Eden Lake

All's well in the Garden of Eden

DETAILS:
Released - 12 September 2008
Certificate - 18
Running Time - 91min
Director/Screenwriter - James Watkins
Producers -Christian Colson, Richard Holmes, Ivana Mackinnon, Diarmuid McKeown, Paul Ritchie Cinematography- Christopher Ross
Editing - Jon Harris
Music - David Julyan
Theatrical distributor - Optimum Releasing
Country - UK

SYNOPSIS:
Nursery teacher Jenny (Kelly Reilly) and her boyfriend Steve (Michael Fassbender) escape for a romantic weekend away. Steve, unbeknown to Jenny, has chosen a remote lake enclosed by woodlands and is using the holiday as an opportunity to propose. Although the lake is far from idyllic as first thought when their peace is shattered by a group of unruly Chavs. Reveling in terrorising the couple, things get out of hand when the gang steals all their belongings leaving them stranded. Events then proceed to go from bad to worse when Steve decides to confront their ring leader Brett (Jack O'Connell) leaving them at the mercy of their captors.

REVIEW:
Eden Lake is easily the most criminally overlooked film of 2008. In the UK it made £404,758 and in the US a measly $5,824. To put this in perspective let me draw your attention to the most successful horror film of 2008, Saw V, which grossed $56,729,973 in the USA and £6,123,282 in the UK. Therefore this proves that a film's success is at the mercy of its distributors. You can make the best film ever created but unless it is distributed to the people, no one will ever see it. Eden lake which is undoubtedly the best horror film of 2008 (barring of course the experimental [Rec]) had a non-existent marketing campaign and was thus unable to reclaim its budget. In comparison the worst film of 2008, let alone Horror film, Saw V made around ten thousand times more gross in the US box office. Initially I was angry at the public for not going out of their way to see this film but I soon realised it was not their fault. You cannot blame the people for not seeing a film they were unable to access. The distributors should have had more faith in this film as I honestly believe it had the potential to be the most successful British Horror film since Danny Boyle's 28 Days Later.

The fact millions of people went out to see Saw V demonstrates how the public are prepared to watch any tripe so long as it readily available at the right time. With Eden Lake only open for a week across 10 screens in the USA people did not have enough time to get a hold of it. For a debut feature you need to give such a film time to spread through word of mouth. Unless it has a gimmick to promote itself, like the first prominent horror film this year My Bloody Valentine 3D which has already in its first weekend been opened across 2,534 Screens and has grossed $21,241,456, there is no hope.

For a horror film Eden Lake ticks all the boxes and still manages to exceed all expectations. It shocks, appalls, grips and disgusts you throughout. But what makes it far better than all its contemporaries is the fact there is substance behind the violence. The whole film is not carried by is repulsiveness (which sometimes works in splatter movies) but by Jenny's struggle. Not for a great while have you truly felt for a struggling protagonist as you have Jenny.

But this is due to the film's cultural relevance. Many of the landmark horror films in the past are remembered for playing upon fears of the people at the time and this is exactly what Eden Lake does. Essentially it is a social commentary on our disillusioned youth and their Chav culture. You can read as many Daily Mail headlines as you like but nothing will play on your fears as much as this film. As soon as you finish watching Eden Lake you will be haunted in the knowledge that such events are possible. Perhaps this cultural significance is more relevant to a UK audience but nevertheless it deserves more credibility than a five thousand dollar profit in the US box office. You have no idea just how far this dark film will take you. Without giving too much away the ending itself is one of the most effective endings to a horror film ever written, completely free of cliché or predictability.

TO SUM UP:
If I had had the opportunity to see this film last year it would have made my top 10 list for the best films of the 2008. It deserved far more success commercially to go hand in hand with its critical appraisal. We cannot change the film industry overnight but nevertheless my message to you is to seek out this film, watch it, rent it, buy it and help raise its credibility with a DVD success reminiscent of the infamous Shawshank Redemption story. Also stay away from the mass produced rubbish this year i.e. My Bloody Valentine 3D and Saw VI and spend more time and effort on the smaller critically acclaimed features. They won't dissapoint and will guarantee that better horror films will be made in the future, it is a win win situation. Make a start now by seeking out Mum and Dad!

Sundance Film Festival 2009

What makes Robert Redford's Utah based festival so different from all the others is the fact that it effectively acts as stepping stone for all the new and interesting film talent out there with as well as giving rise to the more "indie" releases perhaps more so than the rest of the film festivals out there.

Obviously I have not had a chance to see any of the films featured as I was not present at this years festival (just like a lot of journalists it seems). So here are the list of winners with a full synopsis from IMDB where available as they are no doubt worth a look in the future! You may have to wait a fair while though, the four big winners do not yet have a distributor which I guess is all part of Sundance's charm.









Grand Jury Prize, U.S. Dramatic:
Push: Based on the Novel by Sapphire , Lee Daniels.
SYNOPSIS: In Harlem, an overweight, illiterate teen who is pregnant with her second child is invited to enroll in an alternative school in hopes that her life can head in a new direction.

Grand Jury Prize, U.S. Documentary:
We Live In Public, directed by Ondi Timoner
SYNOPSIS: On the 40th anniversary of the Internet, WE LIVE IN PUBLIC tells the story of the effect the web is having on our society as seen through the eyes of "the greatest Internet pioneer you've never heard of", visionary Josh Harris. Award-winning director, Ondi Timoner ("DIG!"), documented his tumultuous life for more than a decade, to create a riveting, cautionary tale of what to expect as the virtual world inevitably takes control of our lives. Josh Harris, often called the "Warhol of the Web" through the infamous dot.com boom of the 1990's, founded Pseudo.com, the first Internet television network and created his vision of the future, an underground bunker in NYC where 100 people lived together on camera for 30 days over the millennium. He proved how in the not-so-distant future of life online, we will willingly trade our privacy for the connection and recognition we all deeply desire. Through his experiments, including a six-month stint living under 24-hour live surveillance online which led him to mental collapse, he demonstrated the price we will all pay for living in public.

World Cinema Jury Prize, Dramatic:
The Maid, directed by Sebastian Silva

World Cinema Jury Prize, Documentary:

Rough Aunties, directed by Kim Longinotto

SYNOPSIS: Fearless, feisty and resolute, the "Rough Aunties" are a remarkable group of women unwavering in their stand to protect and care for the abused, neglected and forgotten children of Durban, South Africa. This newest documentary by internationally acclaimed director Kim Longinotto (SISTERS IN LAW, DIVORCE IRANIAN STYLE) follows the outspoken, multiracial cadre of Thuli, Mildred, Sdudla, Eureka and Jackie, as they wage a daily battle against systemic apathy, corruption and greed to help the most vulnerable and disenfranchised of their communities. Neither politics, nor social or racial divisions stand a chance against the united force of the women. Once again Longinotto has managed to bring us an intimate portrait of change from Africa, this time from post-apartheid South Africa, a nation being transformed with hope and energy into a new democracy.

Audience Award, Dramatic:
Push: Based on the novel by Sapphire, directed by Lee Daniels.

Audience Award, Documentary:
The Cove , directed by Louise Psihoyos

World Cinema Audience Award, Dramatic:
An Education , directed by Lone Scherfig
SYNOPSIS: Jenny (Carey Mulligan) is a bright young girl on the cusp of her 17th birthday who finds herself in a whirlwind romance with a much older David (Peter Sarsgaard). Prior to meeting David, Jenny was trying to excel in her life by going to a prep school to get into Oxford. Once she sees the lifestyle David can provide, one she never imagined might so easily be hers, she is hooked and thoughts of Oxford go out the window. Then, when things are looking pretty good for Jenny with the dashing (yet a little too smooth) David, the truth hits her like a ton of bricks. Jenny goes from being a bright eyed school girl to a sophisticated young lady and then all the way back to questioning if she really knows who she is at all.

World Cinema Audience Award, Documentary:
Afghan Star, directed by Havana Marking
SYNOPSIS: A look at how contestants on the a musical contest program "Pop Idol" in Afghanistan risk their lives to appear on the show.

Excellence in Directing, U.S. Dramatic:
Cary Joji Fukunaga, Sin Nombre
SYNOPSIS: Sin Nombre tracks the fate of three teenagers traveling through Mexico on their way toward the U.S. border. Sayla (Gaitan) is living a hard life in Honduras when her father and uncle decide it's time for the three of them to attempt to cross over into the United States and meet up with dad's "other family" in New Jersey -- full of brothers and sisters her father fathered before he was caught and deported

Excellence in Directing, U.S. Documentary:
Natalia Almada, General, El
SYNOPSIS: The glimpse into the life of Mexican President Plutarco Elias Calles.

Excellence in Directing, World Dramatic:
Oliver Hirschbiegel, Five Minutes of Heaven
(This Film Stars Liam Neeson, I'm sold)

Excellence in Directing, World Documentary:
Havana Marking, Afghan Star

Excellence in Cinematography, U.S. Dramatic:
Adriano Goldman, Sin Nombre

Excellence in Cinematography, U.S. Documentary:
Bob Richman, The September Issue
SYNOPSIS: The September 2007 issue of Vogue magazine weighed nearly five pounds, and was the single largest issue of a magazine ever published. With unprecedented access, this film tells the story of legendary Vogue editor in chief Anna Wintour and her larger-than-life team of editors creating the issue and ruling the world of fashion.

Excellence in Cinematography, World Dramatic:
John De Borman, An Education

Excellence in Cinematography, World Documentary:
John Maringouin, Big River Man
SYNOPSIS: To be titled "Big River Man", the film will follow Strel as he attempts to cover 3,375 miles in what is being billed as the world's longest swim. Strel, who hails from Slovenia, previously completed record swims in the Danube, Mississippi and Yangzte rivers and holds several Guiness World Records.

Excellence in Editing, U.S. Documentary:
Karen Schmeer, Sergio
SYNOPSIS: Charismatic, charming and complex, Sergio Vieira de Mello was the world's go-to guy, a man who could descend into the most dangerous places, charm the worst war criminals, and somehow protect the lives of the ordinary people to whom he'd devoted his life. SERGIO tells the gripping, inspiring story of his most treacherous mission ever...a mission in which his own life hangs in the balance.

Excellence in Editing, World Documentary:
Janus Billeskov, Big River Man

Waldo Salt Screenwriting Award:
Nicholas Jasenovec and Charlyne Yi for Paper Heart
SYNOPSIS: A look at the relationship between two young actors.
(Michael Cera's latest starring role is probably all you need to know)

World Cinema Screenwriting Award:
Guy Hibbert, Five Minutes of Heaven

Special Jury Prize for “Spirit of Independence”:
Humpday, directed by Lynn Shelton
SYNOPSIS: When Andrew unexpectedly shows up on Ben's doorstep late one night, the two old college friends immediately fall into their old dynamic of heterosexual one-upmanship. To save Ben from domestication, Andrew invites Ben to a party at a sex-positive commune. Everyone there plans on making erotic art films for the local amateur porn festival and Andrew wants in. They run out of booze and ideas, save for one: Andrew should have sex with Ben, on camera. It's not gay; it's beyond gay. It's not porn; it's an art project. The next day, they find themselves unable to back down from the dare. And there's nothing standing in their way - except Ben's wife Anna, heterosexuality, and certain mechanical questions.

Special Jury Prize For Acting:
Mo’Nique, in Push: Based in a novel by Sapphire

Special Jury Prize For U.S. Documentary:
Good Hair, directed by Jeff Stilson
(A documentary starring Chris Rock apparently!)

World Cinema Special Jury Prize, Dramatic:
Catalina Saavedra for her performance in The Maid

World Cinema Special Jury Prize, Dramatic:
Louise-Michel, directed by Benoit Delepine and Gustave de Kervern, for its “originality”

World Cinema Special Jury Prize, Documentary:
Tibet in Song, directed by Ngawang Choephel
SYNOPSIS: A look at the life and struggles of the Tibetan people and their culture told through music.

The Alfred P. Sloan Prize For a Feature Film:
Adam, directed by Max Mayer.
SYNOPSIS: A lonely, autistic man, Adam, develops a relationship with his upstairs neighbor, Beth.

Sundance/NHK International Filmmakers Awards
Diego Lerman, Ciencias Morales (Moral Sciences)
David Riker, The Girl
Qurata Kenji, Speed Girl
Lucile Hadzihalilovic, Evolution

Jury Prize in International Short Filmmaking:
Lies, directed by Jonas Odell.
SYNOPSIS: Three perfectly true stories about lying. In three episodes based on documentary interviews we meet the burglar who, when found out, claims to be a moonlighting accountant, the boy who finds himself lying and confessing to a crime he didn't commit and the woman whose whole life has been a chain of lies.

Jury Prize in Short Filmmaking:
Short Term 12, directed by Destin Daniel Cretton.
SYNOPSIS: A Film about kids and the grownups that hit them

The film Push it seems will be worth looking out for in the future having picked up no less than three major awards. Also as a massive fan of Nick Hornby books I am looking forward to his latest filmed screenplay; An Education

Screen Actors Guild Awards 2009

Not that these really account for much in the greater scheme of things but I thought I'd just list the nominations and subsequent winners anyway as it is all partially relevant in the lead up to the 81st Academy Awards!

The winners are highlighted in bold.








Outstanding Performance by a Male Actor in a Leading Role
Richard Jenkins, The Visitor
Frank Langella, Frost/Nixon
Sean Penn, Milk
Brad Pitt, The Curious Case of Benjamin Button
Mickey Rourke, The Wrestler

Outstanding Performance by a Female Actor in a Leading Role
Anne Hathaway, Rachel Getting Married
Angelina Jolie, Changeling
Melissa Leo, Frozen River
Meryl Streep, Doubt
Kate Winslet, Revolutionary Road

Outstanding Performance by a Male Actor in a Supporting Role
Josh Brolin, Milk
Robert Downey Jr., Tropic Thunder
Philip Seymour Hoffman, Doubt
Heath Ledger, The Dark Knight
Dev Patel, Slumdog Millionaire

Outstanding Performance by a Female Actor in a Supporting Role
Amy Adams, Doubt
Penélope Cruz, Vicky Cristina Barcelona
Viola Davis, Doubt
Taraji P. Henson, The Curious Case of Benjamin Button
Kate Winslet, The Reader

Outstanding Performance by a Cast in a Motion Picture
Doubt
Frost/Nixon
Milk
Slumdog Millionaire
The Curious Case of Benjamin Button

Oscar Nominations

Here are all the nominations announced last week. Who I believe will win are highlighted in Bold and written underneath are my thoughts and opinions on who should actually win. For nominations to which I do not really have a clue about, these have all been left untouched and are open to suggestions.


Performance by an actor in a leading role

• Richard Jenkins in The Visitor
• Frank Langella in Frost/Nixon
• Sean Penn in Milk
• Brad Pitt in The Curious Case of Benjamin Button
• Mickey Rourke in The Wrestler

Firstly it is good to see Richard Jenkins' role deservedly picking up a nomination for the criminally overlooked The Visitor. Frank Langella however is not the leading actor of Frost/Nixon. He is predominantly a supporting actor alongside Michael Sheen who for some reason has been overlooked by the Academy. As good as Langella's Nixon is, it would account for nothing unless he had Sheen's Frost to play against.

Sean Penn's performance is flawless but for me there is nothing inherently different, challenging or 'out there' about his portrayal of Harvey Milk. Similarly Benjamin Button is the typical Brad Pitt Role. For me and I believe the Academy, the performance of the year has to go to Mickey Rourke. He may effectively be playing himself but no other performance this year is as moving. Behind his tough exterior lies this emotional wreck, and if it were not for him, the film would not work. His acting just seemed so extremely demanding unlike that of Penn who was effortlessly playing yet another role which he thrives in. I think it is about time Rourke won an award but keep your eyes on Sean Penn as he may narrowly beat him. Also where was Benicio Del Toro's nomination for Che Guavara?

Performance by an actor in a supporting role

• Josh Brolin in Milk
• Robert Downey Jr. in Tropic Thunder
• Philip Seymour Hoffman in Doubt
• Heath Ledger in The Dark Knight
• Michael Shannon in Revolutionary Road

Heath rightly deserves this award and I think the Academy will agree with me. None of his other rivals are anywhere as near as colourful, inventive or just as mind blowing. I think it is insulting that Downey Jr should be nominated as his character was nothing other than a daft and stupid gimmick to raise his profile which wore a little thin as the dismal Tropic Thunder trundled along. If Heath somehow managed to lose out to that excuse of a performance he will be turning in his grave! The fact when Downey Jr.'s name was mentioned the whole audience guffawed in laughter demonstrates how no one is taking this nomination seriously. It could have been replaced with far better performances that are far more deserving, Michael Sheen in Frost/Nixon is an obvious example. Even though Josh Brolin, who could have perhaps been nominated for best actor in W, and Phillip Seymour Hoffman, who is brilliant in everything he stars in, are worthy of nominations their performances are simply forgettable when they are pitted against Heath's performance of a lifetime.

Performance by an actress in a leading role

• Anne Hathaway in Rachel Getting Married
• Angelina Jolie in Changeling
• Melissa Leo in Frozen River
• Meryl Streep in Doubt
• Kate Winslet in The Reader

This is a very tough one to call. It doesn't take a genius to work out that the main focus of the nomination is between Angelina and Kate, but it is anyone's guess. Kate Winslet is so obviously Oscar hungry I think the Academy may in fact pity her and grant her a win. Similarly many members of the Academy may in fact be neutral and grant the win to the outside favourite Anne Hathaway. Like Jolie she is known for her rubbish roles but this year she proved she is capable of so much more. But if I were to bet on anyone it would be Jolie. Her performance is without a doubt the most convincing and it reeks of what the academy favour; a strong maternal woman who uses her strengths to battle against society.

Performance by an actress in a supporting role

• Amy Adams in Doubt
• Penélope Cruz in Vicky Cristina Barcelona
• Viola Davis in Doubt
• Taraji P. Henson in The Curious Case of Benjamin Button
• Marisa Tomei in The Wrestler

I know the Wrestler was Mickey Rourke's film but Marisa Tomei's character does exactly what it says on the tin; it supports and enhances his character. To me the other actresses were trying to steal the spotlight just a little bit too much.

Best animated feature film of the year

• Bolt
• Kung Fu Panda
• WALL-E

It annoys me that the so-called 'Best animated feature' is only limited to three nominations. For some reason the academy seems to view animated films as a Mickey Mouse award, literally. The fact Kung Fu Panda has even been nominated is insulting. Where is Waltz With Bashir? Persepolis? Just because these two films are full of adult subject matter means they are denied an award opportunity. Dreamworks's Cash Cow has in no way pushed the boundaries of animation or cinema itself. If either Bashir or Persepolis were nominated it would make the race for best animation feature far more exciting. Ultimately there is only one winner here and that is Andrew Stanton's masterpiece Wall-E.

Achievement in art direction

• James J. Murakami and Gary Fettis - Changeling
• Donald Graham Burt and Victor J. Zolfo - The Curious Case of Benjamin Button
• Nathan Crowley and Peter Lando - The Dark Knight
• Michael Carlin and Rebecca Alleway - The Duchess
• Kristi Zea and Debra Schutt - Revolutionary Road

Achievement in cinematography

• Tom Stern - Changeling
• Claudio Miranda - The Curious Case of Benjamin Button
• Wally Pfister - The Dark Knight
• Chris Menges and Roger Deakins - The Reader
• Anthony Dod Mantle - Slumdog Millionaire

The entire feel and darkness of the fictional Gotham City is down to this man. I rest my case.

Achievement in costume design

• Catherine Martin - Australia
• Jacqueline West - The Curious Case of Benjamin Button
• Michael O'Connor - The Duchess
• Danny Glicker - Milk
• Albert W Revolutionary Road

Achievement in directing

• David Fincher - The Curious Case of Benjamin Button
• Ron Howard - Frost/Nixon
• Gus Van Sant - Milk
• Stephen Daldry - The Reader
• Danny Boyle - Slumdog Millionaire

There is no way that Daldry deserves to win for his pretentious direction. Similarly Van Sant's direction of Milk was just so straight forward and unimaginative that there is no way he could hope to even win. For me Danny Boyle's dynamic and energetic depiction of the Mumbai slums blows everyone else out of the water. But look out for Ron Howard. In a similar vein he has also taken a television show and translated it into a gripping film. If there were a prize for second place, it would be his.

Best documentary feature

• The Betrayal (Nerakhoon)
• Encounters at the End of the World
• The Garden
• Man on Wire
• Trouble the Water

The best documentary of the year in my opinion; King of Kong has either been overlooked or has simply been considered too commercial, despite the fact its box office takings we below par to say the least. Similarly the only reason I can think of that Taxi to the Dark Side has not been nominated is because it has gone out of its way to criticise the fine country they call America, which is something the Academy never takes lightly to. Man on Wire has generated so much buzz since it was released I just cannot see anything else winning. Also let's face it, Encounters at the End of the World has been nominated only because it has Herzog's name attached to it! A few stuffy critics will no doubt be up in arms due to the fact that their favourite documentary of the year, Terence Davis' Of Time and the City, did not get a mention but this is probably because the Academy is uninterested with the slums of Liverpool truth be told.

Best documentary short subject

• The Conscience of Nhem En
• The Final Inch
• Smile Pinki
• The Witness - From the Balcony of Room 306

Achievement in film editing

• Kirk Baxter and Angus Wall - The Curious Case of Benjamin Button
• Lee Smith - The Dark Knight
• Mike Hill and Dan Hanley - Frost/Nixon
• Elliot Graham - Milk
• Chris Dickens - Slumdog Millionaire

Best foreign language film of the year

• The Baader Meinhof Complex - Germany
• The Class - France
• Departures - Japan
• Revanche - Austria
• Waltz with Bashir - Israel

If my 3rd favourite film of the year Waltz with Bashir does not win I think I shall shoot myself! This was in my opinion a step forward for the art of cinema and is better than any of the other films nominated for 'best picture' let alone best foreign film. So layered as a part animation, part documentary and part drama this work of art is so emotionally powerful it hits you square in the face! As entertaining as The Baader Meinhof Complex was it was just too politically didactic and Gomorrah should have gone in its place. For a film industry so obsessed with the Mafia and its legacy I think a film which exposes the criminal organisation for what it really is definitely deserves a nomination at least.

Achievement in makeup

• Greg Cannom - The Curious Case of Benjamin Button
• John Caglione, Jr. and Conor O'Sullivan - The Dark Knight
• Mike Elizalde and Thom Floutz - Hellboy II: The Golden Army

All they had to do in the Dark Knight was slap makeup on Heath Ledger's face. As imaginative as the make-up is on Hellboy II is, it is the make-up on the elderly Baby which holds the whole concept of Benjamin Button together.

Achievement in music written for motion pictures (Original score)

• Alexandre Desplat - The Curious Case of Benjamin Button
• James Newton Howard - Defiance
• Danny Elfman - Milk
• A.R. Rahman - Slumdog Millionaire
• Thomas Newman WALL-E

This is the only soundtrack that stood out in my mind, one which aided and enhanced the magnificent visuals.

Achievement in music written for motion pictures (Original song)

• "Down to Earth" from WALL-E Music by Peter Gabriel and Thomas Newman
• "Jai Ho" from Slumdog Millionaire Music by A.R. Rahman
• "O Saya" from Slumdog Millionaire Music by A.R. Rahman and Maya Arulpragasam

Best motion picture of the year

• The Curious Case of Benjamin Button
• Frost/Nixon
• Milk
• The Reader
• Slumdog Millionaire

Compared to last year's Oscar race the films this year are not as intriguing which has thus made the race a tad less exciting. Nevertheless I would quite like to see Boyle's film win as it is without a doubt the best film nominated. However I have a feeling that Fincher's epic is filled with what the academy thrive on; an epic simple man's journey. It may as well have been called Forest Gump 2. Anyway, it doesn't matter who wins anymore because the fact of the matter is Wall-E is far superior to any of the films mentioned. All fairly equally mediocre Wall-E would have stood out and easily had a chance of winning in my opinion.

Best animated short film

• La Maison en Petits Cubes
• Lavatory - Lovestory
• Oktapodi
• Presto (Pixar)
• This Way Up

Best live action short film

• Auf der Strecke
• Manon on the Asphalt
• New Boy
• The Pig
• Spielzeugland (Toyland)

Achievement in sound editing

• Richard King - The Dark Knight
• Frank Eulner and Christopher Boyes - Iron Man
• Tom Sayers - Slumdog Millionaire
• Ben Burtt and Matthew Wood - WALL-E
• Wylie Stateman - Wanted

Achievement in sound mixing

• David Parker, Michael Semanick, Ren Klyce and Mark Weingarten - The Curious Case of Benjamin Button
• Lora Hirschberg, Gary Rizzo and Ed Novick - The Dark Knight
• Ian Tapp, Richard Pryke and Resul Pookutty - Slumdog Millionaire
• Tom Myers, Michael Semanick and Ben Burtt - WALL-E
• Chris Jenkins, Frank A. Montaño and Petr Forejt - Wanted

Achievement in visual effects

• Eric Barba, Steve Preeg, Burt Dalton and Craig Barron - The Curious Case of Benjamin Button
• Nick Davis, Chris Corbould, Tim Webber and Paul Franklin - The Dark Knight
• John Nelson, Ben Snow, Dan Sudick and Shane Mahan - Iron Man

Again Wall-E should have been nominated and won. It's special effects were absolutely breathtaking and so unbelievably imaginative and iconic they permanently imprint in your mind. But with what's on offer I think Iron Man should win, any film that takes a man into space convincingly is a dead cert in my eyes!

Adapted screenplay

• The Curious Case of Benjamin Button Screenplay by Eric Roth
• Doubt Written by John Patrick Shanley
• Frost/Nixon Screenplay by Peter Morgan
• The Reader Screenplay by David Hare
• Slumdog Millionaire Screenplay by Simon Beaufoy

All the films have been effectively translated for the art of cinema, that's why they have all been successfully nominated. But the script which stands out the most is Beaufoy's Slumdog Millionaire. It is a film in its own right rather than a filmed adaptation of a book or play.

Original screenplay

• Frozen River Written by Courtney Hunt
• Happy-Go-Lucky Written by Mike Leigh
• In Bruges Written by Martin McDonagh
• Milk Written by Dustin Lance Black
• WALL-E Screenplay by Andrew Stanton and Jim Reardon

None of the other films in relation to In Bruges are as razor sharp or as quick witted. Mike Leigh's script is more of the same and WALL-E's screenplay was barely existent as far as dialogue is concerned. This is an award for the best screenplay not storyboard!

Total Nominations Per Film

The Curious Case of Benjamin Button -13
Slumdog Millionaire - 10
The Dark Knight -8
Milk - 8
WALL-E - 6
Doubt - 5
Frost/Nixon - 5
The Reader - 5
Changeling - 3
Revolutionary Road - 3
The Duchess - 2
Frozen River - 2
Iron Man - 2
Wanted - 2
The Wrestler - 2

No inherent surprises really as to which film has picked up the most nominations. But for me Wall-E deserved to sweep the board . I think it'll be one of those years when all the awards are given to a variety of films rather than one stand alone movie claiming far more than anyone else. None of the films are that superior in relation to their rivals (except for WALL-E of course!)

The real surprise is that Clint Eastwood's Gran Torino has not picked up a single nomination when films like Wanted and Kung Fu Panda can receive up to two. I just think the Academy found nothing in his film they particularly liked, after all I believe it was a film he made for himself rather than for awards which we all know he can do at the flip of a coin.


The Academy Awards will be presented by Wolverine (Hugh Jackman) which is quite frankly a strange choice as despite his musical background I don't think he quite has the edge of a host as say Whoopi Goldberg, Jon Stewart, Billy Crystal or Steve Martin.

The awards will be broadcast live on February 22nd at the Kodak Theatre in Hollywood.

Expect a full blown review on my blog the day after the ceremony!

A Film I Cannot Wait to See

Whilst waiting for the second half of Derby County and Nottingham Forest's infamous Fourth Round FA cup tie to commence (with Derby subsequently proceeding to throw away their victory despite their dominance of the game it has to be said) this gem of a trailer hit the pub's screens.

Now it may have been because me and my Derby mates were all in good spirits being 1-0 up amidst one of the greatest rivalries in the history of British football with a few pints in our system, but for some reason I was totally transfixed by this trailer for its entire 2 minute duration.

Perhaps it is due to the fact I recently turned into a massive Michael Sheen fan overnight after seeing Frost/Nixon, thus realising his portrayal of English figureheads provide more than just observatory impersonations but are filled with real personality, character and an interpretation that always engrosses me.

Or perhaps it is because the story of the eccentric Brian Clough, Middlesbrough born like myself who single handedly managed to prove there is more to football success than money, really intrigues me.

But whatever it is, I cannot escape the fact that this trailer oozes a certain energy and wit which I managed to pick upon despite the fact that the pub's TV had no sound.

Now I am always the first to express my boredom towards British films that are nothing other than generic success stories with the sole intention of aiming to be successful in an American film market e.g. Calendar Girls, Purely Belter, Waking Ned, Lucky Break, Saving Grace, On a Clear Day etc. But I think we could well be in the midst of film with real substance. Unlike the films previously mentioned this does not seem to be chasing a possible American fan base, after all how many American's are going to be interested in Brian Clough?

Ultimately I await the end of March with a positive outlook, firmly in the knowledge that this film will be released! I may not be able to guarantee that it will in fact be as good as I predict or whether it will be a box office sucess but what I can guarantee is that Derby County have no chance of winning the FA Cup this year!

A Brief Analysis

Here is my analysis of the opening fifteen minutes of the Spielberg-Cruise, sci-fi epic; Minority Report.

This was written for my sci-fi module at uni.

For those of you who have not seen Minority Report or need your mind refreshing the opening sequence can be seen on youtube in two parts:

Part One can be seen here: http://uk.youtube.com/watch?v=5Eh4qjOopb0

Part Two is here:




Minority Report opening sequence

The main purpose of Minority Report’s opening fifteen minute sequence is to provide the viewer with a first hand experience into how the precrime precog system operates and the uncertainty that comes with it. With a lack of direct information viewers are instantly immersed in this world. The events which develop here work to establish the type of system John (Tom Cruise) will be evading throughout the rest of the film.

As the 20th Century Fox logo fills the screen it is given this pale blue almost colourless, metallic, yet submerged appearance. Instead of containing the bright vibrant colours we are used to Spielberg challenges our expectations by taking the one familiar element of the film and immediately stripping it of all its visual trademarks. This unfamiliarity provides a sense of mystery yet intrigue to the viewer and a minor state of unease as the usual warm reassuring logo now feels cold and distant.

The first images we see are unclear. A series of broken and disorientated flashbacks they are meant to unsettle and perhaps horrify us. Frequently in and out of focus and not having any linear progression the only thing the viewer can make sense of is a violent stabbing. We then see a close up of precog for the first time who is eerily talking, then a red ball rolls down a tube with the word ‘victim’ being the first letters on screen. These events do not make sense but they nevertheless work as Spielberg provides us with an unnerving atmosphere that signifies that there cannot be a positive outcome.

We are then given an establishing shot of the vastly spacious infrastructure of a blue police station full of busy staff all milling about with the words ‘department of precrime’ and ‘the year 2054’. We immediately know this is a technologically advanced future.

As John approaches his super computer opera music begins to play. He has an audience watching him and the long shot behind him emphasises his grandeur gestures. We therefore compare his actions with that of a musical conductor or artist. As his movements are directly replicated on the screen it is as if he and the technology are as one. He interacts in a language only he is skilled enough to understand. The fact he is wearing gloves that are connected to his computer suggest that the technology is a part of him. He his doing this to decode the first images we saw into logistic sense as well as introducing to the viewer the advanced software used in the future which is far more physically and mentally demanding than what we use today.

The film then cuts to a suburban setting. Again we are given an establishing shot with vast space but here this space is used to emphasise the bright green grass. The music also stops playing and we only here the diegetic natural sounds such as the swings and the water sprinkler. This scene acts as a calming equivalent to the unnatural precrime department. This visual emphasis on green space also suggests there is still hope for freedom from technology in the future. However for a relatively calming scene, due to the fact we recognise one of these characters previously committing murder, there is an underlying sense of unease and awkwardness between the husband and wife. Although we have a vague idea of what will happen an audience is intrigued to know how events will develop through this ‘show, don’t tell’ screenwriting.

As John is about to leave the station he is called back due to a ‘location problem’ which leads to the introduction of the Danny Witwer character. Unfamiliar with the system Danny is a plot device to help us to understand events, as they progress they are explained to him as well as us. As Danny offers to shake John’s hand this distracts him and ruins the placement of his on screen documents and files. This suggests how Danny is there with the possible intention of causing John difficulty and trouble. Danny’s smarmy grin facial expression juxtaposed against John’s stern seriousness and concentration demonstrates a personality clash which may well heighten later on.

Proceeding to observe John from a distance, Danny has a brief word with one of John’s officers. This conversation is extremely relevant as Danny is informed how crimes of passion show up late on the system thus questioning its plausibility. Danny is informed how ‘we rarely see anything with premeditation anymore’ to which he responds ‘people have got the message’. This hints to us how the precrime department has too much control over civilians and their personal lives. With no true crimes left to focus on they have now become obsessed with persecuting people for their simple crimes of passion.

It is also significant how the majority of close ups of John’s face are shot through the partially see-through computer screen. Partly distorted through the onscreen images this suggests how John’s life is superficially blinded by such technology. He is hypnotised by it. This is his only window into the outside world as he spends most of his days in this dark office.

The police’s arrival in suburbia emphasises how if it were not for their presence there would be nothing futuristic about this setting and it could be easily mistaken for being set in the current day. These uniforms and flying vehicles seem imposed upon our real world and are obtrusive in our freedom. The arrival of the spaceship blocks out the sunlight and the image of police officers in helmets dropping from the sky are severely out of place as it is not the most reassuring of sights, and feels like an invasion of privacy.

As John surveys the houses he becomes panicked. Emphasised by the fast POV pan of the front doors, he does not know which one to enter. To him all the houses are the same, he is essentially lost in suburbia and has lost touch with the simple ways of life. He relies on technology to get him out of this problem by communicating back to the office and is constantly looking at his watch as he is running against the clock The crosscutting scenes between the police force and family now quicken to heighten the tension and suspense. As John sprints to the door and up the stairs the camera’s fast tracking cannot even keep up with him. Along with fast cutting and high tempo music this furthers the suspense. As John enters the bedroom he directly intervenes in the murder and it is due to his hand on Mark’s arm that a crime never in fact actually takes place. Again his first reaction is to look at his watch as he is a slave to time constraint.

As the remaining officers crash in through the ceiling this rough apprehension echoes a similar scene in Brazil where a man called Buttle is wrongly arrested instead of a man named Tuttle due to a small administration error. There has just been something discomforting about the sequence of events. As well as creating suspense this hardly seems like a reassuring police force and method of law enforcement. The word oppressive comes to mind. This is emphasised in particular when a full body shot of Marks is framed by the close up of a headset in one of the officer’s hands. We know it will entrap and restrict him in some way. As he pleads and the officers follow him there is no escape. As he is taken away we are inclined to sympathise with him more. This was not a conscious decision to murder and the didactic police force has not given him the right to a fair trial. The inefficient and oppression of the police is not perhaps as overtly apparent as Brazil but there is an underlying satirical tone to their methods.

BAFTA Nominations Announced

The word is out!

The world's second most important film council have announced their nominations.

Having not quite seen all the flicks mentioned I cannot provide my full opinion just yet, but by the time the awards have been broadcast I will have had the time to do so, so watch this space.

In the meantime here are the people The British Academy of Film and Television Arts, a.k.a. the pre-Academy Awards, believe could all be in with a chance of picking up the infamous Bafta mask this year.

I'm sure you are all resourceful enough to find the following information for yourself from the Bafta website, but what kind of a film blog would this be without announcing them?

This is what English actresses Gemma Arteton (Quantum of Solace) and Hayley Atwell (The Duchess), who were strangely looking like a clone of one another earlier today, announced to the world:

BEST FILM
THE CURIOUS CASE OF BENJAMIN BUTTON – Kathleen Kennedy, Frank Marshall, Ceán Chaffin
FROST/NIXON – Tim Bevan, Eric Fellner, Brian Grazer, Ron Howard
MILK – Dan Jinks, Bruce Cohen
THE READER – Anthony Minghella, Sydney Pollack, Donna Gigliotti, Redmond Morris
SLUMDOG MILLIONAIRE – Christian Colson

OUTSTANDING BRITISH FILM
HUNGER – Laura Hastings-Smith, Robin Gutch, Steve McQueen, Enda Walsh
IN BRUGES – Graham Broadbent, Pete Czernin, Martin McDonagh
MAMMA MIA! – Judy Craymer, Gary Goetzman, Phyllida Lloyd, Catherine Johnson
MAN ON WIRE – Simon Chinn, James Marsh
SLUMDOG MILLIONAIRE – Christian Colson, Danny Boyle, Simon Beaufoy

THE CARL FOREMAN AWARD
for Special Achievement by a British Director, Writer or Producer for their First Feature Film
SIMON CHINN (Producer) – Man On Wire
JUDY CRAYMER (Producer) – Mamma Mia!
GARTH JENNINGS (Writer) – Son of Rambow
STEVE McQUEEN (Director/Writer) – Hunger
SOLON PAPADOPOULOS, ROY BOULTER (Producers) – Of Time And The City

DIRECTOR
CHANGELING – Clint Eastwood
THE CURIOUS CASE OF BENJAMIN BUTTON – David Fincher
FROST/NIXON – Ron Howard
THE READER – Stephen Daldry
SLUMDOG MILLIONAIRE – Danny Boyle

ORIGINAL SCREENPLAY
BURN AFTER READING – Joel Coen, Ethan Coen
CHANGELING – J. Michael Straczynski
I’VE LOVED YOU SO LONG – Philippe Claudel
IN BRUGES – Martin McDonagh
MILK – Dustin Lance Black

ADAPTED SCREENPLAY
THE CURIOUS CASE OF BENJAMIN BUTTON – Eric Roth
FROST/NIXON – Peter Morgan
THE READER – David Hare
REVOLUTIONARY ROAD – Justin Haythe
SLUMDOG MILLIONAIRE – Simon Beaufoy

FILM NOT IN THE ENGLISH LANGUAGE
THE BAADER MEINHOF COMPLEX – Bernard Eichinger, Uli Edel
GOMORRAH – Domenico Procacci, Matteo Garrone
I'VE LOVED YOU SO LONG – Yves Marmion, Philippe Claudel
PERSEPOLIS – Marc-Antoine Robert, Xavier Rigault, Marjane Satrapi, Vincent Parannaud
WALTZ WITH BASHIR – Serge Lalou, Gerhard Meixner, Yael Nahl Ieli, Ari Folman

ANIMATED FILM
PERSEPOLIS – Marjane Satrapi, Vincent Parannaud
WALL•E – Andrew Stanton
WALTZ WITH BASHIR – Ari Folman

LEADING ACTOR
FRANK LANGELLA – Frost/Nixon
DEV PATEL – Slumdog Millionaire
SEAN PENN – Milk
BRAD PITT – The Curious Case of Benjamin Button
MICKEY ROURKE – The Wrestler

LEADING ACTRESS
ANGELINA JOLIE – Changeling
KRISTIN SCOTT THOMAS – I’ve Loved You So Long
MERYL STREEP – Doubt
KATE WINSLET – The Reader
KATE WINSLET – Revolutionary Road

SUPPORTING ACTOR
ROBERT DOWNEY JR. – Tropic Thunder
BRENDAN GLEESON – In Bruges
PHILIP SEYMOUR HOFFMAN – Doubt
HEATH LEDGER – The Dark Knight
BRAD PITT – Burn After Reading

SUPPORTING ACTRESS
AMY ADAMS – Doubt
PENÉLOPE CRUZ – Vicky Cristina Barcelona
FREIDA PINTO – Slumdog Millionaire
TILDA SWINTON – Burn After Reading
MARISA TOMEI – The Wrestler

MUSIC
THE CURIOUS CASE OF BENJAMIN BUTTON – Alexandre Desplat
THE DARK KNIGHT – Hans Zimmer, James Newton Howard
MAMMA MIA! – Benny Andersson, Björn Ulvaeus
SLUMDOG MILLIONAIRE – A. R. Rahman
WALL•E – Thomas Newman

CINEMATOGRAPHY
CHANGELING – Tom Stern
THE CURIOUS CASE OF BENJAMIN BUTTON – Claudio Miranda
THE DARK KNIGHT – Wally Pfister
THE READER – Chris Menges, Roger Deakins
SLUMDOG MILLIONAIRE – Anthony Dod Mantle

EDITING **
CHANGELING – Joel Cox, Gary D. Roach
THE CURIOUS CASE OF BENJAMIN BUTTON – Kirk Baxter, Angus Wall
THE DARK KNIGHT – Lee Smith
FROST/NIXON – Mike Hill, Dan Hanley
IN BRUGES – Jon Gregory
SLUMDOG MILLIONAIRE – Chris Dickens
**As there was a tie in this category there are six nominations

PRODUCTION DESIGN
CHANGELING – James J. Murakami, Gary Fettis
THE CURIOUS CASE OF BENJAMIN BUTTON – Donald Graham Burt, Victor J. Zolfo
THE DARK KNIGHT – Nathan Crowley, Peter Lando
REVOLUTIONARY ROAD – Kristi Zea, Debra Schutt
SLUMDOG MILLIONAIRE – Mark Digby, Michelle Day

COSTUME DESIGN
CHANGELING – Deborah Hopper
THE CURIOUS CASE OF BENJAMIN BUTTON – Jacqueline West
THE DARK KNIGHT – Lindy Hemming
THE DUCHESS – Michael O'Connor
REVOLUTIONARY ROAD – Albert Wolsky

SOUND
CHANGELING – Walt Martin, Alan Robert Murray, John Reitz, Gregg Rudloff
THE DARK KNIGHT – Lora Hirschberg, Richard King, Ed Novick, Gary Rizzo
QUANTUM OF SOLACE – Jimmy Boyle, Eddy Joseph, Chris Munro, Mike Prestwood Smith, Mark Taylor
SLUMDOG MILLIONARE – Glenn Freemantle, Resul Pookutty, Richard Pryke, Tom Sayers, Ian Tapp
WALL•E – Ben Burtt, Tom Myers, Michael Semanick, Matthew Wood

SPECIAL VISUAL EFFECTS
THE CURIOUS CASE OF BENJAMIN BUTTON – Eric Barba, Craig Barron, – Nathan McGuinness, Edson Williams
THE DARK KNIGHT – Chris Corbould, Nick Davis, Paul Franklin, Tim Webber
INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL – Pablo Helman
IRON MAN – Shane Patrick Mahan, John Nelson, Ben Snow
QUANTUM OF SOLACE – Chris Corbould, Kevin Tod Haug

MAKE UP & HAIR
THE CURIOUS CASE OF BENJAMIN BUTTON – Jean Black, Colleen Callaghan
THE DARK KNIGHT – Peter Robb-King
THE DUCHESS – Daniel Phillips, Jan Archibald
FROST/NIXON – Edouard Henriques, Kim Santantonio
MILK – Steven E. Anderson, Michael White

SHORT ANIMATION
CODSWALLOP – Greg McLeod, Myles McLeod
VARMINTS – Sue Goffe, Marc Craste
WALLACE AND GROMIT: A MATTER OF LOAF AND DEATH – Steve Pegram, Nick Park, Bob Baker

SHORT FILM
KINGSLAND #1 THE DREAMER – Kate Ogborn, Tony Grisoni
LOVE YOU MORE – Caroline Harvey, Sam Taylor-Wood, Patrick Marber
RALPH – Olivier Kaempfer, Alex Winckler
SEPTEMBER – Stewart le Maréchal, Esther May Campbell
VOYAGE D’AFFAIRES (THE BUSINESS TRIP) – Celine Quideau, Sean Ellis

THE ORANGE RISING STAR AWARD
MICHAEL CERA
NOEL CLARKE
MICHAEL FASSBENDER
REBECCA HALL
TOBY KEBBELL

At the moment it is Danny Boyle's Slumdog Millionaire making all the headlines after being given a total of 11 nods. With it being critically hailed as Boyle's most interesting film since Trainspotting in 1996 and one of the most significant British films in recent history I have no doubt that it will be successful in picking up the majority of its nominations.

The awards will take place on Sunday 8 February 2009 at Linbury Theatre, Royal Opera House , Covent Garden (Piazza entrance) from 6pm-10pm. Available to the public are backstage tickets where The Guadian film critic Jason Solomons will be offering his thoughts and opinions.
Anyone got a spare ticket?

Oh well, the rest of us can look forward to watching extensive coverage presented by Claudia Winkleman over no less than three BBC channels.

The centre of controversy himself Jonathan Ross has been confirmed to present the awards this year only two weeks after his suspension from the BBC is lifted. But don't expect this to hinder his enthusiasm as he has recently told reporters his intentions of slipping in an "improbable word" at some point during the proceedings.

It's hard to believe my mum's cousin Amanda Berry is the big cheese at the awards and I doubt I'll ever get the chance to meet her, but there you go!

Is this the most annoying acceptance speech of all time?

WOW you somehow forgot Angelina’s name, how AMUSING! It’s not like she was your greatest competition in this award or anything.

It surprises me how such a talented actress can give a speech which is so obviously sickly and fake. I'm guessing her performance in Revolutionary Road isn't this see-through. I am not buying this 'girl next door' persona she still seems to be milking. It's not like she hasn't been doing this sort of thing for the past 10+ years. I have much more respect for someone who can just give a simple thank you and actually just be themselves. The Coen Brothers acceptance speeches at the 2008 Oscars were genius!

The fact she is playing a character within the holocaust as a device to primarily chase awards means Ricky Gervais was a little closer to the truth than we initially though in his sitcom/satire Extras.

Although despite its toe-curling annoyingness, this PR stunt means her award win inevitably will go down in history. Mention a female acceptance speech and everyone remembers Halle Berry’s emotional breakdown on the Oscar podium, but at least this seemed relatively genuine and was in fact entertaining, albeit in a weird way.

Ultimately I cannot blame Kate for salvaging the moment at the expense of everyone else’s impatience, it is the globes after all. She might as well try and give the ceremony some significance as the world has got their eyes on the real prize, the Oscars.

Channel 4's Insensitive Commissioning

As fairly entertaining as the 2001 movie Domestic Disturbance is, it just seemed mildly inappropriate to watch. In a film where John Travolta's character fears for the safety of his on-screen son, the subject matter was a little too close to the bone in places given the recent untimely death of his own son. Channel 4's commissioning was a tad insensitive and in bad taste as there are simply far more just as entertaining films out there that could have been broadcast in its place.

John Lasseter as the new face of Disney

Former Toy Story Director turned Pixar mogul was granted one of the most powerful positions in the movie business two years ago; head honcho at the Disney animation studios.

That is of course USED to be one of the most powerful positions in the film industry. A recent back catalogue of second rate CGI disasters and an endless tirade of straight to DVD prequels and sequels meant Disney's main revenue rested on Pixar relations and High School Musical films. This has in fact left skeptics considering this position a step down for Lasseter.

Although recapturing the magic Disney once had, which seems to have bypassed an entire generation, and re-establishing its status as a movie giant against new rivals Dreamworks Animation Studios will not be a challenge for Lasseter in the slightest. No one is better suited for this position than the man who is responsible for changing the face of children's animated cinema and initially knocking Walt's empire from the top spot.

The only problem I put forward is this; has he been recapturing Disney's lost identity or simply reworking Pixar's formula within the Disney studios? Or on the other hand, without Lasseter being at the helm of Pixar will the company find itself struggling to bring out masterpieces after its peak Wall-E?

Well with the first Disney film produced entirely under Lassetter's watch named Bolt receiving much critical praise and The Princess and the Frog being the first 2-D animated Disney film since 2004 to be released this coming Christmas 2009, it appears all is well at the House of Mouse.

Is DVD browsing fast becoming a thing of the past ?

First WoolWorths then Zavvi and now Blockbuster fighting a constant battle to keep its stores open there are increasingly less and less shops out there to browse for DVD's.

Although I managed to work on my Ron Howard collection by seeking out Cocoon for 80p at Woolies and Backdraft for £2.40 at Zavvi this doesn't really compensate for the lack of choice now out there with the collapse of prominent distributor Entertainment UK.

It's all well and good having a DVD in mind when you order it from the cheaply priced bottomless pit that is Amazon, but with the art of browsing comes the discovery of cheap DVD offers and films you had forgotten existed or films you have not heard of before which improves your knowledge. This is all something that is lost online.

For me when I am dragged to the shops or need to pop out for a few things it also provides some light relief in the form of shopping I actually enjoy.

I just hope our future doesn't turn into this seething dystopia where by all the jobs available are in website warehouses and everyone has to do their shopping online, thus never leaving the house and living putrid meaningless existences stewing in their own juices. Not a happy thought, but a possible one!

Kermode threatens to quit!

You heard it here first folks, that is of course under the presumption you didn't hear his Radio 5 Live show this week!


Kermode was nothing other than appallingly dismayed by the unfunny chick flick that contributed towards kicking off this months mediocre releases, namely Bride Wars. In comparison to the sheer brilliance of the releases this time last year he stated that if Bride Wars doesn't make his top ten worst films of the year by the end of 2009 then he quits!

Honestly I think he was being a bit over dramatic as usual. These amazing films that were released last January; No Country for Old Men, Juno and There Will Be Blood weren't exactly released this early. Plus with Milk, Slumdog Millionaire, Che, The Wrestler and The Curious Case of Benjamin Button all due out it can hardly be considered a bad month for film.

Personally I think he'll make sure that it'll make his end of year list after such a statement! After all who's going to turn down watching films for a living, no matter how bad they are!?!

A Month in Film: December 2008

Can you still remember the film releases that graced our screens over christmas? If so, have a gander at my review of them Here

Grindhouse Trailer Classics 2

Click Here to read my review on the Grindhouse Trailer Classics 2 DVD