This enjoyable chick-flick is a more grown up take on Filles Perdues, Cheveux Gras, as a light romantic-comedy. Although a bit slow at the outset an energetic pace cuts in and shows the day to day events of these four friends looking for love. The story takes place in Paris, although you wouldn’t know it except for the taxis. The shooting is good, characters involving (and unredoubtedly French), and there’s some great musical moments, including singing-along to Celine Dion in the car, and a sexy Hotel Costes massage…

A fairly gripping bit of action, if somewhat predictable.

Forget RSI or cancer. How about ending up as a scorch mark…a fantastic reason to discard your electronics. I don’t really like horror films but this has an intruiging premise and is really well shot, and despite a mediocre start it had me taking deep breaths and turning away, then again I’m all too easily set on edge. Although I’m not going to throw my MacBook Pro out just yet (it’s quite resisistant to viri), I’ll definately start carrying some red tape.

It has to be said that I remember the original 1987 BBC miniseries fondly, although that was before my family headed off into the blue and I experienced something not too far removed myself. Now after the event, this new BBC film version, although somewhat whitewashed it is quite a lark, at least for me, and felt unfairly short. For a more serious and evocative film of the same ilk be sure to watch the amazing Respiro.

Of the same ilk as Southern Belles, this is a wonderful little voyage of self-reliance, the kindness of strangers and friends, and of a few moisty-eye tribulations but that yet has many humorous moments and does indeed leave you with a warm heart. Although Nathalie Portman is clearly the key character the story diverges every now and then to give a glimpse of the misadventures becoming her child’s estranged father.

Natalie wasn’t terribly convincing at carrying a pregnancy but she and the cast are alltogether excellent, particularly Ashley Judd and James Frain (Sunshine). Being abandoned at a Wallmart in middle America is not something you’d want to face, but provides ample opportunity to tell a story of facing ones self-worth and the balance of luck. Of course any good story about life tries to connect with you and I recognised some of Nathalie’s character’s self-reliant, yet avoidant nature, and photographic interest in myself.

I’d normally reserve the highest rating for visually stunning cinema but I really enjoyed this. Don’t let the cover put you off, it’s not really as chick-flick as it might suggest.

I initially thought this was going to be a bit dull. But it lit up quite spectacularly in the slightly goofy fashion typical of films about kooky-families. Zooey Deschanel is a star, but from my viewings so far seems to be somewhat type-cast, whilst Hank Azaria more than adequately made up for his disengenious accent in Along Came Polly.

V_ is very well spoken, particularly in his use of words beginning wth, _v. I shan’t say anything about the subject matter as its interpreation will vary, and I’m not familiar with the original material (a comic I presume) but the plot has similarities to Ultraviolet (the 2006 movie, not the excellent 1998 British Vampire mini-series). I did find it a somewhat pertinent if excessive reminder of the times we’re in, although I was quite taken aback at its portayal of a potential future England. A brave and well executed role from Natalie Portman (although her accent burbled on occasion), and I enjoyed all the other cast members except Ben Miles who as I’m a big fan of Coupling just seemed out of place (he fitted Imagine Me & You perfectly though). The overall effect was of an English police drama within a fantasy sociological background. I found it very satisfying.

Incidentally there’s a cool mix of speeches and Bollywood samples over the credits which is Bkab by Ethan Stoller. I was also amused to see credits for Website Designer and Website Content Producer.

An unexpectedly refreshing crime thriller with solid performances and an ellusive ending. Although suprised to see him, Cassel makes for quite a good vilain (he wasn’t as good in the rather entertaining Birthday Girl, as compared his native French performances such as l’Appartement). Also nice to see Aniston breaking out into other genres. There are some holes in the plot—good grifters would never repeat their methods so precisely, but this is a minor mar.

Great music and dance, some nice scenery—but not as engrossing a story as I had hoped. The revolutionary aspect is fairly inconsequential and I’m not a huge fan of mafia flicks (except for the bits that involve preparing garlic).

I don’t know what to say. I never realised this was part of a pseudo-series in the View Askewniverse. The first Kevin Smith film I saw was Chasing Amy, which I liked (mainly because of Joey Lauren Adams) and I’ve also watched Dogma (excellent) but it never registered that there was a link. (Actually I’ve also watched Jersey Girl (very nice) but that’s not apparently part of the View Askewniverse.)

This film is not really worth watching unless your find the apparent incestiousness of Hollywood interesting, and I have to admit it was actually quite entertaining seing people like James Van der Beek (Dawson’s Creek), Ben Affleck and Shannen Doherty featured for what was essentialy no reason at all. Jay and Silent Bob themselves, are however not my mug of horlicks.