The A Team Theme!

I have just seen The A Team and loved it.

Four top rated artists have created their own remixes of the famous, instantly recognizable theme music. Each remix was produced by a different artist to reflect the personality of each of the film’s four main characters and bring the music up to date for this summer blockbuster.

Twentieth Century Fox have also producing music videos for each of the tracks, featuring film footage, and we can also ‘go behind the scenes’ and watch each artist creating their re-mix in the following videos…

Dan The Automator (Hannibal Mix)

Official video

Behind the scenes video

MSTRKRFT (Face Mix)

Official video

Behind the scenes video

Just Blaze (Murdock Mix)

Official video

Behind the scenes video

Rye Rye feat. Nguzunguzu (BA Mix)

Official video

Behind the scenes video

Relativity

Relativity Media has acquired Overture Films' distribution and marketing operation from Starz LLC in a move that transforms Relativity into a full-fledged studio.

Two-thirds of Overture's staff "or 45 employees" will make the move to Relativity, including top execs Peter Adee and Kyle Davies. They will retain their titles, with Adee serving as Relativity prexy of marketing, distribution and new media, and Kyle, exec VP of theatrical distribution.

Move comes not long after Relativity struck a lucrative pay TV deal with Netflix.

This means that the company behind Salt and many more films is now a full-fledged studio

More details here, thanks to the lovely Victoria.

The Other Superheroes: The Shadow Review

In recent years Marvel and DC have been the more prominent comic companies to have their stories and heroes adapted to the big screen. There have been some alternative comic book movie adaptions such as Kick Ass, Watchmen, Sin City and so on, that gave comic book films a different style. Some are great, some are terrible, and some are just for the fans of that comic. This was all more recent though, as the only superheroes to really get their own films earlier on were the top stars like Superman, Batman, Spider-man, the Incredible Hulk, and the X-men. Not many film studios would have given the chance for a lesser known comic book to get a shot at having its own film because studios usually think that a comic is not well known enough, isn't with the times, or some other reason that fanboys usually disagree with. Even when studios did make films adapted from less popular comics, the results were usually horrible. Watch the 1994 version of The Fantastic Four if you need a good example of comic book movie disaster.

This brings me to The Shadow, a vigilante from the early pulp comics days, whose true identity was Lamont Cranston. The Shadow had psychic powers that could cloud the minds of many men, letting him manipulate them and also become invisible to them, only letting them see his shadow. The comics spawned radio dramas with Orson Welles as the main character, film serials, and finally the major motion picture released in 1994.

"Who knows what evil lurks in the hearts of men? The Shadow knows..."

Directed by Russell Mulcahy (Yes... the one who did that unspeakable sequel which I shall not name here.) and written by David Koepp who has worked on films such as Spider-Man, Jurassic Park and more recently, Angels and Demons. It stars Alec Baldwin as Lamont Cranston, Penelope Ann Miller as Margo Lane, the love interest who also has a psychic ability she isn't fully aware of yet, and Ian McKellen as her father, a bumbling old scientist. John Lone plays Shiwan Khan, possibly one of my favorite comic book movie villains, the last surviving descendant of Genghis Khan. Shiwan has psychic powers that are more powerful than even those of the Shadow, both of them having been trained by the Tulku, a mysterious tibetan holy man with powers beyond understanding. Also in the film is Peter Boyle and Tim Curry, playing The Shadow's personal driver and Shiwan Khan's right hand man, respectively. They both offer some nice comic relief and seeing Curry play a slimy wannabe mad scientist with delusions of grandeur is fun.

The story is set in the early 20th century New York, with the typical plot of an old fashioned villain wanting to take over the world. In this case, Shiwan Khan plans to use a device similar to an atomic bomb to destroy New York and then conquer the rest of the world, just as Genghis Khan conquered most of the world long before him. Shiwan tries to get the Lamont Cranston to join him, knowing of Cranston's dark past in Tibet where Cranston was known as Ying Ko, a cruel and powerful man who controlled the opium trade and savagely took over villages with his men. Cranston, who was turned from evil by The Tulku, rejects his offer and instead sets out to stop Shiwan for good. Earlier on in the film, Cranston meets Margo Lane and as he gets to know her he discovers her ability to read minds, although she does it obliviously and accidentally at first. He distances himself from her in fear of her finding out his true identity and more importantly his past. Eventually Margo joins Cranston and aids him in trying to stop Shiwan Khan.

The Shadow has his own headquarters, similar to the old school Batcave, known as "The Sanctum"

I really enjoy the look and style of The Shadow. It looks old fashioned and has some old fashioned dialogue which can be corny but I think is great. For example, when Cranston and Shiwan meet for the first time there is a great throwback to the product placements of the early radio dramas that the broadcasters would slip into the the character's dialogue. Shiwan is boasting about how he wants to conquer the world, when he suddenly stops and compliments Cranston's tie, asking where it was acquired. "Brooks Brothers" "Is that Midtown?" "45th and Madison-You... are a barbarian". It's fun seeing this sort of old fashioned comic book character interaction, and it doesn't bash you over the head with it like in other old fashioned comic book films. The action isn't too heavy but it's spread around nicely and ends with a final confrontation very reminiscent of Bruce Lee's fight in the mirrored room in Enter The Dragon. The music is another thing I also enjoyed, and it's left me searching for somewhere I can buy a CD of the official soundtrack.

The special effects, for the time it was made, were done well and not overused. That's another reason I really enjoy the film. Superhero films today usually have full CGI versions of the actor in action scenes and such, and that really puts a dent in my suspension of disbelief. It's one of the reasons I'll always love older comic book films, because the crew would have to be creative and imaginative, instead of just sitting behind a computer and just scanning actors into it to get CGI counterparts. The effect of Cranston's transformation into the Shadow (his eyes change color, face gets creepier and nose gets larger), while cheaply done, is done in a way that reminds me of old horror films when Jekyll would turn into Hyde, or a man would become werewolf.

Aside from his psychic power, the Shadow was skilled at fighting and also wielded some very nice looking silver Colt handguns.

In the end, I find the movie to be fun and enjoyable. It's a good film to just put in and watch when you're in the mood for good old fashioned superhero stuff, and not the high tech CGI fests of today. It's not The Dark Knight and it's not Sin City, it's its own thing and if you're a fan of Tim Burton's Batman, or Sam Raimi's Darkman then you'll most likely enjoy this.

Bit of Trivia: Sam Raimi wanted to make The Shadow, but they wouldn't let him, so he came up with Darkman instead, and is it just me or does Cranston in his Shadow form look a lot like Liam Neeson behind the scarf?

Film Review with Robert Mann - The Rebound

The Rebound ****

The latest Hollywood romantic comedy to choose New York City – probably the most overused setting not only in romantic comedies but in American films as a whole – as its setting certainly doesn’t have one of the most original concepts. After all, anyone who has seen the 2006 Uma Thurman film Prime will get more than a slight sense of familiarity upon seeing The Rebound, the latest romance to see an older woman – in this case Catherine Zeta Jones – fall for a younger man – here played by Justin Bartha, best known for his roles in The Hangover and the National Treasure films. However, while originality may not entirely be on its side, this isn’t necessarily a bad thing. Plenty of romcoms retread concepts that have been done many times before and work while others than attempt to feign originality by going the high concept route have failed miserably, as demonstrated by numerous romantic comedies in the last year. Writer and director Bart Freundlich may not have the most illustrious track record among romcom filmmakers but his 2006 film Trust the Man showed him to be quite capable at approaching the genre from a different perspective, that film avoiding many of the clichés that so bog the genre down and demonstrating a knack for dealing with grown up relationship issues in a humourous fashion. So does his latest offering The Rebound see the romantic comedy genre rebound after the many disappointments of the last year or is it just another example of mediocrity in a genre that is running low on ideas?

After discovering that her husband has cheated on her, Sandy (Catherine Zeta Jones) packs up and moves to New York for a fresh start with her two young children Frank (Andrew Cherry) and Sadie (Kelly Gould). One thing she's not prepared for, however, is a return to the dating game after years as a wife and mother. Handsome chiropractor Trevor (John Schneider) has potential, but Sandy still has trust issues and pent-up anger to contend with and a disastrous first date sours things. When Sandy employs a 25-year-old male nanny named Aram (Justin Bartha) to look after the kids, romance is the last thing on her mind. But gradually she finds herself drawn to this sensitive and much younger man. When it starts to get serious, Sandy's friends, particularly best friend Daphne (Kate Jennings Grant), think that she's just on the rebound and will soon move on to a proper grown-up man. But could Sandy's fling become the real thing?

Bart Freundlich could almost be considered a genius for what he has done with The Rebound. By not going the high concept route and opting rather to tell a simple straightforward love story he has made what is easily one of the best romantic comedies in recent years. Sure, the film doesn’t have one of the most original basic concepts but what Freundlich has done with it has create a film that mostly doesn’t conform to the typical romcom mould and avoids many of the clichés that are present in so many romance films churned out by Hollywood, only going the more predictable route late on and then only slightly so. The characters are normal everyday people as opposed to the successful career minded individuals we often see and the successes that they achieve as the film progresses are both natural and plausible and, because we see how they accomplish their achievements, we really do believe that they have earned everything that comes to them. This means that the characters are both more relatable and more likable. Relatability is, in fact, a key theme here as many of the issues the film embraces are ones that members of the target audience may well be familiar with, having faced them first hand. And it is from this relatability that much of the humour emerges. The laughs here don’t come from lame gags but rather comical situations and honest and truthful observations. Sure, there is some physical comedy – which Justin Bartha is very game for – but even this is as much in the same vein as the more observational humour. There are no cheap shots to be found here, just sincere and genuinely laugh out loud funny moments of humour that ensure that this is one comedy not to be missed. In particular, the reactions of the children are frequently priceless. A lot of the success of the film can indeed be attributed to Freundlich, whose direction and writing are spot on and who once again shows a knack for dealing with the romance from a more mature, grown up perspective. The script is excellently written, perfectly blending the humour with a very sweet and believable love story, the dialogue is both truthful and authentic sounding, the characters are all extremely well developed and, perhaps most importantly, the film isn’t just side splittingly funny but also very sweet and charming, the film succeeding every bit as much in the romance department as in the comedy area. Of course, Freundlich can’t take all the credit. The cast are just as important to the success of the film, with pretty much everyone being excellent. Catherine Zeta Jones is equally delightful and convincing as a housewife who finds her life turned upside down only to find true love in the least expected place and her chemistry with co-star Justin Bartha really does spark, making us truly believe in them as a couple. Bartha perfectly captures the youthfulness and awkwardness of his character and is showing himself to be a very likable and charismatic leading man. Elsewhere, Kate Jennings Grant’s performance as Sandy’s best friend is full of vibrant energy and kids Andrew Cherry and Kelly Gould steal the show in every scene they are in, never once irritating and always being hilarious. So, all in all, The Rebound is one of the most pleasant surprises of 2010, a romantic comedy based around a predictable concept that proves to be anything but conventional. After a number of high profile disappointments, the romantic comedy genre truly has rebounded.

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Review by Robert Mann BA (Hons)

EXCLUSIVE REVIEW: 48 HOURS IN PURGATORY

Everybody has their own inner-demons to face. Everybody has their own skeletons neatly hidden in their closets. So how would you feel if you had to face them?

48 Hours In Purgatory follows the story of a film studio, dead set on making a true-life thriller about people facing their demons, the changes of such a life-altering experience for the subjects as well as the conflict that arise from the death of a co-worker that runs the show.

Considering the budget the film had and the limited resources that the folks at SKG Films had to work with. This was a great indie film. Brilliantly scripted and well directed, 48 Hours In Purgatory really made me sit up in my chair. The storyline was exceptional, to say the least (although I would’ve cut some unnecessary parts completely). And with so many characters to identify with on so many different levels, one cannot help, but want to rake your brain and think what if I was one of those subjects? What if my dirty laundry was displayed for all to see?

48 Hours In Purgatory stars many unknown actors, but also the beautiful Emily Alatalo (Never Lost) and sexy Andrew Roth (Suicide Kids) as the leads.

Written and directed by Jason Armstrong and produced by Mike Klassen, 48 Hours In Purgatory truly has all the elements to thrill. With a great paranormal twist and a story inside of a story, who could possibly say no to a piece of indie art?

Off course no good deed goes unpunished in my books, so I must deliver some critique. With their limited budget some things were impossible to have, such as A-list actors, which would’ve placed 48 Hours In Purgatory in the headlines by now. But unfortunately not all movies are flawless and we must take the good and bad elements that accompany a film together. Another problem I found was that the trailer did not do the movie justice by a long shot. That said, I have to honestly admit that when I watched the first few minutes it made me think a little about a porno because of the camera work, which in my opinion was a little shaky… However I chocked on my words as the story started to unravel into a suspenseful nail biter and the plot was set into motion.

No release date has been set for the Blu-Ray yet, but I’m sure that some, more than others would be interested in seeing what it has to offer. It’s definitely worth a watch, especially if you like seeing a creepy looking dude (Sean Szutka), which seems way too optimistic as he smashes his hand in a drawer over and over again.

All in all I enjoyed it for the risk that Skeleton Key Global Films took and I am very interested to see their upcoming films, Bitter and Abolition, knowing they are working with more experienced people and better budgets.

RATING: 6.5/10

I part with my favourite quote of the film:

“Does a penis love lipstick?”

Cineworld News

Tom Hanks says if he and co-star Tim Allen hadn't kicked up a fuss, there'd be no Toy Story 3 in your cinemas this week. Disney's plan was to release Toy Story 2 straight to DVD but the stars disagreed. "We said it should be released as a film because it was magnificent and as good as the first one. Usually sequels are pale imitations and are slapped on video but this was really great. Eventually they bowed to some brand of common sense so now we have a Toy Story 3"

Bradley Cooper has revealed he was left with real war-wounds after filming The A-Team. The Hangover star plays Lieutenant Templeton 'Faceman' Peck and admits he found it tough. He said: "When I got back each night I'd find new gashes and bruises - I shot with this one gun so much that I had a chronic cut on my upper bicep from the kick-back of the stock."

Joann Sfar is best known in France for his graphic novels but he says his childhood memories made Serge Gainsbourg an obvious choice for his directing debut. "Everything was so boring on French television when I was a kid," he recalls, "and this guy, he was not shaved, he pretended to be dirty, he would say dirty words and almost harass women on stage, and yet he was so intelligent."

Film Review with Robert Mann - Toy Story 3

Toy Story 3 3D *****
Toy Story 3 2D *****

They’ve been talking about making it for ten years and you could easily be forgiven for having started to think it was never going to happen but now, after what is without a doubt one of the longest gaps between family movie sequels ever, Toy Story 3 has finally made it to the big screen. And, as you would expect, it is one of 2010’s most eagerly anticipated movies. From this critic’s perspective, however, it is somewhat harder to get excited about a Pixar sequel (the coming years are also seeing the release of both Cars 2 and Monsters Inc. 2) than a Pixar original, this film bringing to an end a chain of no less than seven original films devised entirely for the screen. Here’s hoping that Pixar are just taking a sabbatical from producing the original works of art that we have grown accustomed to and not abandoning them altogether. Anyway, back to Toy Story 3, Pixar have pulled off quite a feat in bringing the entire gang back together – and I mean pretty much everyone. John Lasseter is once again one of the architects of the story and screenplay, Toy Story 2 co-director Lee Unkrich has been given directing duties and the whole original core voice cast (aside from Jim Varney – the original voice of Slinky Dog – who sadly passed away in 2000) has returned to add their unique personalities to both the toy and human characters. And, if that wasn’t enough, a whole load of other great actors are lending their voices to this sequel, with a whole range of classic toys making their Toy Story appearance for the first time. Toy Story 3 has a lot of hype and anticipation to live up to and, unlike a certain other animated sequel in cinemas right now, it actually does live up to expectations.

Andy Davis (voiced by John Morris) is now 17 and ready to head off to college, leaving his once beloved but now never played with toys Woody (voiced by Tom Hanks), Buzz (voiced by Tim Allen), Jessie (voiced by Joan Cusack), Mr. Potato Head (voiced by Don Rickles), Mrs. Potato Head (voiced by Estelle Harris), Rex (voiced by Wallace Shawn), Hamm (voiced by John Ratzenberger), Slinky (voiced by Blake Clark), the Aliens (voiced by Jeff Pidgeon) and Barbie (voiced by Jodi Benson) to ponder their uncertain futures. When Andy’s Mom (voiced by Laurie Metcalf) accidentally donates the toys to the Sunnyside Daycare center they're initially overjoyed to once again be played with, but their enthusiasm quickly gives way to horror as they discover the true nature of the establishment under the rule of the deceptively welcoming Lotso Bear (voiced by Ned Beatty) and his ruthless commanders Ken (voiced by Michael Keaton) and Big Baby, along with an army of toys under their command. Now, all of the toys must band together in one final, crazy scheme to escape their confines and return home to Andy before he leaves for college.

I will get this out of the way first – Toy Story 3 is far from being one of Pixar’s very best films. This, however, is more a testament to the continued outstanding quality that they deliver than any kind of criticism of this film. Viewed on its own terms, Pixar’s latest is another superb piece of work and this is true whether you see it in 3D or 2D. The 3D on display here is not as good as in Pixar’s last feature but nonetheless really adds to the viewing experience, not used as a gimmick even once, rather to add depth and dimension to proceedings. This works particularly well with the toys because the artificial nature of them means that the 3D is much easier to render than it is with human characters. The best examples of 3D here come in the more action packed sequences, in particular the stunning and thrilling opening sequence with a young Andy playing a game of cowboys, runaway trains, villainous pigs, atomic monkeys (you will understand when you see the film) and heroic spacemen. The extra dimension not only makes the sequence more thrilling but adds a greater sense of peril. This is followed by a montage of video camera style footage – set to the tune of the Toy Story franchise’s trademark song You’ve Got A Friend In Me – which is notably not in 3D, something that is realistic considering such footage would not be in 3D in real life. As I have stated, the film is fantastic whether you see it in 3D or not and if you opt to see the 2D version there is still plenty to laud here. The animation delivers at the same high standard we have come to expect from Pixar but this is a given from any feature they make. The real heart of the film comes from the writing with the script superbly combining a story that is packed full of truthfulness and honesty – the story is basically one about growing up and it is great that the film reflects the amount of time that has elapsed in real life since Toy Story 2 was made – fantastic dialogue and wonderful characters – the influx of new toys allows for a wide range of vibrant new characters and the film is extremely inventive in the personalities awarded to the different toys, this creativity being what sets Pixar apart from certain other animation studios – not to mention lots of sharp humour offering something for all viewers whether young or old – some lines and gags are aimed squarely at older moviegoers, ensuring that accompanying parents will have just as much fun as the kids, there also being plenty to keep the kids amused too – and plenty of emotion to complement the humour, this being a sometimes sad tale and one that everyone will be able to relate to in some way – everyone grows up after all, as exemplified by Andy who is now a somewhat moody teenager as opposed to the innocent child seen in the previous films. If the film really surprises in any way, it is that is has a somewhat dark edge, with the day care centre turning out to the toy equivalent to an impenetrable prison or a military dictatorship. This is only an observation though and not a criticism and the film gracefully avoids being too scary for younger viewers. Another major strong point on display in the film is, of course, the voice acting and the entire cast – which includes a lot of big name stars including, in addition to those aforementioned in the plot summary, Timothy Dalton, Whoopi Goldberg, Bonnie Hunt, Jeff Garlin and Richard Kind – is pitch perfect without a weak link to be found them and the only criticism that could be raised being that some of them don’t feature more. Anyway, Toy Story 3 is yet another exceptional animated effort from Pixar and if they deliver this standard with their other upcoming sequels we should be in for a real treat.

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Review by Robert Mann BA (Hons)

Short Film Trailer Preview - The Boogeyman

Earlier this year I reviewed the wonderful short fantasy film The Stolen Wings by Irish writer and director Gerard Lough and now he is back with another short film, this time a horror flick based on the short story The Boogeyman by Stephen King.

Stephen King Adaptations to date have had a very hit and miss track record but based on the footage on display in this trailer, Gerard Lough's latest looks like it may be a genuinely scary effort.

Preview by Robert Mann BA (Hons)

Narke: Short Film Review

Louisa Fielden's follow up to her impressive little short Mr. Lewis treads on similar territory in so much as its a twisty narrative where the protagonist seems to exist in multiple realities at the same time and it's up to the audience to figure out which - if any - are genuine. It also shares an actress in the shape of Natalie Loader, here she plays a girl cooped up in a psychiatric hospital meeting with her doctor about her narcolepsy. As the meeting continues she falls into an unexpected slumber where she's stalked in her dream by a mute, menacing girl around crumbly hospital corridors.

Fielden has assembled a fine assortment around her, contributing well in terms of cinematography, set dressing, make-up, music and even title design, but unfortunately the film stumbles in terms of its narrative. Ultimately it feels like a clipping from a larger piece, there are too many ideas rattling around inside the film's barely ten minute running time and the lack of real resolution is less ambiguous and, instead, disappointing. Very quickly the dream falls into the wobbly cliche of spooky hospital horror with the 'evil girl' barely registering any sense of threat or even, in a potential David Lynch nod, creepy weirdness during a subtitled exchange.

Atmospherically the film does reasonably well, some shots are particularly lovely and the film establishes a strong ambience and sense of place excellently. This serves to render this more of an experiment than an accomplishment, but the film itself flits by so hastily that it's difficult to really judge it too much one way or another. If anything this feels like an extended preview of a larger concept, and perhaps that's the greatest compliment I can pay it, that I would be interested to spend more time in this world and get to know a little bit more about the characters and envelop myself deeper into the situation and - hopefully - given a padded running time, Fielden could develop the bizarre and the spooky to an extent that it can really rattle the viewer. Mr. Lewis worked because it used a very simplistic three act narrative to tell a neat and nutty tale; trying to pull off a psychologically complex and scary thriller within such a short space of time is a huge task and one that this film doesn't quite rise to.

Regardless the talent involved here, in every quarter, are ones to watch and it is no stretch of the imagination to expect Fielden's name book-ending a cinematic release in the not too distant future.

Classic Scene : Zodiac (2007)

"I'm not the Zodiac. And if i was, i certainly wouldn't tell you."


David Fincher's epic crime drama surrounding the unsolved case of the Zodiac serial killer in the late 1960's and early 1970's California. One of the finest films in the last decade, with Fincher engaging you from the opening scene with simple but highly effective film making matched with brilliant performances from Robert Downey Jr (perfect as journalist/junkie Paul Avery), Mark Ruffalo as the unsatisfied cop on the case and Jake Gyllenhaal - in what is a difficult part to play as cartoonist Robert Graysmith who became obsessed with the Zodiac.

SETTING THE SCENE : Prime suspect (even to this day) Arthur Leigh Allen (meticulously played by John Carroll Lynch) is interviewed at his place of work by Inspector Armstrong (Anthony Edwards), Sergeant Mulanax (Elias Koteas) and Inspector Toschi (Mark Ruffalo). Forever to be held in the memories of crime film lovers.

INT. FACTORY. DAY

Armstrong : Mr Allen, i'm Inspector Bill Armstrong. This is Inspector Dave Toschi and Sergeant Jack Mulanax. Were investigating the Zodiac murders in San Francisco and Vallejo. Please sit down.

Allen takes a seat with the three Police officers sitting opposite him in an interrogation like position.

Armstrong : The informant notified us that you made certain statements 11 months prior to the first Zodiac murder. If they're true they're quite incriminating. Do you recall having such conversation ?

Allen : No.

Mulanax : Have you ever read or heard anything about the Zodiac ?

Allen : When it was first in the paper. But i didn't follow it after those first reports.

Armstrong : Why not ?

Allen : Too morbid. I... i told all this to the other officer.

Armstrong : Which other officer ?

Allen : From Vallejo.

Armstrong : Do you remember his name ?

Allen : No, but it was right after the murder at the lake.

Mulanax : And what did you tell this officer ?

Allen : (changing posture and attitude) I told him that i'd gone to Salt Point that weekend to skin dive. That i was alone but i met a couple there. I have their names at home if you want them.

Mulanax : That would be great, Arthur.

Allen : Leigh.

Mulanax : What ?

Allen : (arrogantly) Leigh. Nobody calls me Arthur. (pause). Also, that day when i came home, my neighbour saw me. It was around 4. But i forgot to tell the other officer that.

Armstrong : Neighbour's name ?

Allen : Bill White. (pause). He died a week or so afterwards, heart attack. So i didn't think to call to follow up. The knives i had in my car with blood on them, that blood came from a chicken i killed for dinner.

The three police officers all look at each other slightly bewildered.

Malanax : What ?

Allen : I had knives in my car that weekend. Maybe Bill saw them and called the other officer on me.

Malanax : Well, we'll be checking in on that. Let me ask you something else. Were you ever in Southern California at any time in 1966 ?

Allen : Is this about the Riverside killing ?

Malanax : Yes.

Allen : Well, i guess i was there around that time. I use to go down there a lot. I like the auto races.

Armstrong : Informant says your ambidextrous ?

Allen : No, that's untrue.

Armstrong : You can't write with both hands ?

Allen : My teachers tried to make me when i was a kid, but i couldn't. I'm left handed.

Malanax : He also said that you made statements about killing school children.

Allen : (defiant) That is... That is horrible. That is... That is a horrible thing to say.

Malanax : So you weren't angry about being fired from Valley Springs for touching your students ?

Allen : (long pause). I'm not the Zodiac. And if i was, i certainly wouldn't tell you.

Toschi : That's a nice watch.

Allen : Thank you.

Toschi : May i see it ?

Allen shows him the watch whilst still on his wrist.

Toschi : (demanding). May i see it ?

Allen takes off the watch and hands it to Inspector Toschi.

Toschi takes a look at the watch which is a 'Zodiac' make.

Toschi : Where did you get it ?

Allen : It was a gift from my mother two years ago.

Toschi : That's very sweet. So, tell me something Arthur. You don't remember anyone you might have had a conversation with regarding the Zodiac ?

Allen : Maybe Ted Kidder or Phil Tucker at Vallejo Recreation. But i couldn't be positive. I used to work there when... (pause).. Oh 'The Most Dangerous Game.'

Armstrong : What ?

Allen : 'The Most Dangerous Game.' That's why your here, isn't it ? It was my favourite book in high school. It's about this man who waits for people to get shipwrecked on this island. Because he was tired of hunting animals, he hunted the people for the challenge.

Toschi : And man is the most dangerous animal of all ?

Allen : That's the whole point of the story. Great book. Or at least that's what i told Phil.

A bell rings in the factory.

Allen : May i go ?

Toschi : Sure.

Allen gets up and collects his watch back from Inspector Toschi.

Toschi : Thanks for your time.

Allen : I'm willing to help in any way possible. I look forward to the day when police officers are no longer referred to as pigs.

Armstrong : Thanks. We'll be in touch.

Allen walks out the room.

Inspector Toschi stands up and watches Allen walk away, with both men sharing eye contact. Toschi then turns round to the other two officers.

Toschi : So does anyone think this suspect warrants further investigation ?

INDIEMOVIESONLINE

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GO CHECK IT OUT!

The Final - Poster & Trailer

The Final, a brutal, unflinching and shockingly violent portrayal of a small group of geeks’ systematic revenge against their bullying jock, cheerleader and prom queen tormenters, this psychological horror film “crackles with a mean-spirited energy that borders on the psychotic” (MovieCynics.com).

Featuring novel if somewhat inappropriate uses for cattle prods and stun guns, gardening shears, acupuncture needles and a specially formulated skin cream you wouldn’t want to leave on for too long, The Final is a horror movie aimed fairly and squarely at viewers with very strong nerves.

The Final (cert. 18) is released by Chelsea Films and will open at selected UK cinemas from 13th August 2010.

And you can view the trailer here -

Whoopi Popbitch

>> The Goldberg Standard <<

It takes a lot to make Whoopi mad

Whoopi Goldberg used to be in Star Trek: Next

Generation playing the Enterprise's wise old sage,

Guinan. She's certainly proving that life

doesn't always imitate art.

First she provided a nice bit of support for

Roman Polanski when he was held in Switzerland,

saying "I know it wasn't rape-rape".

This week she was out on TV showing love

for another fellow celebrity, Mel Gibson.

"He may be a bonehead. I can't sit and say that

he's a racist". (By bonehead we guess she means

someone threatening to harm his girlfriend,

and burn down her house because she once

went to sleep before giving him oral sex.)

Just in case you needed reminding why people -

obviously unreasonably, Whoopi - thought he might

be racist, this is what he said to the mother of

his youngest child:

"You're an embarrassment to me. You look like a

f**king pig in heat, and if you get raped by a

pack of n**gers, it will be your fault."

The leaked Mel Gibson audio:

http://www.radaronline.com/

Film Review with Robert Mann - Inception

Inception *****

Following the mega blockbuster success of The Dark Knight the powers that be at Warner Bros Pictures have awarded writer and director Christopher Nolan an almost unprecedented amount (unless you’re James Cameron at least) of creative control over his latest feature and he has chosen to exert this control over what is without a doubt one of the most intriguing and original blockbusters seen in a very long time. Eight years in the making (Nolan originally pitched the idea back in 2002 after finishing work on Insomnia but decided that, rather than working on the script as an assignment, it would be more suitable to his working style if he wrote it as a spec script and then presented it to the studio whenever it was completed, which he originally thought would only be a couple of months after starting but ended up being years later) Inception is that rarest of things in Hollywood today – a truly original film based on a truly original concept devised entirely for the screen, i.e. something that isn’t a sequel, prequel, whatever-quel, remake, reboot, comic adaptation, TV adaptation, book adaptation, video game adaptation and so on (in fact, it is Nolan’s first film since his feature debut Following that is a completely original work) – and Nolan has pulled out all the stops to ensure that it is a film that will be well remembered even if it is not entirely understood on its initial cinema release.

Dom Cobb (Leonardo DiCaprio) has mastered the dangerous art of extraction, stealing secrets from deep within a victim's subconscious while they are dreaming. Cobb's rare ability has made him a top player in a treacherous new world of corporate espionage, but it has also made him an international fugitive, cost him everything he has ever loved and forced him to sever ties with his children and his father Miles (Michael Caine). Now, following a failed job to steal information from the powerful Saito (Ken Watanabe), a job that has resulted in the corporation employing him to send people to hunt him down, Cobb is being offered a chance of redemption. One last job could give him his life back, but only if he can accomplish the impossible – inception. Instead of the perfect heist, Cobb and his team of specialists – Ariadne (Ellen Page), the architect of the dream world; Eames (Tom Hardy), a forger who must convince the mark that he is someone else – family friend Browning (Tom Berenger); Arthur (Joseph Gordon-Levitt), the pointman who finds himself facing his greatest ever challenge in the face of the surprises the latest job has in store; and Yusuf (Dileep Rao), the chemist who must keep them alive and ensure that they awake once the job is done – have to pull off the reverse - their task is not to steal an idea but to plant one. Their mark is corporate boss Robert Fischer Jr. (Cillian Murphy) who is set to follow in the footsteps of his father Maurice Fisher (Pete Postlethwaite) following his death but whom they must incite to decide to break up the company. The job seems simple enough on the surface. But no amount of careful planning or expertise can prepare the team for a lethal enemy that seems to predict their every move as the team must not only fight the inner workings of their mark’s mind but also the projections of Cobb’s own tortured subconscious that are seeping into the dream, notably the memory of his dead wife Mal (Marion Cotillard), who is determined to keep him in the dream world forever. With only a limited amount of time to carry out the job and their very lives hanging in the balance, Cobb and his team find themselves pushed to the very edge as the boundaries between the dream and the reality come crashing down.

Inception is not your average Hollywood blockbuster and for this reason alone it is a film that must be seen. Offering up superb writing, fantastic direction and excellent cinematography, Christopher Nolan has crafted something that is not only great entertainment but is also guaranteed to make you think and will surely inspire much debate. A complex mindbender with a twisty and turny plot that is sure to warrant repeat viewings, you really do need to watch closely and avoid toilet breaks if you have any hope of following the intricate plot. Such is the complexity of the plot – the dream within a dream within a dream (and, at one point, within a dream again) scenario will confuse the hell out of less observant viewers – that some may well feel somewhat bemused by some of the goings on but stick with it and you are richly rewarded. This is a film that really does have much to say and by setting out to challenge the intellects of moviegoers as well as dazzle with impressive visual effects and thrilling action sequences it achieves something that is too little seen – both flash AND substance in the same film. The film indeed does truly dazzle with its superb visual effects and thrill us with a superbly executed action sequences but, unlike many Hollywood movies, this stuff isn’t mere popcorn fodder. For once, as much substance comes from what we actually see as what is going on beneath the surface. The dream orientated nature of the concept means that anything and everything is possible and the visuals all have deeper meanings than just to wow the audience with spectacle, for instance scenes showcasing paradoxical architecture, cityscapes folding, exploding and crumbling, gravity defying fights and the many chase sequences and shootouts are all visual representations of aspects of the human subconscious, highlighting the mysterious way in which our dreams function and raising serious questions about our perceptions of what is real and what is not. These visually inventive and creative sequences all prove as stunning intellectually as they do visually and, coupled together with the fantastic script that lays out the complex rules of the dreamscape without ever seeming pretentious or condescending in its approach, ensure that you leave the cinema not only having thoroughly enjoyed yourself but also pondering some serious food for thought, perhaps even questioning your own perception of reality. After all, if dreams seem real while we are in them, then how can we ever really tell the difference between dreams and reality? Of course, this is as much a crime thriller as it is a film about dreams and in this regard the film also delivers. In a fashion, this is kind of a heist movie, only one that is set within the confines of the human mind, and Nolan superbly captures all the aspects necessary to make the film work in this way. From start to finish, the film is packed with scenes of genuine suspense and tension and this is achieved without the need to resort to cheap gimmicks (notice also that Nolan wisely avoided going the popular 3D route, although 3D could potentially have been utilised effectively in the filmmaking process). Also, while the action sequences are intended as metaphorical representations of conflicts occurring within the human psyche, they are also great fun as well, being brilliantly shot and executed, perfectly woven into the plot rather than just thrown in for the sake of it and displaying true craftsmanship on the part of Nolan. This craftsmanship is present in every aspect of the film, in particular the script with Nolan providing a perfectly timed and thoroughly well developed narrative, some surprising revelations, moments of smart humour and excellent dialogue with is channeled with much gusto by the film’s pitch perfect cast. There isn’t a weak link to be found here with every actor performing superbly. Leonardo DiCaprio once again shows why he is one of the Hollywood’s great leading men with a performance that embodies pure emotion and perfectly captures his character’s fractured and tormented inner self. As the dead wife who continues who haunt him, Marion Cotillard convinces as the almost malevolent shade of the woman who once was. Brit actor Tom Hardy is also excellent, not only being believable but also proving quite humourous as his character blows up much of what he sees. Rising stars Ellen Page and Joseph Gordon-Levitt also excel as do Cillian Murphy, Ken Watanabe and Tom Berenger. The only gripe is that Michael Caine’s screen time is rather limited but this is only a very minor complaint that in no way stops this from being a brilliant film. All in all, the cast is outstanding and the same is true of every other aspect of the film. Inception is quite possibly Christopher Nolan’s finest work and is without a doubt the most intelligent and most enjoyable moviegoing experience of the year so far, and one that will be hard to top. If you want to see a truly unforgettable blockbuster I highly recommend that you see this right now. And, if you have difficulty following it, watch it again. Inception may be complex and, on occasions, slightly difficult to follow but it is never incomprehensible and this is perhaps Nolan’s greatest triumph here – a film with an extremely complex plot that really does make sense and doesn’t underwhelm in its resolution. One word to describe this film – masterpiece.

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Review by Robert Mann BA (Hons)

Giveaway

A news giveaway!

Pixar reportedly developing Planes as Direct to DVD Spinoff of Cars.

Due Date trailer arrives on time.

Charisma Carpenter talks Psychosis, The Expendables, Wonder Woman and more.

New clips, TV spots and interview for Dinner for Schmucks!

FILM REVIEW: PSYCHOSIS

When I got the DVD I was extremely excited, I mean, it has such a great cover… then the movie started and almost immediately I was horrified… and not in a good way. The opening moment of PSYCHOSIS already had me a little worried with its amateurish camerawork. However I have seen other horrors with below the average camerawork and some were pretty good for a low budget, PSYCHOSIS on the other hand simply got worse.

With a too long intro (which, by the way didn’t make any sense at the end of it all), random shots being edited together in the production room (which were pointless and again amateur), the sound being absolutely terrible… basically I couldn’t wait for the torture to end. Unfortunately I watched it again, hoping to ‘let it grow on me’, but there was no such luck.

Furthermore I had to simply ask myself what the hell were any of these so-called ‘writers’ thinking. The story had no structure, it can’t be called a soft-porn horror (there wasn’t enough flesh to get anywhere near a soft porn) it can’t be called a horror-comedy (it really wouldn’t be funny if you don’t have a sense of humour) and frankly it can’t be called a horror, unless you feel that seeing an actress’ liposuction scars on her thighs is horror.

It is obvious that Reg Traviss had not read my 10 Commandments of Horror if he did, he wouldn’t have made such a screw-up of things.

That said, I can’t only blame the director and writers alone. Charisma Carpenter (Buffy the Vampire Slayer) was lazy as an actress in this movie, and will most probably have to leave this off of her resume if she wants any more acting jobs. Paul Sculfor (apparently a heartthrob in Britain) can stick to looking pretty.

Ricci Harnett (28 Days Later) was too busy screwing anything that moves to really show his acting abilities (unless his acting abilities starts and ends with screwing and dying at some point) and the rest… I don’t think I have enough strength to comment on each and every actor… except poor Axelle Carolyn (Centurion)at the end of the flick. Why did they try to make her look so old? What was the point of the bad dubbing? I mean seriously, can Reg Traviss (Joyride) really be proud of this embarrassingly bad, so-called British “horror”? Really?

All in all I would advise everyone AWAY from buying the DVD and AVOID it when it is on T.V, it is really NOT worth the watch, unless you have masochistic tendencies. It actually hurt to watch, but I watched it twice to make sure I would be accurate when I wrote this review. However I might be scarred for life because of it…

Rated: 1/10