After watching Severance a few nights back and really enjoying it, I looked into what else director Christopher Smith had done. His only other feature was Creep, which I already had on my list to watch because I'm in love with Franka Potente and I enjoyed her previous horror film Anatomy.
Knowing how funny Severance is, I was expecting the same from Creep; it isn't a horror-comedy, just straight horror, so it took a little longer for me to get into it. But it too is an extremely well made film. I berated yesterday's movie All Souls Day for all of it's problems, despite it being a low-budget film, and this is the reason why; I'm betting these two films had around the same budget, but Creep is a much more complete film. It's smart, it's well made, the film doesn't make excuses for it's low-budget, it does everything it can within it's own little world.
Franka plays a smart, sophisticated woman who falls asleep on the platform for the London Underground. She wakes up to an empty subway terminal and is unable to find a way out. Of course she's not actually alone and is soon fighting off gross things that go bump in the night.
There's a wonderful sense of claustrophobia that fills the film; the entire time you can feel the darkness and the cramped settings that contain her with this creature. The creep is scary and horrible to look at, but realistic. He's made-up to look like something that could actually live in our world; and though he never says more than a few words, he feels like a complete character. We get glimpses of his past and why he does what he does, but nothing is spelled out, you're left to fill in the blanks. And even though he does disgusting and despicable things, there is a sense of understanding and you can relate to him. He is a truly memorable monster.
And what can I say about Franka? I've loved her as an actress since the first moment I saw her in Run Lola Run. She has this accessible beauty and a gravitas about her, that makes everything she does seem real, no matter what situation a film may put her in. Again she's wonderful here; she starts off as this pretentious girl-of-the-world, and by the end she is beaten up, bloodied, bruised and covered in mud and you can completely buy her as both. With a lesser actress this film just wouldn't have worked.
Christopher Smith is a force to be reckoned with. Between this and Severance I think we have a major new filmmaking talent. I can't wait to see what he comes up with next.
I was all ready to tear this horror film apart. The script is sloppy, much of the acting is laughable, the editing was strange; I simply never connected with the film. But then I watched the "making of" and saw how excited the filmmakers were about the film, how wonderful they thought it was, how much love and hard work they put into it. When you're on the other side of the screen, you forget or don't realize how much work really goes into making a film. You're constantly making comprimises that take you further away from the original vision of the film; this is especially true for low budget films.
So I'm sorry to the makers of All Souls Day that I just couldn't get into this film. It's a fairly original set-up, I hadn't seen the Mexican holiday of Day of the Dead used in a horror film before. And as an excuse for it to bring zombie's back, it's a wonderful idea. For the most part the zombies were the highlight of the film, the make-up was very good, and there were some very cool looking ones that really stood out. But they pulled that editing trick, that I hate in these films, where the zombies are getting fairly close to the characters in one shot, then in the next shot they're really far away again. I know this might not have been intentional, maybe just bad planning, but when you're viewing it's a cheap trick that keeps the characters out of peril for longer periods of time.
I never connected with any of the characters. The main guy played by Eurotrip's Travis Wester is somewhat funny, definitely the most entertaining, but often is just plain annoying. None of his friends come off as real people, just stereotypes from other films of this type. Keith David has some fun in his brief role as an evil sheriff, he really hams it up with his monologue. Danny Trejo is decent when he has directors that know how to use him, but here he's given too much to do, and you can see him struggling with it. And the characters are constantly doing things that you wouldn't do in these kinds of situations; i.e. putting themselves in unnecessary danger.
And it may have just been me, but the film felt oddly disconnected. It might have been that they tried to cram too many stories into the short running time. The film takes places in three different time periods; 1800's old west, a 1950's story that connects with the modern day, which is the best section of the film; most of the film takes place in modern day. Even though the modern day section takes place all in one day, there seems like there are weird slips in time. The skipped hours, really seem missed for some reason. I can't really explain, it didn't flow like a normal film. (Maybe I'm being hyper-critical, but this is something that hardly ever bugs me, especially in professionally made films.)
The filmmakers show some promise; the make-up was excellent, the photography was nice, and they seemed to get a good value for their budget. I think with a better script they could turn out something worth while. Director Jeremy Kastan's latest film The Wizard of Gore looks worth checking out, at least for Crispin Glover, but I get that same feeling of mis-connection from the trailer.
I hate the term torture-porn. With the success of the Saw and Hostel films, and the like, a lot of critics have been throwing around that term, denouncing the whole genre. Torture has been around since the dawn of mankind, and used as entertainment for nearly as long. (Think gladiators and such.) It's been a common theme in films for quite a while as well; just because it's popular now, doesn't mean that society is going to hell, or that once the trend has run its course that the films won't continue to be made.
That said, I think that Eli Roth is on top of the game when it comes to these kinds of films. Cabin Fever and Hostel are two of the better made horror films of the last five years, they're wonderfully sick and funny, with acting and filmmaking that rises above the typical studio horror films. I saw both of them as extremely dark comedies, more than just straight-up horror films. The characters find themselves in such ridiculous situations and the gore is so over-the-top, that you really can't take any of it seriously.
Even thought it bombed in theaters, I was excited to see Hostel Part II. I thought that maybe Roth had gone so far that audiences were turned off. I was wrong, he actually pulled back too much. Maybe he took some of what the critics said to heart? Part II isn't nearly as graphic as the first one, there are definitely some memorable moments, but nothing comes close to blow-torch scene in the first film. A girl bathing in blood and a guy getting his privates cut off are the most extreme bits and neither were mind-bending.
He cut back on the sexuality as well. I thought with girls as the main characters, he might ramp up the nudity, but that was toned down as well. Overall the film was decent, the filmmaking was still excellent; I was hoping for more or more of the same, and I got less. I think that's why audiences didn't respond. The ending was satisfying and I thought it was interesting that we got to see more from the guy's who pay to do the torturing perspective, so it was an almost worthy follow-up.
I'd like to Roth move on to something else anyways, we certainly don't need a Hostel Part III.
Before Porky's was a huge success and the 1980's were full of teenage sex comedies, there was 1977's The Chicken Chronicles. Steve Guttenberg stars in his first major role; right from the start you can see some of the charisma that made him a major star for much of the 80's.
The film pretty much set the standard for the teen-sex comedy plot. It's about a virgin trying to lose it with one of the hottest girls in school. It's fairly tame compared to the films that followed; with minimal swearing and no nudity, but they aren't shy about the use of marijuana. You could probably call it one of the first pot comedies as well; it proceeded Up In Smoke by a year.
The film is fairly funny, nothing gut busting; but of course I've seen most of these jokes a thousand times, it probably felt fresh at the time. Guttenberg does a good job carrying the film, he's in almost every scene. His buddy played by Branscombe Richmond, is good as his partner-in-crime. But Gino Baffo, who was only in three films in his career, steals the show as his wise-ass little brother. The film climaxes at the big end of the school year party, and Guttenberg of course ends up with the "plain looking" girl that he's been friends with throughout the film.
Update: You can now watch the entire film on YouTube
I ran across this YouTube clip today and feel it's probably the best movie mash-up I've seen on the site. It's kind of long, over 9 minutes, which is like an eternity for an Internet clip; but it's well worth it. I probably recognized about 85-90 of the films, missing some of the older ones. Most of these are classics in their own way. Great work!
This review is going to come across as some sort of jealous rant, for the most part it probably is. But I just don't understand how 51 Birch Street is so much better than my own film The Turning Point. It seems like one well known critic attaches themselves to a film and it makes the film, other critics join in, and the film winds up on year end top ten lists and picked up by HBO. While, my own film, another homemade family documentary, which I believe is just as well made, can barely get into the smallest of film festivals.
That's not a knock against this film, it is a well done personal documentary. After his mother dies, filmmaker Doug Block takes a journey into his family's past. He learns about who his parents really were and are. His father was in love with another woman, who he soon marries and moves to Florida with. He finds out his mother was a writer and that she kept a journal for much of her life. He follows the clues of the diary to much greater understanding of his family's life.
It's a very interesting personal journey that makes you wonder what you don't know about your own parents. It's something that I think most of us probably take for granted, that our parents had lives before we came along. Hopes, dreams, and love lives that we never knew about.
I'm happy for filmmaker Doug Block, who runs my favorite documentary website The D-Word. He's a talented filmmaker, and he deserves the attention; it'll help him get films made more easily in the future. And I'm interested in seeing more of his stories.
For now I'm jealous, I hope my film can gain half the attention his did.
Mike Binder has a unique voice as a writer/director. I haven't seen all of his films, but those I have seen, Indian Summer and The Upside of Anger I've enjoyed. There's a nice mix of comedy and drama to them, and they feel close to real life.
Reign Over Me is about Sandler's character suffering a major breakdown after his family is killed on a plane in 9/11. Don Cheadle sees him on the street and as his old roommate, makes friends with him again. Mostly the film is about their friendship and them connecting on a level that enables Sandler to heal.
I enjoyed the film for the most part, it was well written and acted. It was nice to see Sandler in real-life mode, not playing it like some kind of crazy man-boy. The only part of the film, that didn't feel right, was the court scene. It felt like a spoof of some other film's court scene, and it didn't really belong in the film. That it came at the climax of the film was regrettable, I think it could have been wrapped up much neater.
I didn't expect much from a mash-up of Night of the Living Dead and Snakes on a Plane. But I'm a sucker for any zombie movie and the trailer didn't make it look too painful. The film starts off kind of slow, trying to build up the characters; which I prefer in more serious horror films, deaths are more painful when you actually care about them. But none of these characters were memorable, and the acting wasn't good enough to make me care about any of them. Kevin J. Connor, who is good at playing weaselly guys, was the best of the bunch.
I wanted the living dead action to start. Once it did the movie got much better. The zombies all looked pretty good, and their carnage was decently done. The cramped setting of the plane made it more interesting as the characters had to go right through them to get anywhere. There are a couple of cool deaths, and the ending was perfect for this film.
The directing was good, the make-up was good, the effects were good, the acting wasn't too horrible and the script was fairly smart and funny in spots. I'm rating all this on the straight-to-video level, this film certainly isn't going to hold up with the greats, but for a low budget zombie movie, you could do a lot worse.
I thought this was a decent romantic-comedy the first time I saw it. I appreciated that they twisted the basic falling in love story, into a falling-out-of-love story. Vince does his thing, the same character he's been playing since Swingers. It plays well here, and I haven't grown tired of it yet. Yet, being the key word. Jennifer is good at the romantic-comedy stuff and they play well off each other.
I don't really have much more than that to say. It's not great, it's not bad... nothing that memorable about it on the whole. It's a good movie to catch on TV if you're sitting around with your wife.
Normally a comedy starring Ben Stiller and Jack Black, directed by Barry Levinson would go right to the top of my rental list. But the trailers for this never really made me laugh. It got horrid reviews when it came out. I meant to check it out for myself when it did arrive on DVD, but it got lost in my mind somewhere along the way.
The opening credits are brilliant, the camera slowly swings around Jack and then Ben, contrasting the start of their day. Wonderfully inventive and beautifully pulled off. From there it went quickly downhill. It's not a terrible comedy, I don't think it deserves the hate it got. Mostly it's incredibly uneven. One scene is well done, very funny, then the following scene is insipid and badly executed. It's almost like there were two separate directors on set, taking turns, and their skill sets didn't match. More likely is that everyone got bored somewhere along the way and gave up on the film.
Jack does his thing. Ben does his. Walken turns in another wacky performance. If the script and directing been there, this could have been a top-notch comedy. A real waste of talent.
I watched this with my son while we were at Grandma's house. Not a bad version of the classic E.B. White book. The animal effects were well done for the most part. They didn't stray from the story, kept it all nice and tidy. Dakota Fanning is cute in the lead role. A decent children's film, that won't bore adults to death.
But they went completely overboard with the celebrity casting. I think it all started with Robin Williams in Aladdin, that's where stars took over, and it became more important to get a name, than a good voice. In Charlotte's Web, every single animal is a recognizable voice, it really took me out of the film. From Oprah to Steve Buscemi, (Could you get more obvious casting for a rat?) every voice I pictured the actor reading the lines behind some microphone, instead of becoming involved with the characters. I'm all for good actors lending their voice to animated films, but not when it's merely so they can add another name to the top of the poster. I couldn't believe it when I felt that the normally annoying Julia Roberts was the best cast of all the celebrity animals.
When it comes right down to it, horror-comedy is probably my favorite genre to watch. It mixes my two favorite genres into one. But they're extremely hard to pull off... you have to have the right tone, where one genre doesn't outweigh the other. If it's too funny, it isn't scary. And if it's too scary, well, I guess you can still laugh, but you couldn't call it a comedy. I don't know, I guess you can't really overdo the horror... at least for my tastes. Some of my favorite horror-comedies include: Tremors, American Werewolf in London, Scream, Hostel, Cabin Fever, with my all-time favorite being Shaun of the Dead - Although it's my favorite genre to watch; it doesn't include any of my top 20 films, like I said, they're hard to pull off right.
Severance does a good job with it. I was laughing throughout, mostly at the office moral building talk. The death scenes are all pretty good. Laura Harris does a great job with the lead, she's pretty believable towards the end when she turns into a badass, and she looks damn good doing it. The scene where the nerdy guy gets his leg cut off by the animal trap is classic, hilariously brutal. What didn't make this an out-and-out classic for me is the bad guys. Even at the end I was never sure who they were and why they were killing everybody. There were a couple of allusions towards who they could be, but I don't remember if the film ever gave a definitive answer. And to top it off, they were boring, no real personality. The best horror films, have memorable villians.
Otherwise this is a pretty kick-ass little film. Very funny, with a couple of good characters and some fun, inventive death scenes.
This is one of those films that's been around for a while, made in 1990, but I've never heard a thing about it, and never had a reason to watch it. I was at my mother-in-laws with some time on my hands to catch up on some films. This was one of the few DVDs in her decent sized collection that I hadn't seen before. It has Robin Williams and Tim Robbins in it, I figured I'd give it a chance.
Williams plays a car salesmen with a lot of women in his life. The film starts with him talking to the camera about how he lives to sell. To drive that point home, he stops to help at funeral procession, where the hearse is broke-down on the side of the road. He proceeds to try to sell the funeral director a new hearse and the widow a new car. It's a fairly funny scene and a promising beginning.
From there, we meet his ex-wife, who you can he's still in love with, a married woman he's having an affair with, and his new crazy girlfriend. He's also learned from the car dealer that he has one sale-day left to impress them enough to save his job. The next day is the big sale, he's barely juggling his relationships and job, when a very young looking Tim Robbins crashes through the front window on a motorcycle carrying a machine gun. He's pissed off because his wife who works there as a receptionist has been sleeping with one of the salesmen.
It's the sale of his life as he tries to convince this desperate man to spare every ones life. Things get crazier when the cops show up. He's stuck between them and Robbins as he tries to work everything out. Of course all his relationship problems come in to play as well.
Overall it's a decent film. The kind of movie you catch on cable half-way-through and watch till the end. And it was nice to see Williams in a comedy where he wasn't cranked up to 11.
Even though I didn't like the first Fantastic Four at all. After seeing the above teaser trailer, I was actually somewhat stoked to see the sequel. It made it look like it was made better than the first. I should have known.
About 20 seconds into Rise of the Silver Surfer it was extremely evident that the quality of the filmmaking hadn't improved. It had the same cheesy-jokey tone that didn't work in the first, there are quite a few moments that are groan worthy. And if it its even possible, the acting seemed even worse this time around. I'm ready to embrace any story concept as long as the film makes me believe in it. But I can't take the Fantastic Four films serious for a single moment. I think the most amazing thing about these films is that they make the beautiful Jessica Alba unattractive, with the bleached hair and the horribly fake blue contacts, she looks plain weird.
The first appearance of the Silver Surfer is the only scene in the whole film that's worth a damn. Craptastic!
Just looking up this film on IMDb, I learned that they're remaking this film. Absolutely horrible idea. There is no way, that the Americanized version of this can do it any justice. At least they did the right thing in hiring director Géla Babluani back. But even that is no guarantee it'll turn out well, see the American version of The Vanishing for an example. I just don't see how you can take an indie-French film, with an unknown cast, shot in harsh black & white and turn it into something the masses will want to see.
I'm getting off the point. I wanted to write about this brilliant little film. Young Sebastion is working as a painter when the man he's working for dies mysteriously. He stumbles upon an even more mysterious envelope that promises riches for an unknown task. He follows the clues until he comes to an abandoned farmhouse where a group of rich men are betting upon a sick game of Russian Roulette. With no other choice Sebastion is thrown into the game.
It's a tense, sick ride from there. Brilliant in its minimalist style. It's one of those wonderful ideas that works best on no budget. I wish I'd thought of it first.
Todd Solonz makes challenging films. Welcome to the Dollhouse and Happiness are two of the most uncomfortable films about growing up I've ever seen. Add Palindromes to that list. It's about a young girl, Aviva, who gets pregnant on purpose. When her mother, played by Ellen Barkin in a wonderful role, forces her to get an abortion, she decides to run away. She first takes in with a trucker, when he leaves her for being to young, she stumbles upon a Christian family who takes in unfortunate children. Then things take a turn for the worse.
The story is strange and hard enough to take on it's own, but Solonz makes the choice of having the girl played by a variety of actresses, from a young girl to a teenage boy to a fat-middle-aged black woman. It makes this tough, but well-made, film an even stranger ride. I'm glad I watched it, but I never need to see it again.
After watching Palindromes I needed something light. It had been quite a few years since I'd seen The Jerk, and some classic Steve Martin sounded good. The film is absolutely perfect in its stupidity. Martin is genius as Navin Johnson, who grew up a poor black child, and moves out to see the world for himself, getting into all kinds of wacky adventures. I was laughing hysterically throughout the entire film, its one of those films that gets better every time you see it. If you've seen it, you know what I speak of. If not, what are you still doing here? Go out and rent it this second!
I would have liked to have put up the thermos song here, unfortunately nobody has posted it yet. This, actually somewhat sweet, ukulele song will have to do.
Paul Verhoeven has made some of my favorite movies over the years; Robocop, Total Recall, Starship Troopers - But I was extremely disappointed in his last film, Hollow Man, a complete waste of time. So I was glad to hear that he was returning to his Netherland roots and trying to make a film with a bit of substance.
Black Book concerns a young Jew woman who's hiding out during the German occupation of the Netherlands. When her hideout is bombed, she is forced into action. She eventually ends up working with the resistance; infultrating the Nazi's by becoming a secretary and lover of the head SS. It's an incredibly intriguing film, full of real world suspense and many, many twists and turns.
Carice van Houten turns in a star making performance; she's tough, fast-on-her-feet, and undeniably gorgeous. Verhoeven continues his themes of violence and sex, which always makes a film more interesting, in my opinion. I've had my fill of WWII films, but it was great to see the war from another perspective, not from the soldiers or the Jews in a concentration camp, but every-day people who are just trying to get by in the worst of times.
I've watched a few of Showtime'sMasters of Horror series, and haven't really been impressed so far. I'd pretty much given up on it, until I read about the supposed awesomeness of TakashiMiike'sImprint. I've been a fan of Miikes for about 5-6 years. His films are always interesting, he's constantly changing genres, but you can always count on something weird going on. He pushes the limit of good taste, and has made some of the most twisted films of the last decade. (Eli Roth has nothing on this guy.) He gained some attention for Audition a few years back, but nothing else has broken out in the States. Although One Missed Call, his version of J-Horror, is getting a typical American remake.
Imprint is about a white man, played by cult-hero Billy Drago, in 19th Century Japan searching all the countries brothels for his long lost love. He starts talking with a deformed prostitute, who weaves a twisted tale about her history and eventually what happened to girl. For the most part I was kind of bored, for only being 50 minutes long, it started to drag a bit. But the eventual torture sequence is some of the nastiest stuff I've ever seen. I almost had to close my eyes through some of it... and these scenes never bother me. I laughed through the Saw films.
So if you're really into gross-outs, this is the film for you. If not, don't bother.
I recorded this on our new DirecTV DVR. We have all the movie channels for a couple of months, I plan on taking advantage of it to watch movies that I wouldn't even bother to rent. The plot sounded ridiculous enough; a group of teenagers get attacked by some mutant cannibals.
The film starts with a couple of "teenagers" having sex in a tent in the middle of nowhere, they're soon filleted and eaten. I say "teenagers" because they were actually played by a couple of 30-year-olds who I believe were a porn star and who, while looking at IMDb, I just realized was a very scary looking Richard Grieco, obviously the victim of some bad plastic surgery. The film's acting and editing are absolutely atrocious, but the gore made me stay around to see how it turned out. The effects for this film are actually pretty good, the cannibals looked cool, but the make-up team certainly deserved better.
The plot is pretty much Friday the 13th meets The Hills Have Eyes, with the Randy character from Scream mixed in. Jenna Jameson, who's in the film for two minutes, and a couple other nameless porn stars try their hand at acting, unfortunately their real talents, getting naked, never make much of an appearance. So a little good gore, two pairs of very fake boobs, some really bad acting and terribly stale storyline. No way I can recommend it, even to the most die-hard horror fans.
I was really looking forward to this film. It was one of the few movies this summer that I wanted to see in theaters and missed. The film starts off promising. It's the rare horror film, that actually take some time and care to set up the main character; who is easy to love thanks to the always great John Cusack. He's an author of a series of books that cover haunted places as tourist spots.
It kept me going for the first half, with a few good scares once he's actually in room 1408. Nothing that gave me the deep chills that I crave when watching horror films, but I thought it was a nice set-up to what I was hoping would be a new horror classic. But as the film went on, I started to get bored. Overall the room just wasn't that scary, in the end it seemed like an amusement park ride, with the walls changing and water pouring out. I wanted monsters and ghosts and unknown things attacking him. And I didn't need the sub-plot about the dead daughter taking over the film, making it more of a badly done drama than a horror film.
I wanted a different film, a smart horror film, with a good budget. Something that they just don't make anymore.
This trailer hypnotised me the first time I saw it. I love the Golden Gate Bridge. San Fransisco is the only city I regurally visited the first 18 years of my life. I loved it as a kid and it will always remain my favorite bridge in the world. I've also had a fascination with death most of my life and suicide in particular. How life could get so bad that you would want to end it.
If The Bridge had played in a theater near me, I would have made the rare trip to see a documentary outside of a film festival. When it came out on DVD, it wasn't available in our local store, and it took forever to get to me from Blockbuster.com.
The film is gorgeous. I've been all over San Fransisco, it was wonderful to see the city and the bridge from so many different angles. There are hundreds of different shots of the bridge from nearly every point that it's viewable from. So if you don't care about the Golden Gate Bridge, the film will might get boring for you. However, that's just the icing on the cake.
The meat of the film is about suicide and how it touches people. Filmmaker Eric Steel and his team took one year to film the bridge and all the people that jumped off it. It's the number one place in the world for commiting suicide. There is a mystical draw to the bridge and the long, long drop to the icy water below. Talking with many of the relatives and friends of suicide victims from the year, we learn about each of these folks in who they were in life and what may have drove them to their death.
This film is not for the squeimish. There are quite a few shots of people in the last moments in their life, before they take the plunge. It's shocking to watch, nothing graphic is seen, it's all in your head and your point of view on how it must feel. The best part of the film is the incredible story of Kevin Hines and how he made the jump and survived.
They always say that the book is better than movie. Something I usually agree with. I believe this is the first time I felt the other way. The Martin Scorsese film, got pretty bad reviews at the time, it's not a classic, but I thought it was fairly good. I was looking forward to reading the book, to get more stories of this NYC ambulance driver in Hell's Kitchen. But as I got further and further in, I realized that the film had covered almost every single aspect in the book. And without the Scorsese visuals I started to get tired of these stories. They all kind of bled together, and I'm sure that was partly the point, that each day is the same hell. But the lead character, who we see everything through, never evolves. He's not much different from page 1 than he is on page 200. He keeps seeing the same things and keeps wanting to quit and never does. By the end I couldn't wait for it to be over.
I ran across this film on Myspace a while back, and remembered enjoying the trailer, so when I found it on the shelf at Blockbuster I thought I'd give it a chance. I didn't expect much, indie-romantic-comedies don't work well very often, usually because the acting is so bad that you can't become involved with the characters.
The Boys & Girls Guide to Getting Down starts off like a shot. Introducing us to some fun characters, all played fairly well, each with their own unique look. There's a lot of narration about how the night will go for each, based on their gender and character type. A lot of animated graphic design is used to explain exactly what's going on in their heads. It was something that I didn't think they'd be able to use successfully throughout the film.
But as the film went on, I kept getting more and more into it. They kept the film moving along at a very good pace, never spending too much time with any certain character. But you get a well rounded story for, nearly every single character in the film, which there are many of. It's all very true-to-life and constantly funny; and for those of us that live outside this lifestyle, very educational.
If it wasn't for the genius level, Four Eyed Monsters, coming out earlier this year. I'd call it the best film about the modern relationship. It's definitely the kind of film that I recommend as one that most people haven't heard of, and I'll probably pick it up on DVD in the near future.
As a filmmaker, amateur critic and all around film buff I watch a lot of movies; about one a day on average. I enjoy all kinds of films, from the latest Hollywood trash, to obscure foreign cinema, to low-budget horror flicks, I watch them all. In 2001 I started keeping track of every single film, writing a little comment on how I felt about the film at that moment in time. I've now turned it into a blog, writing full reviews, including trailers and/or film clips for each.
at 11:29 AM Posted by Ross Williams
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