http://www.youtube.com/watch?v=vw2FOYjCz38

Really enjoyed this it was maybe a little too long and Rami Malek was underwhelming and a little dull, but we had a enjoyable ride with lots of nods too other Bond movies , pictures of Judie Denche and Bernard Lee's M, timothy dalton aston martin as well as the classic Connery Aston Martin and we have all the time in the world song. We are giving a more human and caring Bond than the days of Connery which women were no better than disposables shields. No going to give any details of the plot but can See why the ending has people divided. The so called "Bond Song " was awful properly one of the worst.

Saw this at nine this morning at it was absolutely packed so God knows what latter showings will be like.

Dirty Harry (1971)

Inspector Harry Callahan proved an iconic role for star Clint Eastwood and Dirty Harry the film that spawned a thousand Italian rip offs as Callahan tracks down a killer inspired by the recent Zodiac Killer case.

Controversial upon release due to issues ranging from police brutality and victims rights... at least those have been sorted out in the present day. :rolleyes:

No Time to Die

Growing up, during holidays, I'd always be visited by an uncle. Sometimes it'd be Uncle Terry, or Uncle Paddy, or Uncle Willie, or Uncle John. But there was another uncle who would always appear - Uncle James Bond.

Yes, Christmas, Easter, St. Patrick's Day, and bank holidays, Bond was a fixture of my childhood. Even if the film wasn't particularly good, Bond himself would delight (Connery's shrug, Lazenby's grin, Moore's raised eyebrow, Dalton's double-takes, Brosnan's smirk, and Craig's bewilderment).

In terms of cinematic characters, Bond has probably had more influence on me over others. I remember letting my hair grow longer in an attempt to mimic Bronsnan's hair from GoldenEye, and switching to a short cut and wax when Craig took over. If I saw Bond eat something, I'd want it. I wanted his watch, his suits, and his cars. Christ, the cool way Dalton smoked Lark cigarettes was probably influential as to why I used to smoke.

So you'll understand my feelings towards NTtD. Like the rest of the Craig era, it sits in the shadow of its predecessors. One cannot go into NTtD new, and expect the same reaction as one who has watched the other Craig films.

But like the other Craig films, it is technical tour-de-force. Like Cary Joji Fukunaga's other works, it is a visual triumph. While the cinematography may not meet the innovation of Roger Deakins's work on Skyfall, NTtD reminds you why seeing films at the cinema is special. The set design, colours, and lighting feel like the best of the 80s. Fukunaga has never been shy about using tracking shots, and they are used with aplomb her, But unlike Sam Mendes's showiness in Spectre, Fukunaga and Linus Sandgren's camerawork feels natural, and doesn't demand you take notice of it.

However, as good as the camerawork and staging are, it doesn't distract from the lack of blood. Bond films are not especially violent films (excusing Licence to Kill, GoldenEye, and Casino Royale), and they usually got away with it by keeping the body count low in comparison to other action heroes. Here, John Wick is obviously looming over it. Bond mows down more henchmen than any other (to the point you almost feel sorry for them). Sadly, the lack of blood leaves it all with no impact. Bond may have just killed four goons in three seconds, but it doesn't matter because he's about to kill seven more, and another five after them.

Thankfully, Craig is wonderful. He brings genuine emotional weight to Bond during the action, and also applies a comic charm to prevent things from getting too grim. He's ably supported by the superb supporting cast (Fiennes, Harris, De Armas, Seydoux, Wright, Whishaw, Kinnear) who bring their A-game.

Sadly, the same cannot be said for Waltz and Malek. They do what they can, but the screenplay doesn't help them. Blofeld is reduced to a smirking Hannibal Lector, while Malek's Safin isn't given enough time to develop. Safin is more odd than threatening. Despite a strong introduction, Safin rarely shows up until the end, and he just muses philosophically about revenge and justice. He's capable of being an interesting character as world domination and wealth doesn't interest him, but the film never gives us any idea what does.

Safin and Blofeld's lack of development are tied to the biggest hurdle of NTtD - the screenplay. Continuity has been a big problem with the Craig era, and it contributes to NTtD's gargantuan running time. Unlike the one-and-done of other Bond films, NTtD devotes a lot of its time to recapping, reintroducing, and reestablishing elements of the previous film. As much as I love hanging out with Bond and company as they chew the fat and crack jokes, you have to wonder if 40 minutes could have been shaved by not bothering with Blofeld and Spectre. It is this plotting that brings us to the major elephants in NTtD (massive, major spoilers ahead).



NTtD is flawed. It will probably become the most controversial film in the series, and perhaps the most divisive among fans. Even I have my qualms about it, but I cannot deny its poignancy. It's a big, beautiful blockbuster that is loud, dumb, silly, but sincere.

Salud, Mr. Bond.

In the Shadow of the Moon (2007) ★★★★

This British documentary uses archive footage and contemporary interviews with Buzz Aldrin, Michael Collins, James Lovell, Alan Bean, and six other astronauts as they tell the story of the Apollo missions, the NASA space program and the USA's quest to put a man on the moon and bring them back to Earth safely.

It's an achievement to make a film this century (this was released in 2007) with eight of the twelve men who have walked on the moon – Buzz Aldrin, Alan Bean, Edgar Mitchell, David Scott, John Young, Charles Duke, Eugene Cernan, and Harrison Schmitt – is an achievement in itself.

The remastered NASA footage has been carefully edited to fit a narrative and works very well with the interviews – the men are articulate and willing to talk about the lows and highs of their time at NASA. It's a shame Neil Armstrong didn't participate because, although his contributions are recognised by other astronauts, he is notable for his absence.

Even without Neil Armstrong, the documentary is an engrossing and informative watch and is particularly precious now that four of the participants have sadly died since the film was made.

http://www.youtube.com/watch?v=BkvPs...el=MadmanFilms

Artemis Fowl (2020) ★

What the hell did I watch? If you’d asked me about the film 10 minutes after it finished, I wouldn’t be able to tell you the first thing about the characters, places, or events so now, a few days afterwards, all I can remember is Josh Gad seemed to be doing an impression of Jack Black, Judi Dench played a green goblin, and Kenneth Branagh – the man who made Mary Shelley's Frankenstein, Thor, Murder on the Orient Express, and Jack Ryan: Shadow Recruit – was responsible.

It’s a confused, chaotic, and incoherent mess, a fantasy film without any sense of the fantastic and, even though it is just over 90 minutes long, it feels very long and overstayed its welcome well before the end credits roll. I was completely unaware of the books on which this is based but they must be better than the film – they can hardly be worse.

I only watched this because it was available on the Now TV package to which I currently have access and fitted in a gap I had before a meeting; I’m glad I didn’t pay to watch it at the cinema or on Disney+ and wish I’d used the time reading or watching The Simpsons instead.

http://www.youtube.com/watch?v=fl2r3...tDisneyStudios

The Boat That Rocked (2009) ★★★½

Funny, endearing, but overlong and not as snappy as it could be, this feelgood film about a culture war in Britain and the pirate radio DJs who provided a service their counterparts on the mainland couldn't is a bit baggy but very watchable.

It's clear Richard Curtis is a better writer than a director, though he compiled a fantastic jukebox soundtrack and terrific ensemble cast for this film.

Logan Lucky (2017) ★★★★

Steven Soderbergh came out of retirement to make this excellent heist movie and, for that, I am very grateful.

The film is a perfect mix of humour and tension, so it's not too dissimilar to The Italian Job in that respect, and benefits from a great script, fantastic performances from Channing Tatum, Adam Driver, Daniel Craig, and practically unrecognisable supporting appearances from Katie Holmes and Seth McFarlane.

This was my first viewing and I thoroughly enjoyed the film – I'll put the Blu-ray back on my 'to watch' pile so I definitely watch it again in the next couple of months.

Zack Snyder's Justice League 2021 ★★★½

Improving on the theatrically-released Justice League might not be the film version of polishing a turd, but it's not too far off that.

In this sprawling re-cut, Zach Snyder has certainly created something epic and 'filmic' – the spectacle element means it's something I wish I'd seen at the cinema – but it's also incredibly and unnecessarily long.

The performances and the time the actors have on-screen means the characters are much better developed and there is ample opportunity to think about what is happening while events are unfolding. Ben Affleck is a very good Batman, Gal Gadot again impresses as Wonder Woman, I really enjoy Ezra Miller's The Flash, Henry Cavill is a good Superman and can't imagine anyone other than Jason Momoa playing Aquaman. Individually, they are very good, together they are even better.

Unfortunately, there are too many moments which feel self-indulgent, particularly Snyder's overuse of slow motion, but there is doubt he is a skilled visual storyteller with a great ear for music. I would really like to watch the film in 4K Ultra HD with the 3D object-based soundtrack, but I'm not going to pay full whack for it.

Promising Young Woman 2020 ★★★★½

Having dropped out of Forrest Medical School, 30-year-old Cassie Thomas (Carey Mulligan) lives with her parents (Clancy Brown and Jennifer Coolidge) and works at a coffee shop. Carrying the trauma and anger of a night at med school when her classmate raped her best friend but did not face any repercussions from the school nor the legal system, Cassie spends her nights trawling bars and clubs in a state of mock drunkenness to see if any men take advantage of her vulnerability, embarrassing and shaming them if they do.

In the wake of Chanel Miller’s victim impact statement in the prosecution of Brock Turner, a testimony of digital rape and sexual assault which went viral, and the #METOO movement, this feels timely and relevant, perfectly capturing the zeitgeist about sexual politics and ‘date rape’ cases.

Unlike other rape-revenge films, this doesn’t involve the victim, nor the victim’s family, and Cassie is unusual as she doesn’t seem to derive any satisfaction from the revenge meted out to aspiring assailants.

Promising Young Woman is a compelling, audacious, and riveting revenge thriller, superbly written and directed by Emerald Fennell, and with a career-best performance from Carey Mulligan. Considering this is Fennell’s film debut, the quality of the writing and direction is even more notable.

I can't remember the last time I have been so engrossed in a film at home, where every distraction (phone, computer, food) failed to take my attention from the on-screen events. It's a terrific film – highly recommended.

http://www.youtube.com/watch?v=7i5ki...=FocusFeatures

Pleased you've reviewed this, Nos. I wondered about it for a while. Saw it today on dvd for £7 and nearly bought it.

It's definitely worth buying – I thought it was excellent.

Mortal Kombat

Mortal Kombat is a delightful martial arts feature. Packed with colourful visuals, fun characters played by a likable cast, a pulse-pounding soundtrack, and lots of energetic fight scenes, Paul W.S. Anderson's Mortal Kombat is an enjoyable way to while away 90 minutes.

Simon McQuoid's Mortal Kombat? Hoo... boy!

Mortal Kombat is one of the stronger franchises out there. At least it's the strongest fighting game franchise. Street Fighter, The King of Fighters, and Tekken may be better technically, but they don't translate well to other mediums. Street Fighter's drug lord villain story is fine before it turns into a techno-god story. The King of Fighters's plot about hosting an inexplicably popular secret tournament to harness the power of a Japanese demon lord falls on its arse when nobody is kicking each other. And Tekken... I have no idea what Tekken is about.

Point is, Mortal Kombat is perfect for other mediums. The lore of Mortal Kombat is filled with religious clashes, ancient wars, romance, lust, backstabbing, and treachery. It's like somebody crammed a bunch of Shakespeare into Zu Warriors from the Magic Mountain and The Bride with White Hair.

While it didn't fully ignore its background, Anderson's film put preference on having funny characters doing kick-ass fights. It was a perfectly valid way of the starting the series, but there was always room for a film to delve into series' mythology. Mortal Kombat: Annihilation borrowed freely from it, but shit the bed when it tried to make it all accessible.

So we now we have the more recent attempt. A lot of hype was riding on this since the video games had a massive resurgence in popularity. Fans were hoping that this film would do the series justice.

It seemed like it would. McQuoid's Mortal Kombat looks dark, grim, sombre. Very sombre. In fact, boring, lifeless, or dull would be better terms. For as dark as the games are, they possess a strong sense of humour. Anderson's film strongly influenced the later games. Those games possessed more colours, leaning more heavily into Hong Kong cinema. The Asian thunder god Raiden from the games was given a more ambiguous ethnicity to match Christophe Lambert. The noble and stoic Liu Kang was now brash and impulsive. The spunky Sonya Blade became belligerent. Johnny Cage went from the greatest actor to a trashy, cocky egotist. And, thanks to Trevor Goddard's legendary performance, Kano was rewritten from Japanese to a vulgar Australian.

Kano is about the only thing McQuoid's film gets about right. Josh Lawson is possessed by the spirit of Goddard, chewing the scenery and spitting it out as snappy one-liners. The rest of the cast is perfunctory, but in fairness, the script never calls on them to do anything other than grimace. Chin Ha's Shang Tsung seems bored to be there (a far cry from Cary Hiroyuki Tagawa's sneering), and while Tadanobu Asano may be the better actor overall, nobody could ever accuse Christophe Lambert of sleepwalking. Joe Taslim and Hiroyuki Sanada are actually great as notorious rivals Sub-Zero and Scorpion, but they barely show up in it. When they do appear, it feels crowbarred in to satisfy fan expectations.

Speaking of fans, for a film that aspires to be super-serious, it's a wonder why they jettisoned a lot of the lore in favour of its own magic bollocks. Rather than a bunch of skilled fighters picked by Raiden and Shang Tsung, this has a magic tattoo that transfers upon death and grants superpowers. And rather than follow the games, the plot has the borderline victorious Shang Tsung plan to assassinate the kombatants before the tournament. That's right! Mortal Kombat doesn't have Mortal Kombat in it.

Still, who cares, as long as the fights are great? Right? ...Right?

Sadly, Mortal Kombat has fallen victim to Marvel syndrome. Barring an atmospheric opening and a belting final fight (rumoured to have been shot by Taslim and his team instead), the action scenes are CGI spectacles in brown-grey locations, swooping cameras, and frenetic CGI-enhanced editing enhanced by a mediocre soundtrack. It is suitably gory, and not hard to follow, but it lacks the rush from seeing forearms blocking punches, or knees meeting teeth.

Mortal Kombat is dreadful. It had the potential to kickstart the martial arts equivalent of Game of Thrones, but resorts to uninspired Marvel Universe nonsense. Like Marvel, it builds and builds and builds to reveal that it might pay off in the next film. Well, fück that!

On a further note, this came out in Japan around my birthday, and was my friends and I's first cinema trip in almost a year. I spent the rest of the evening apologising profusely it.

As Shao Kahn would put it, "That was pathetic!"

Great to have you back on the forum, Mac. :welcome:

Thanks. I'm changing jobs soon, so hopefully I won't get burnt out anymore.

Nice one. Hope it all goes well for you. Loving these reviews.

Ladies and gentlemen, let's get ready to RUUMMMBLLEE!!! After an hour of tedious plotting and terrible acting.

Why does Hollywood insist on extensive plotting? Did some executive splurge on a plot generator rather than a new coffee machine, and keeps using it to justify the expenditure to their pissed-off colleagues? Godzilla VS Kong is buried under a load of nonsense about alternative dimensions, corporate conspiracies, espionage, and exposition blandly delivered by robots posing as humans. Only Kyle Chandler shows are form of sentiment, that being of annoyed to be there. I'm guessing director Adam Wingard had zero interest in the plot or the human characters, as tries rushing through the scenes as fast as possible.

When the monster bash finally kicks off, the film is loads of fun. Kong and Godzilla beat the everloving shit out of each other, while wrecking Hong Kong harder than Xi Jinping could dream of. Hong Kong is an excellent choice of location as the neon lighting and massive skyscrapers bring visual depth to the scrapping. The special effects artists also deserve acclaim for managing to portray emotion on the giant lizard and ape.

Overall, Godzilla VS Kong is 40 minutes of 4-star destruction suffocating under an hour of 1-star dreck. There's very little else to say about it. Use chapter selection to get the most out of this.



(I saw this in the cinema back in July. The Hong Kong scenes were worth it.)

At the risk of loosing film credibility points, I just wanted to say how much I enjoyed the Peter Ustinov spoof Charlie Chan and the Curse of the Dragon Queen. It's a film that I recall from childhood and I wasn't sure how it would hold up today. On Monday, my wife and I watched it on youtube and immediately afterwards I ordered the UK blu-ray (for around a fiver). It'll sit nicely amongst other comedic sleuth movies that I own, such as Clue and Murder By Death. Great fun. :)

A Brighter Summer Day

In 1960 in Taiwan, a young teenage girl was murdered by a boy of the same age. Although it caused a fervour in the Taiwanese press at the time, very little information about the crime exists. It did leave it's mark on a young Edward Yang, who used the incident to build his 1991 four hour epic drama. A Brighter Summer Day is not a true crime expose. It's not a coming of age story, nor a nostalgia piece despite its late 50s/early 60s dressing. What A Brighter Summer Day is, is far more complex.

The plot begins in 1959. Xiao Si'r, the nickname of one Chang Chen (played, appropriately enough, by an outstanding Chang Chen) has misbehaved at school. His father is begging for leniency, but the school insists on punishing Xiao Si'r by making him attend night school lessons. It's convenient for the school to punish students like this, as the Taiwanese education system has reached breaking point with the influx of displaced Chinese from the Chinese Communist Revolution.

And thus begins an incredible vision of New Taiwanese Cinema. A Brighter Summer Day is an extraordinary exploration of manliness, displacement, and national identity. S'ir's odyssey from teenage gang member to murderer beautifully captures the enigma of what is Taiwan.

It's an interesting conundrum. Chinese and Taiwanese neighbours frequently quarrel in shops or in the street. S'ir's gang is made of the children on Chinese exiles, and they are at war with a gang that the children of Taiwanese natives. Their conflict is one expanded from their parents, and one that they don't fully understand beyond feeling like part of something greater. Which is all the more fascinating as they are in the same boat - a lack of national identity and security.

Although they speak of one day reclaiming China, the exiled Chinese have no culture of their own to claim. They live in houses built by the Japanese during World War II. The cinema and music they indulge in is American (the title of the film is taken from Elvis Presley's Are You Lonesome Tonight). The Taiwanese natives are one with no identity of their own too, listening to Japanese ballads left over from the war, and feeling pushed aside in their home country, in favour of the new Taiwanese - whatever that means.

The new Taiwan as seen by the Chinese Nationalists may be difficult to define, but is easy to note what fuelled it. Paranoia and anger flows through this new Taiwan. In one of the more chilling sequences, S'ir's father is asked to attend a meeting with the Secret Police. There is no violence, or threats, or screams. Uncertainty is the torture device employed, and the results are heartbreaking.

The paranoia is mirrored in S'ir's night school life. He barely sees his family, and teachers are rarely seen, but school monitors are everywhere. Uncertainty and rage defines S'ir's life. His friend aspires to be a singer, but S'ir has no ambitions. With all of the gang infighting, and charged-up hormones, S'ir isn't sure who his friends are.

His only ray of light is Ming, a girl struggling with her own feelings of displacement. In one of the more incredible scenes of this magnificent film, she is dressed up like an old Chinese princess, one that is desired by everybody, for a film audition. It encapsulates her feelings succinctly, as the feelings of desire are fake (instead of warmth and compassion, the director and crew speak of what else they can to make her more attractive), and she is asked to represent a Chinese cultural icon she is unfamiliar with.

These similarities bring S'ir and Ming together, but they are not bound for each other. Ming is promiscuous, clinging to any boy to feel wanted. S'ir is powered by self-loathing and toxic masculinity, fuelled by his delinquency, and anger at his broken father. S'ir's extremely misguided understanding of manliness brings the film to's tragic conclusion. It would be wrong to call S'ir a tragic victim failed by romance. Throughout the film, he is exposed to violence and it's consequences. He is under no illusion as to what he is about to do.

But the film doesn't label him as the perpetrator either. Rather, the film shows all of Taiwan as victim and perpetrator. A new nation that tore itself over its own lack of certainty. It may be an angry film, but Edward Yang does reveal sympathy for Taiwan. The final scene says it all, we know not what the future brings, but we act in the hopes of A Brighter Summer Day.

Basket case 2 and 3,

Tbh I’d never got round to watching 2nd or 3rd one before,
We all know the expression just because you can doesn’t mean you should, we’ll that applies to this,
Just because he had a bigger budget doesn’t mean he had to use it, should have kept a low budget like the original, if you’ve got limited resources then you'll limit to what you can do but try and make it effective, give more resources and you go huge and bigger but doesn’t necessarily mean better,
It’s like giving a child few pence in a sweet shop and they use it wisely and sparingly, give them unlimited amount of money and they go daft and silly like a bull in a China shop, and I felt that’s what they did with this ,
Everything that made the original a cult classic has been lost in the sequels .
Gritty and grimness, low budget, the grindhouse b movie appeal all lost and turned it into a crisp clean mainstream style, the storyline and plot of the 2nd one was decent and right, but sadly even the acting in the sequels made the original award winning compared to this drivel, the monsters were ridiculously daft and way ott, to point couldn’t take any of it serious even as a silly daft film. that in the end I felt like it was a piss taking comedy parody, awful awful awful should have stuck to same style how the original was made .

Quantum of Solace (2008)

I liked this considerably more this time around continuing off right where 2006's Casino Royale finished.

Marc Forster's direction veers from the very good - all the quieter moments especially the dialogue and chemistry between Daniel Craig's Bond and Judi Dench's M and later with Giancarlo Giannini's returning Matthis - to the really quite poor - The action sequences are terribly edited with far too many cuts that they simply go by in a blur which isn't helped by the fact a rooftop chase is cut up by crowd scenes below and an action scene at an outdoor opera is cut into by scenes of the opera. Seriously. Who gives a damn about the opera when Bond is dashing about on gang planks back stage.

Other than that though it simply seemed to gel more than previous.

This viewing has elevated it from worst Craig Bond film to now better than the lackluster SPECTRE.

Shallow Grave

No,not the Danny Boyle film,but a 1980's slasher/thriller hybrid from director Richard Styles.

I enjoyed this little thriller in the woods.
The female leads are attractive and likable,the villain is a right sleazy bastard and the ending.....well I'll leave that one out.

Great seeing Vinegar Syndrome continuing to upgrade these forgotten gems.:cool:

The Hysteria Continues commentary is great as well.


www.youtube.com/watch?v=gIfOH0jQW8Y

Aah, I used to have that on VHS under the title Greetings from Medley, Georgia.

No time to die

I’m surprised there haven’t been more reviews on Cultlabs. It’s been out almost a fortnight now! Lol.

Mrs Funster and I saw the new Bond last week. Its definitely not my favourite entry. I’m a bit scared to say anymore than that incase I taint anyone’s view or accidentally give away a spoiler!

I’ll just have a moan behind a spoiler alert. I promise I won’t give away any plot spoilers, I’ll just moan and moan.




Sent from my iPhone using Tapatalk

Wrote a review for it last week. I have my issues, but I loved it. My second favourite of the Craig era.

1. Casino Royale
2. No Time to Die
3. Skyfall
4. Spectre
5. Quantum of Solace

I won't be seeing it until home video in afraid, cinemas in Liverpool are so expensive!

Fair enough, but I still recommend seeing this in cinemas. The visuals are opulent. The Cuba scene alone is incredible.

I'll sit closer to my TV so it's the same effect haha [emoji3526]

Unfortunately the UK has the highest rates of (the pandemic) in Europe which is also putting me off, if I was in Japan I'd definitely go! In fact add soon as they open the borders for tourists I'll be booking my flights, it's been 2 years now since my last trip.

Yes, I read your review after I saw the movie. I’d just been expecting the reviews to really come flooding in. I must have overestimated how eagerly the movie was anticipated among members! I share so much of my film tastes among members that I need to occasionally remind myself that we still like different things :-)

I agree with the points you make and about how the Bond character has evolved to leave the womanising and the wisecracking for new priorities. But, for me, the womanising and wisecracking were all part of the package along with the out-of-this-world (and sometimes really ridiculous) gadgets.

Although I should add that the Daniel Craig films are the only ones we’ve been able to watch with the kids. I don’t know how comfortable I’d be explaining to my 8 year old’s impressionable young mind why Bond has brought the woman in the bath a pair of shoes to wear instead of clothes! Lol.


Sent from my iPhone using Tapatalk

For my part I'm amazed that I still haven't heard this Bond song yet. It's a little thing I know but, e.g. I was heartily sick of the Sam Smith song by the time I saw Spectre, but it worked in the context (I felt) ahem. But this one? Yes, I could YT it right now, but this time I'll just hear it in situ. Ahem.


Phobe: The Xenophobic Experiments (1995, Erika Benedikty)

More Z grade Canadian SF from Intervision. TF :nod::lol::pop2::hail:
Made over a year, this is a hoot eh? :rolleyes::laugh:
Ahem.
Evil science goes awry, Earth pays the price, enter badass, exit sanity etc.
Genuinely makes Things look like The Lighthouse :rolleyes::pound::nod::nod:
Where do they find these? :nod::hail::hail:

No Time To Die

After letting the inital rush die down, I finally saw this and whilst it was overlong, it wasn't too bad even though Remi Malek was underused. When Connery, Moore and Brosnan were Bond, they played it straight but loosened up when necessary. However I found Daniel Craig to be far too serious.

Venom: Let There Be Carnage

Tom Hardy returns and this time he is after a Serial Killer (Played brilliantly by Woody Harrelson) I didn't think that the 1st one was all that but as it was the origin story, it was forgiven. However i found this one to be far more entertaining with some great funny sarcastic lines.



Halloween Kills

Micheal Myers is back and doing what he normally does and this time the residents band together and try to stop him. Plenty of kills (But repetitive) and even though I was looking forward to this one, I felt that it didn't quite hit the mark.

Copshop (2021, Joe Carnahan)

Buuuuutler and Frank Grillo? Aye, go on then.
A routine bust leads to ... an unusual situation to say the least.
Liked it til the woke kicked in. Toby Huss partly saves the film with a fun turn.




Dune (2021, Dennis Villeneuve)

Part one. No Sting! Wheeeeeeeeeeeeeeeeeee!!! Film of the year :laugh:
Ahem.
I liked this, though it made me awfully thirsty :lol:
I've never read Dune. I never wanted to. I only watched it because of Lynch tbh.
Space Opera needs the big budget, or it looks like Battlefield Earth :pound:
Second part may be fun certainly, and I liked how the worms looked ahem.

Never read Dune myself but i am really looking forward to this the trailers look great.

You heathens all need to read Dune it's a fantastic book!
VERY looking forward to the new film but it'll be viewed on Nov 1st... horror only this week.

The doorstop paperback that is Dune is currently in Asda for £4.50.

seeing it tomorrow with a mate. it's the one film this year I've been looking forward too. Also if anyone here who hasn't read it plans to do so. Then just read the first 3 by Frank Herbert.

Is there pictures in it ? :lol:

There is one on the cover haha

Sod reading the book

Just listen to this, and read the lyrics instead!

Its 6 books right?

I think in the whole saga there are more like 10, but not all were written by Frank Herbert. I've only read the first 3. The films and TV series only cover the first book though. This new film only covers half of the book.

Rogue. An American tourist finds himself in a battle for survival against an enormous killer crocodile when a trip to the Australian outback goes very, very wrong. Michael Vartan and Radha Mitchell star in this mid 2000s horror thriller that's pretty solid and entertaining. Not sure what the moral is, mind. "Don't come to Australia," perhaps? :lol::behindsofa::tongue1: