of the trailer, and action packed climax to this beautiful movie.

The movie, like its predecessor, fails to bring us closure, but that's ok. Closure will come next year. I look forward to the Return of the King.

The Two Towers is now my favorite movie of all time.

The scale is broken. 10 is not a capacity sufficient enough to hold this movie... my movie... my... precious...

The Lord of the Rings: The Fellowship of the Ring (2001)

When I first saw the trailers for "The Fellowship of the Ring," I had never had any interest in reading the lengthy tome of a trilogy. But seeing the possibility of the movie, I immediately went out and read the whole thing, insisted on receiving it for Christmas, and enjoyed every minute of it. The feelings I had while reading the series were heightened seeing it come to life in the stunning movie. I thought it was a fabulous work of art.

I thought that having Galadriel tell what was basically the prologue of the book was a good idea, as it helped those who had never read the story. It also immediately involved me in the film; I felt I had an insider's advantage on the rest of the audience. Cate Blanchett has a wonderfully deep and emotional voice; the way she speaks Galadriel is almost as effective as her appearence as the Elven queen. Also, showing the last battle of Isildur and Sauron helped unfog a part of the novel that had me a trifle confused.

The entire movie is full of beautiful sets and landscapes. The Shire was almost exactly as I'd pictured it. Hobbiton is cute and very whimsical. Mordor was frighteningly well done, extremely real. Rivendell had a little bit of a European-tourist-trap look, but was beautiful all the same. The entire backdrop of the movie (the mountains, Moria, Isengard) was perfect; it's amazing that "Fellowship" was filmed in one country.

Now to the characters. All I can say is, "Wow." I was a little apprehensive about the casting at first; I'd created such real images of the characters in my imagination, I almost didn't want them spoiled for me. However, I was not disapointed in the least. Elijah Wood, though not one of my favorite actors, was believable. You could tell from the first glimpse that Frodo was special; Wood's pale, sharp features contrast sharply with the more ruddy, robust look of the rest of the hobbits. He also cries like a little girl. But his weaknesses and strengths make his Frodo an apt choice for the starring character. The rest of the Hobbiton gang was well-chosen, too. Sean Astin ("Rudy" forever to me) was loyal and a bit bumbling, just like the Gamgee of Tolkien's telling. Pippin and Merry were congenial, slow-witted lads, but very brave nonetheless. Viggo Mortensen is outstanding. He has the ability to make Aragorn both menacing and kind. He physically represents Strider to the nines with his strength and virility; the action sequences of his are very passionate and exciting. Some may have complained about Arwen's character being slightly expanded; I thought it a good change. In the books, you have to read the whole trilogy and then rifle through the appendix in "The Return of the King" to learn the history between Aragorn and Arwen. Liv Tyler is ethereal and breathtaking, but at the same time displays the courage and magic that make the Elves the beings they are. Speaking of Elves, I can't help but gush over the handsome and ever-so-talented Orlando Bloom as noble Legolas. Bloom captured the archer's very movements; he treads lightly and fights fearlessly. Legolas's bowmanship was amazing; he looked so natural loosing his arrows machine-gun style. He was my favorite character in the books, and his essence transcends the film. Gimli was pompous and brave, as well. He is well-represented in the movie. Boromir was hopelessly lost, but at the same time valiant and strong. Sean Bean gave an emotionally-charged performance as the tortured warrior. Hugo Weaving was very good as Elrond. He was noble and cold at the same time. And Gandalf. What more can be said of Ian McKellan's showcase portrayal of the wizard? He was magnificent. He could be Gandalf, the kind old conjurer who set off pyrotechnics for hobbit-children. Then he could turn around and stun the life out of you with Gandalf the powerful wizard, facing the balrog with defiance and an iron will. His Oscar nomination is well-deserved.

Peter Jackson is a brave soul to take on a project that could have backfired in so many places. Instead of bringing us uninspired kitsch, he serves up raw emotion, graphic battles of good and evil, chilling and wonderful characters, and enough special effects (realistic, mind you) to make John Cameron's mouth water. Knowing that "The Two Towers" was my favorite of the books, I eagerly anticipate the second helping of "The Lord of the Rings."

Inception (2010)

Dom Cobb leads a highly skilled team, specializing in stealing secrets from people's minds by entering their dreams. When they are hired by a mysterious businessman, Cobb finally has a shot at redemption, but not before achieving the near impossible. Rather than stealing an idea, they must do the complete opposite: Inception. Planting the seed of an idea.

Inception has a multi-layered plot, quite literally in fact. It focuses on the emotional journey of its lead character, Cobb, but at the same time thrusts the audience into multiple levels of action packed story- telling, very distinct from one another, but all finely connected. It has been described by critics as "a film that rewards intellect", and I can assure you that it is exactly that. Director Christopher Nolan challenges the audience to keep up, and rewards those who can with a breathtaking spectacle, one that has the capability to leave you awestruck. The best part about it is that while you may feel you need to watch it again to be able to fully absorb the experience, chances are, you will probably want to.

Christopher Nolan brings his unique vision to the screen with the help of a star-studded cast, including the likes of Leonardo Dicaprio (The Departed), Joseph Gordon-Levitt (500 Days Of Summer), Ellen Page (Juno), Marion Cotillard (Public Enemies), Cillian Murphy (Batman Begins), and Michael Caine (The Dark Knight), as well some amazing photography by long time collaborator Wally Pfister. The thrilling music in the film is provided by none other than Hans Zimmer, who was also set the mood for Nolan's previous film, The Dark Knight.

While it may seem simple at its outset, Inception is an extremely complex film, delving deep into the subconscious of the human mind. Technical brilliance and visual splendor have rarely blended together as beautifully. The emotional depth and explosive action complement each other perfectly, delivering a film that is at the same time both heart- wrenching and heart-pounding. It's a film that manages to engross you with its complexities, yet comes together seamlessly, and will have you at the edge of your seat, quite literally from start to finish.

Shutter Island (2010)

I just saw Shutter Island this evening, just prior to its American release. I have to say this film was full of intrigue. Prior to viewing this film I had built a preconceived notion of what this thriller was going to be like because I was fooled yet again by good marketing when watching the trailer. This is probably not the movie for your average film-goer who wants an easy plot line to follow and little thought required. This movie does challenge the viewer physchologically and definitely holds your attention all the way through. For someone who was never much of a Leonardo fan, his performance is brilliant, so much range to his character. In fact all of the acting in this film is excellent. The directing is probably the best quality to this film. I always enjoy watching a film that is as unpredicatable as this film and where the director has turned the plot line on to his viewer.

The Prestige (2006)

What makes this movie so incredible is that while it is indeed a movie about magicians (or illusionists) it is also a complex character study about how self destructive obsessions are with a sideline love story and a sci-fi twist. A unique plot with an amazing cast--any of whom could believably garner an Oscar nomination. Christian Bale was amazing in one of his rare cockney performances. We already know from Kate and Leopold how well Hugh Jackman plays a distinguished English gent. He's absolutely priceless. Is there any point in discussing Sir Michael Caine? He brings polish to the movie.

This is the kind of flick that you can discuss for weeks after. The plot is so detailed and complete and open to interpretation. My friend and I have been discussing various nuances of this film for the past 3 weeks. It definitely stays with you.

Montana (2014)

Montana was one of those movies I had no idea how well it would play out when I started watching it. Lets just say I was pleasantly surprised. This movie format will play similar to the movie "Leon (1994)" and that is a positive comparison to make as both movies played out really well in he form of redemption revenge flick. The story set in the mean streets of UK featuring a good mix of dirty cops, crooked gangsters and Russian mobsters

I like the way Montana character is developed and he is a believable confused kid. The other actors also did well in there parts.

The Good: Good build up of the story, good character development and action sequences. The soundtrack was done well to emphasis emotion at the right moments.

The Bad: It stretches your imagination as to how adept Montana character becomes at fighting but hey its a movie.

The Ugly: The raw, gritty crime world lingering in London (thats ugly in a good way).

Overall quite raw and powerful performances by all this movie deserves more praise.

Before Sunset (2004)

...is that it ends. This is a fantastic film. It joins the handful of movies where I think I liked the sequel even more than the original, although I liked 'Before Sunrise' as well. Where Sunrise captured the immediacy and urgency of perfect youthful love, Sunset reflects beautifully on the aftermath of that perfection. I remember a line that says "nothing that is complete breathes", and I think that is what we see in this film. A perfect connection with another human is a blessing and a curse; having experienced perfection a part of us stops breathing, unable or unwilling to mar the perfection of that memory.

The dialogue is amazing, the acting is spot-on; this is a great film. In some ways it felt more like reading a great novel than watching a movie, in that I really felt like I knew the characters and was sad the movie had to end. Kind of like saying goodbye to an old friend. If you are an action movie kind of person, skip this flick because it will bore you to tears. If, on the other hand, you like good dialogue, well formed characters, and aren't quite jaded enough to have given up completely on the idea of true love, don't miss this film.

Erin Brockovich (2000)

If I didn't know it was based on a "true" story I might have dismissed this movie as "unrealistic", particularly in the first half hour or so when it started off like another Julia Roberts comedy. At the beginning the film appears to focus primarily on her wardrobe, her foul language, and the developing romance with the "boy next door", whom she initially dislikes. As it turns out, the actual story, according to the bonus features on the DVD was even more melodramatic than the film's. The real Erin actually got sick to the point of hospitalization from the chromium in Hinkley. The director wisely decided to cut out this part of the story, to avoid making her too much of a martyr. Another aspect while not totally ignored (she does mention at least once that she's a "slow reader") but underplayed is Erin's dyslexia. This makes her accomplishments all the more amazing! Personally, I think this fact could have been emphasized more, as no doubt it was a big factor behind her "attitude" problems - her combativeness toward people with more education than herself, her struggles in finding a job, perhaps even in her efforts to accentuate her physical attractiveness through her outrageous clothing. All in all I found it an enjoyable and enlightening story - the triumph of a unique individual whose determination, empathy, and sense of moral duty ultimately outweigh her abrasiveness and lack of social graces. And largely why she triumphs is her partnership with an intelligent and decent lawyer in Ed Masry. What a refreshing departure from the usual Hollywood stereotype! On many occasions, he effectively counters Erin's prejudices with rational explanations how and why the legal system works the way it does, and why lawyers behave the way they do. With her passion and his reason, they make a great team. Now if only the movie hadn't fallen into the old Hollywood trap of giving its leading lady more outfits than is realistic for someone of her economic status. The point that Erin dressed provocatively and this caused problems with her co-workers could have easily been made with just 3 or 4 costumes. Other than that, it was a good movie - great performances and a wonderful story.

Pretty Woman (1990)

Obviously similar to Shaw's "Pygmalion", but updated, more modern.

A lovely dream, one very old: rescuing a prostitute from the street. (Not in Woody Allen's sickish-moody way.)

However, if you wish to dream this one, be sure you do NOT start to think very logically . . . She is healthy, not on drugs, not on alcohol, not even a smoker; no syphilis, no gonorrhea, no AIDS wounds on her legs, nothing, she is just perfectly absolutely healthy. Body and mind. She is not a criminal, not inclined to steal anything, she even values love and dignity more than money. Oh, she has no pimp, who would be the other man (other than Richard Gere) in her life; nobody to protect her from smart types who walk off without paying; the pimp would explode the whole romance instantly. (Instead, a girl friend.)

She has a golden soul, full of goodness, and loves art, and feels for art. High-society types around them appear silly, artificial, stuffy. (Different forks.) She is natural. She even was a good student (!) and . . . might be again? She loves to bathe, and half the time we see her happy in the bath tub (which is a powerful signal and symbol for CLEAN, CLEAN; she even sings so super-ultra-charmingly in the bath; she wants to wash off the foolishness of her previous few months of street. And she can do it.

But with all those qualities, WHY would she ever become a prostitute in the first place? Don't think, don't think. Just dream, it is lovely.

X+Y (2014)

Let me start off with a disclaimer: I am an aspie. A mild aspie, but an aspie nonetheless. I can get very upset at times, at other times I can become very nervous, and am anxious a lot of the time. I write and I act for many reasons, but one of the biggest is that through those films I can express the things I otherwise can't bring myself to. I suppose that's why I'm writing this. The average perception of those on the spectrum is as follows: Weird, odd, sad, different. We're seen as someone to pity or someone who's an easy target for a joke. The media doesn't do us many favours either, with films tending to all stick to common stereotypes without every really looking underneath. At least, that's how it feels. X+Y is a film that looks underneath, and I love it for that. (And yes, I'm aware it took nine lines until I actually started talking about the film, and for that I apologise. I'll try to make up for it) I will admit, this film was sometimes hard to watch for me, and that some scenes hit very close to home. This film doesn't shy away from the truth, nor does it allow itself to be clouded by sentimentality. This film was directed by a documentary filmmaker, and you can tell; the film is involved, up close, personal, and always strives to convey the truth. Basically, this film gets it. I don't think I've felt as strong an emotional connection to a film in a very long time. The characters were beautifully written and performed by the stellar cast, but I feel a special mention has to be given to three of the actors in particular: Asa Butterfield, who portrays Nathan with such grace and skill, and captures the mannerisms and inner struggles of those on the spectrum brilliantly. The character is well written, yes, but I honestly can't imagine any other actor in the role. It is without a doubt the best performance of his career, and if he doesn't win SOMETHING for his role, I will be incredibly disappointed. He turns the character into a real person, a real person who just thinks and acts a little differently to everyone else. A real person who deserves to be treated as anyone else would, and not looked down upon. Words cannot describe how good he is in this film (and I could say the same about the two others to come). Just…wow. A great performance. Sally Hawkins, who portrays Nathan's mother Julie with such warmth, such heart and such believability. Not only does the film focus on Nathan alone, it also focuses on those he cares about, Julie in particular. She's someone who has sacrificed so much, and has had to care for her son on her own. She understands why Nathan doesn't want to hold her hand or talk to her, but understanding doesn't make it any easier for her to deal with, and still feels that she doesn't understand Nathan at all. Sally Hawkins, bravo. Finally, Jake Davies, who plays the character Luke. And honestly, I'm at a loss for words. I cried at most of the moments he was on screen: I cried out of recognition of both my younger self and of those I have met further up the spectrum than myself. I once knew someone just like Luke, and one scene in particular which involves a re-enactment of a famous comedy sketch almost felt like it came from real life. I was never really like Luke, but I've met plenty of people who are, and to see people like him represented in a film is brilliant. People like Luke Shelton exist in every school, and are all treated the same: bullied, and made fun of or belittled. It's not their fault that they insult people; they don't do it deliberately, they just don't understand how people can be offended. They don't read faces or hear speech patterns like the average person does, but that doesn't mean that people like Luke don't feel emotion themselves. They do, they really do. And Jake Davies conveys that brilliantly, and even manages to make us laugh a few times. (I noticed I said "I'm at a loss for words" and yet managed to talk about his performance the most. Go figure.) I forgot I was looking at actors; I just saw real people. (As a side note, I adored every performance in the film, it's just that those three touched me the most).

To the makers of this film: thank you. Just…thank you. You have made an aspie who sometimes feels like nobody understands realise that people do understand. This film is just glorious, fantastic and truthful. People, spread the word! All must watch this! Make sure that X+Y doesn't get overshadowed, and make sure you go in knowing as little as possible. Don't watch the trailer like I did, because it gives away far too much.

My favourite film of 2014, and one of my favourites of all time. A masterpiece, plain and simple.

EDIT: Wow. Looked back on this review after a few months and was stunned by the amount of attention it got. Also was sorry to hear that a few people didn't like the film. Ah well. If this review managed to get a few more people to see the film, then that's grand. A few users have said some reviews misled them, and if mine was one of them, well then I'm sorry you were disappointed. Really, I am. It's a shame you didn't like it as much as I did, and it was never my intention to mislead. Basically, the above review still reflects how I felt when I first watched the film. If you didn't like the film, then I'm sorry. I still love X+Y. And if you don't...you don't. OPINIONS! (Cue Seinfeld music and laugh-track as I slide away from my laptop)

Love & Mercy (2014)

Anyone who knows me knows my favorite band is The Beach Boys, and my favorite musician is their leader, Brian Wilson. I first got deep into their music last November when I heard their album SMiLE, an album which wasn't officially released until 45 years after its conception and recording. It was worth the wait, as I consider it the best album I've ever heard.

I found out that a biopic of Wilson was in the works, and would be screening at SXSW with Wilson in attendance. I knew I had to go and see this film. The experience is one that will stick with me for the rest of my life as one of the most emotionally powerful events I have been a part of.

Love and Mercy is the story of The Beach Boys' founder Brian Wilson. The film chronicles his rise to fame in the 1960's and the his decline into mental illness, and his escape from the control of his therapist in the 1980's.

Paul Dano plays Wilson in the 1960's, and John Cusack plays him in the 1980's. It also stars Elizabeth Banks as Wilson's future wife, Melinda Ledbetter, and Paul Giamatti as his therapist, Eugene Landy.

Paul Dano exudes the boyish look of young Wilson perfectly. He relearned how to play piano for the role, and sings much of the music in the film.

His performance is hard to watch at times because of how depressing it is seeing him devolve from an energetic, fun young man into a tortured, drained artist. Dano handles the role with passion and care, and his performance never feels forced or fake.

When Wilson begins to suffer a panic attack, anyone who's had one will feel deeply for him. When he starts to have physical symptoms of depression after years of physical and mental abuse from his father and disapproval of his musical direction from fellow band mate Mike Love, Dano portrays the hurt that comes from those events with subtle facial expressions and natural transition.

John Cusack looks less like Wilson physically, but his performance may be even more complex. His Wilson has been to the bottom, and he brilliantly portrays how challenging it is to rebuild your life after going through mental and physical anguish.

Elizabeth Banks has a great departure from her more well known comedic film roles, and as Ledbetter, she shows her strength and respect for the man she loves through actions and subtle expressions instead of overt, over the top dialog.

Paul Giamatti has the most campy role in the film as Eugene Landy, but this is unfortunately how Landy was in real life. He was as violent and controlling over Wilson's life as the movie portrays, so his abusive, manipulative, angering performance is highly accurate.

One of the best things about Love and Mercy is that it doesn't exaggerate or make up events to make the film more interesting. The filmmakers trust the strength of its source material is interesting enough to make for a great story.

The storytelling structure of the movie is interesting and risky. The film jumps from the 60's to the 80's without warning, and it works. The slightly askew technique allows the audience to experience the downfall and uprising of Wilson's life simultaneously, and allows the movie to end on a happy note.

One complaint people have is that the film skips over the 1970's, Wilson's most tumultuous period in which he weighed 300 pounds and spent the majority of three years in bed, crippled by depression and drug addiction. However, this allows the audience to examine the reasons for his downfall and redemption instead of indulging in the horrible escapism Wilson turned to.

Beach Boys fans will appreciate the movie more than the average film-goer. Mike Love in hats, dancing, and mentioning "the formula"? Check. Drug tent and piano in the sandbox in Wilson's living room? Check. The infamous "Fire" session? Check. Everything is on point, from the scarily accurate wardrobe down to recreating the "Sloop John B." and "Surf's Up" promo videos shot for shot. It's these moments that show the film was made by fans with an attention for detail.

Almost every song on the album Pet Sounds is featured in the film somewhere. Seeing Wilson's unorthodox recording techniques is such a pleasure for music nerds.

Cinematographer Robert Yeoman, best known for creating the look of Wes Anderson's films, blends stylistic tone with realistic camera work, creating a sense of false nostalgia that is surreal yet inviting and intense.

Composer Atticus Ross works wonders with the score, using a great wealth of Wilson's music in different ways and choosing songs that fit with the emotional tone of the scene brilliantly. Hearing the instrumental version of "Don't Talk" play as Wilson takes LSD for the first time is haunting. Witnessing the song "Til' I Die" play over a surreal, Kubrickian scene in which Wilson has an epiphany made me cry because of the powerful combination of imagery and music.

The film is being released on June 5, to capitalize on The Beach Boys music being a staple of the summer, but it feels more like a Thanksgiving release to me. The cinematography, acting, script, and score are all Oscar worthy in my opinion, but the film may get lost in the race to other contenders, which is a shame.

Love and Mercy is an awesome, unorthodox biopic that takes risks with form and narrative that has strong performances, script, cinematography, and of course, an amazing soundtrack. It will expose young people to the brilliance of Wilson's music and give older fans an insight into why Wilson is the poster boy for using creativity as an escape and an outlet from the pain of life and mental illness.

Fight Club (1999)

When I first saw the previews for this movie, it had me interested. A movie about guys who fight - it didn't seem to deep, but I thought it would provide entertainment. I had heard buzz about, a few of my friends raved about it for a few days, and I was convinced. I should see this movie. I went to my local video store and picked up the last remaining DVD. I popped it in, sat in amazement until the last credit rolled, and then watched it again. And again. And again.

This movie is dark and disturbing, however, it is equally smart and stylistic. I found it hard to watch at points, but I couldn't turn my eyes away. Fight Club makes many bold statements against the modern consumer-driven society, and produces Norton's best performance and Pitt's second best (12 Monkeys).

Norton plays an average-Joe who is living a dead-end life. He needs something to change his life. Tyler and Marla will take care of this, and that is all I want to give away. Other comments will tell you more, but I suggest you let it all sink in while watching. As for it's ending, it doesn't rival 'The Sixth Sense' - it blows it away. One of the best movie endings I've seen. Even better if you're a Pixies fan.

As for it being important, don't worry. You will be hearing about this movie. When 'A Clockwork Orange' came out, it was met with mixed reviews, deemed too dark and violent, and is now considered a classic. These two movies share quite a bit in common - both were based on great books. If you haven't read either, get to it. Politicians will use this movie as a demonstration of careless and consequenceless violence in movies, and as a perfect example of what today's youth are being influenced by.

Jie jiu wu xian sheng (2015)

The kidnapping of prominent TV star Wu Ruofu outside a bar in Beijing's Sanlitun district may not have made much headlines here in Singapore, but it was big news back in the Mainland, not least because his kidnappers had identified themselves as police officers prior to snatching him but also because it raised alarm about how safe the capital was and led to a consequent boom in the private security business. It isn't surprising therefore that the real-life story would become the subject of a movie in itself, one which writer-director Ding Sheng approaches with the utmost commitment to authenticity.

Yes, despite casting Andy Lau as Ruofu, Ding strips all vanity off the Hong Kong superstar by putting him in handcuffs and binding him up in heavy iron chains most of the time. To top it off, a pivotal moment at the end has Andy Lau strangled by his kidnappers using a thick red plastic-insulated wire around his neck. It is harrowing to watch all right, and you can trust us when we say that there is no doubt watching it unfold that it was re-enacted for real. Notwithstanding, the rest of Lau's restrained performance – and we mean this both physically as well as metaphorically – is just as compelling, especially how he balances humility, dignity, selflessness and raw fear in equal measure.

As tempting as it may be to call this Andy Lau's show, he is surprisingly upstaged by Mainland actor Wang Qianyuan, who plays the kidnapper Zhang Hua. Those familiar with the case itself will know that Zhang Hua was no less than the mastermind of Ruofu's kidnap, and it was he who had rounded up a crew in search of their latest victim barely two weeks after he had similarly held the younger brother of a gang boss for ransom and assassinated the former after collecting the money. How much of a resemblance to the actual criminal of the same name is anybody's guess, but Wang is mesmerising to watch as the cold- blooded criminal who had run rings around the detectives in charge of the case and who displays no sign of compunction up till the very end.

The actor-character transformation is even more remarkable considering how this is the first time that Wang is playing the villain, whose television personas are diametrically different from his role here. Wang more than holds his own with Lau, especially at the start where both are testing each other's limits while trying to achieve their own objectives – one to stay alive, and the other to keep the former alive just long enough to get his demands. Combining a keen cunning demeanour with disarming charm, Wang keeps his audience on edge guessing just what his unpredictable and increasingly unhinged character has up his sleeves. The way Ding structures his narrative also inevitably places the focus less on Lau than on Wang, which unfolds as a race against time to figure out where Ruofu is held before he is executed by Zhang Hua's henchmen.

Though Ruofu's kidnapping right after he leaves a nightclub at the end of a business meeting with a potential film investor kicks off the movie, Ding uses Zhang Hua's questioning by lead investigators Xing Feng (Liu Ye) and Cao Gang (Wu Ruofu) as a frame to fill in the events that follow immediately after Ruofu is taken. The framing does make for an interesting juxtaposition, such that Ruofu's physical predicament is mirrored against that of Zhang Hua's, who is strapped tightly into a chair with iron rails around his body and feet chained to the floor in the police's interrogation room. It is Zhang who fills in both the police – and us – with what went down in the 18 hours Ruofu is taken, and from whose point of view the story develops.

Adopting a non-linear narrative may be slightly disorientating at the start, but Ding's choice not to simply follow chronology actually proves an inspired one to lend the story greater heft. Indeed, while Ruofu's kidnap was more spontaneous than premeditated, what isn't coincidental is his kidnapper's felonious behavior, and Ding goes even further back than the night of Ruofu's kidnapping to shed light on just who both Ruofu and the police are up against. Assuming editorial control as well, Ding keeps the pacing tight and gripping even as he goes back and forth between different time periods to fill in the chronological gaps.

Speaking of tension, those looking for the sort of bombastic action from the typical Hong Kong contemporary action flick should be warned that there is hardly any here; instead, much of that tension comes from a careful calibration of the dynamic between Ruofu and his kidnappers as well as that between Zhang Hao and the police, and which Ding manages to sustain pretty much from start to finish. Ding also keeps the mood taut by filming the proceedings on hand-held cameras to bring his viewer up close with the actors, lending the whole picture a gritty and intimate feel especially since many of the scenes take place within closed quarters.

Coming off 'Police Story 2013', 'Saving Mr Wu' finds Ding Sheng at his creative best, fusing the instincts he had starting honing from his debut 'The Underdog Knight' with a fascinating real-life story to create a riveting crime thriller. We won't speak for those familiar with the subject matter, but those with little knowledge of the ins and outs of the case will find this as engrossing an introduction as any, brought to vivid life by an assured directorial hand and outstanding performances from Andy Lau and Wang Qianyuan. In fact, we dare say it is probably one of the best Mainland films you'll see this year, one that by both theme and genre also makes for a welcome change of pace from the usual crop of romance or war epics that we are frankly just exhausted of.

The Assassin (2015)

Hou Hsiao-Hsien is one of those directors the mere mention of whose name sends filmsnobs into paroxysms of pleasure. 'The Assassin' is the first of his films that I myself have seen, and I've got to say I have mixed feelings.

I was attracted to the film by the set designs featured in the trailer, and these are fantastic: lush, richly-detailed, lavish reproductions of nobles' palaces and peasants' hovels. The costumes are similarly splendid. The natural scenery is spectacular also, with Hou taking full advantage of the endless steep wooded hillsides of his Far Eastern filming locations.

But oh, the pace of the film is slow. Far too often, Hou allows his camera to linger, unmoving, on a particular subject that is doing nothing - certainly not adding anything to the story. This may be because of the sparse nature of the plot - a young woman in ninth century China, raised from childhood to be an assassin, is sent back to her native Weibo to assassinate her cousin, the region's governor. Once there she gets caught up in some palace intrigue, but it's all sketched out very lightly and, to be honest, for some of the time I was having trouble staying awake.

But those sets *are* gorgeous...

Sleeping Giant (2015)

There are more coming-of-age films than masterpieces in the Louvre, but there are only a handful of them that have stood the test of time, even though teen-speak changes over the years. First-time Canadian director Andrew Cividino's Sleeping Giant, an update of the short that won the youth jury prize at Locarno last year, may just join this select group. Winner of the award for Best Canadian First Feature Film at the Toronto Film Festival, it is the story of three very different teenage boys during a summer vacation in Northern Ontario. It is not a comedy about lovable misfits such as "Kings of Summer," but an expression of growing up in all its reality and in all its cruelty.

The film is set in the rugged area around Lake Superior close to lush forests and breathtaking mountain ranges, beautifully photographed by cinematographer James Klopko. The title refers to the huge rock formation near Thunder Bay known as Todd's Cliff which was named after the individual who survived the 100-foot drop. The title, however, can also apply to the anger building in 15-year-old Adam (Jackson Martin), a slight, sensitive boy with a shaky self image. Adam, who does not seem to have an offensive bone in his body, is the odd man out in his collection of friends which includes cousins Nate (Nick Servino) and Riley (Reece Moffett). The boys are staying with their Grandmother (Rita Serino) but would not look out of place in a juvenile detention facility.

The cousins are the sociopaths we have become all too familiar with today, tough, sarcastic, funny, and dangerous people who commit violence without conscience, numb to human emotion, those who prey on the weak and defenseless, animal or human, rich or poor, gay or straight. Though the three live in different social and economic worlds, Adam seems content just to be included and his eyes seem to fix on Riley, a still abrasive but to this point somewhat saner version of his noxious cousin Nash. During a wrestling contest on the beach, a bloodied Adam hits his head on a rock but all Riley can say is "Stop being a pussy." Adam has come up to Thunder Bay with his well off parents, his mom and pseudo-hipster dad William (David Disher, "My Father and the Man in Black") who knows all the right words to ingratiate himself with the teenagers.

When William invites Riley for dinner, Nate later has a ton of nasty and sarcastic things to say about parents, suggesting the reason why the boys are staying with their Grandmother. Riley is not adverse to stirring the pot either and, when he happens to glimpse Adam's dad making out with Marianne, (Erika Brodzky) a local fish market owner, he spills the beans to Adam who takes it very hard. The normally placid boy begins spying on the woman, and his personality takes on a harder edge as he joins the others in getting high and robbing a liquor store. Tension, jealousy, and confusion arise between the three boys, however, as Adam and Riley both set their sights on a local girl named Taylor (Katelyn McKerracher), though for Adam she is "just a friend."

Though much of time is spent with innocent pleasures such as playing board games, walking in the woods, jumping into the water from rocks, or wrestling, there is a sense of foreboding hanging over the film that shifts the mood quickly. For example, when the fun of playing a board game triggers a reaction from Nate, it leads to a bloody brawl and when a summer afternoon outing is darkened by the smashing of the carcass of a dead bird. It is only when the boys succumb to peer pressure and attempt to prove their manhood that things get so far out of hand that there is no back to turn to.

Unlike films with similar themes in which adults look back at their youth with nostalgia, in Sleeping Giant there is no looking back, only the immediacy and visceral impact of a powerfully real experience. Backed by the indie-rock sounds of Toronto-based Bruce Peninsula and an original score by Chris Thornborrow, brilliant performances by the three young men fully capture the lived-in quality of people coming-of-age right before our eyes. It is a film that feels as if you are watching it in real time and when the realization that our lives can change in an instant hits you in the gut, you wish it was just a movie rather than a familiar experience. It is one of the best films of 2015.

Queen of Earth (2015)

We went to Brooklyn Academy of Music to see their "centerpiece" film QUEEN OF EARTH, which was a massive pile of steaming junk.

This is the sort of American filmmaking that deserves to be confined to Williamsburg, Brooklyn and nowhere else.

A complete failure.

Loud music, bad sound effects, endless sequences, total boredom.

The lead actress did her best with a poorly-written script and terrible direction.

Once again, on par for the white kids in Williamsburg.

Terrible. We demanded our money back and it was returned.