The english patient movie review

*** This review may contain spoilers ***

This is a movie that divided audiences. A lot of people complained about how slow it was. ("Hurry up and die!") The script is only 135 pages long, and much of that was left on the cutting room floor, yet the movie still runs for 150 minutes!

[ What's missing from the movie? Hana's fiancé makes several appearances in the script and it's sad when Hana learns he is dead. In the movie, she suddenly becomes depressed after somebody prattles on about "Picton", as if that meant something. Kip had a major story of his own, all cut from the movie. At one point in the movie he tells Hana he "wants to be found." That has a corollary in the script, but it was cut, leaving the line dangling. There's stuff about the sexuality of some of the other team members, almost all cut, but with a couple of tiny, unexplained moments left in the movie. ]

STORY

The scene is set by a reading from Herodotus (ancient Greek historian) of the story of Candaules, king of Lydia, and Gyges, a soldier. Candaules wants Gyges to be impressed by the beauty of his naked wife, so he sets up an opportunity for Gyges to spy on her when she undresses for bed. The nameless Queen learns of what happened and tells Gyges he must either submit to death for what he's done, or kill Candaules and take his place as King. Assassination follows, with the Queen and Gyges living together happily ever after.

When Geoffrey Clifton leaves his wife Katherine behind in the desert while he goes off adventuring, she comes close to dying in a sand storm. Almásy brings her through safely. Subsequently Katherine jumps into bed with Almásy, Geoffrey finds out and, consumed by jealousy tries to kill the three of them by crashing his plane into Almásy on the ground. He dies at once, Katherine dies some undefined time after, and Almásy much later.

TIME

The dates in the movie don't make much sense. They meet in the desert in 1938. Start the affair during that year and snatch a grubby bonk in a cupboard during the 1938 Xmas Party. The desert story ends after everyone goes home in May 1936, by command of the British Government. Almásy is supposed to be collected by Geoffrey in the plane and be taken out, except he tries to crash the plane into him instead. This must be May 1939. Almásy places the injured Katherine in a cave and heads off for help. He is arrested by the British Army, from whom he escapes, and is assisted by the German Army with fuel to fly another plane back to the cave. This suggests the military situation in North Africa of 1941 or 1942. The plane, with a perfectly preserved corpse in the front seat, is shot down by the Germans (date unknown). Almásy then appears as the Patient in an Allied Hospital train in 1944 in Italy. He lingers until after the European war ends in May 1945.

ROMANCE

This is, allegedly, a romantic movie. The "romance" consists of a married woman having an affair with a bloke she meets in the desert. The high point is the second time they're shown getting together, on her first wedding anniversary, while the cuckolded husband sits in a taxi outside the hotel waiting for her to reappear. He is aware of what is going on inside, but confines his response to sucking warm champagne out of a bottle. If that is "romance", I know I could live a long time without any, thank you so much.

BODICE RIPPER

At the high point of passion, Almásy rips Katherine's blouse open. He is rewarded with sight of a chest to match that of many adolescent males. As compensation, Kristin Scott Thomas provides a view of her pubic region as she decamps a bath. Sexy? No. This is followed by Almásy sewing the blouse together again, which is as close as the movie comes to unbridled excitement.

True blood , getting better every season ??

The words above describe this show perfectly and here is why...

Impressive: For a show thats not even on one of the major networks in the USA, the shows visuals and sets are fantastic. Clever direction, help the show to rise above any budget constraints the show may have. However its not the action that keeps the viewer gripped, though it does administer light relief from the often deeply affecting story lines.

Expressive: The acting is really very good, Anna Paquin is an obvious standout. The supporting actor/actresses are also brilliant. They manage to keep a grounding of reality even when the storyline goes to the absurd. The humour of the show is often dark, but very tongue in cheek making fun of its own stupidities. So even when the stories go to places that are totally unbelievable the humour helps rise above it. The drama is well executed and could rival that of most "real life" drama's.

Sexy: The characters are beautiful and unashamed of their bodies. The displays of flesh are often shocking, but never anything other than arousing. The sexier moments in show stem from vampires natural abilities to brood and entice. Eric and Bill provide some incredible displays of eye contact.

Gripping: The shows narrative meanders in and out of reality and fantasy based stories both of which hold your attention. Most episodes end with a cliff hanger, something that definitely works for the show, especially whist watching in a DVD box set. The writing is brilliant and characterisations are superb, even with characters that are aren't in the show a lot.

Overall: True Blood is the best piece of television to come for a long time. It owes much to Buffy the vampire slayer and other vampire movies, but it still retains an originality that most fantasy shows lack. As an antidote to the toothless vampires of Twilight, True Blood is perfect. Its imperfections are never thought about due to clever direction and writing. Its a must watch!

The Whistleblower Movie review

I always proceed with caution when a movie is based on actual events or words to that effect. Often directors have an axe to grind when it comes down to politics or history which leads to an inherent bias or distortion of facts. Usually scenes which tug at the audience heartstrings are added for effect, The Whistleblower being no exception. The presence of a well known anti-establishment actress in a supporting role also had me worried. However the subject matter here makes this a no brainer. Surely no one except those profiting from the exploitation of human trafficking can condone such behaviour. The movie also makes us privy to a world of kickbacks and sweetheart contracts associated with an organisation that is supposed to be helping people.

As this is a movie and not a documentary it is necessary to play out as a thriller and on this level it succeeds. Weisz is good in a lead role were she strikes the correct balance. The parallel story regarding the abducted girl from the Ukraine dovetails into the Weisz story seamlessly. The unfolding of the girls story puts a human face onto the tragedy as we see how she was betrayed by members of her own family and then witness her mothers false hope and ultimate despair.

Ironically legislation was passed in the UK to offer some legal protection for whistleblowers and in this story although a constructive dismissal case was upheld not one single person faced criminal prosecution for trafficking. Its called diplomatic immunity. Events in the world of current affairs post dating this film have simply reinforced the message of this movie, that the world of the whistleblower is a cold, lonely and dangerous place.

As others have commented there would appear to be some problems with the authenticity of on screen accents. Not being familiar with the languages makes it impossible for me to verify, however if it is the case it shows poor attention to detail from those concerned.

It's a Wonderful Life movie review

Is It's a Wonderful Life the greatest Christmas movie ever made, or the greatest film ever made, period? Certainly many people on the IMDb think so; although a strong contender for the former, I'm not sure about the latter. One is hesitant about pronouncing any film something that eclipses all others, because that means every film you watch thereafter will seem inferior somehow, and I love movies too much to be pigeonholed.

The film's genesis is an interesting one; to my knowledge, It's a Wonderful Life is the only movie in history to originate from a Christmas card. Written by Philip Van Doren Stern, and originally titled The Greatest Gift, it told the story of George Bailey, and how his guardian angel Clarence shows him a glimpse of what life would be like if he had never been born. Stern shopped the story to various studios, and many of them turned their noses up at what sounded like such a frivolous idea for a movie.

But when it fell into Frank Capra's hands, he loved it, and wanted it expanded into his first feature after World War II had put his directing career on hold. After selecting fellow war veteran James Stewart as his leading man, and a rather troubled production, It's a Wonderful Life got the go-ahead.

But the film was met with indifference, where the public seemed to share in the studio heads distaste for the source material. It wound up forgotten about for several years, until the 1970s when copyright expired and the film landed in the hands of the public domain; suddenly It's a Wonderful Life was hailed as not only a Christmas classic, but a shining icon of cinema itself.

What is it about It's a Wonderful Life that has earned it that distinction? When reading other reviews on various sites, one thing that doesn't come through about the film is how little of Christmas there is in it. The framework Capra was working from only took up the last half-hour of the movie; nearly everything before that isn't even set at Christmas. It's a long road that we're on before we even get to George on that frigid bridge, considering suicide on that dark and snowy Christmas night.

Frank Capra takes his time with the story, investing plenty of development in the character of George Bailey. George has lived his whole life in the town of Bedford Falls; he has lofty ambitions that take him far, far away from this place, but he's forever having to make sacrifices for others.

Although he puts on a brave face while giving up his dreams of travelling the world and a college education, secretly a frustration burns deeply within George. He has to take over the Bailey Building & Loan, a job he really has no love for, and he watches friends and family go off and live their dreams and even become war heroes in the case of his brother, while he feels trapped in Bedford Falls.

This type of story could easily become saccharine in the hands of a lesser director, but Frank Capra's skillful direction makes sure the film avoids all of the obvious pitfalls (something the film's imitators often fall into). If George had taken each setback with a smile and a kind word, that is unrealistic, and I'd agree the film is worthy of the term Capra-corn that It's a Wonderful Life coined. 

In fact this is a dark, relentlessly harsh Christmas film. Just look at George's face fall when he knows he must take over the BB&L to thwart the ambitions of the town miser Mr Potter, or when he forces a smile at the news that his brother Harry has gotten married and accepted a job offer, meaning the burden of responsibility over the future of the BB&L now rests in George's hands.

James Stewart was never better as George Bailey; as his life snowballs into an avalanche of misfortunes, he handles the increasingly depressing situation perfectly; even he believed this was his finest role. But equally good, if not better, is the film's villain, the heartless and chilling miser Mr Potter, played to perfection by Lionel Barrymore.

Potter makes Ebeneezer Scrooge seem a wimp; this is a man with no redeeming qualities, none whatsoever. He leans on the town of Bedford Falls like the Devil atop of Bald Mountain; he has no respect for the people who live there, and crushes anyone who dares challenge him, with George his favourite victim. He delights in seeing George's ambitions come to nothing, and vindictively pockets money that if not recovered, will bankrupt the BB&L and ruin George. He doesn't even get any kind of comeuppance; Potter is one of cinema's most chilling villains.

The final 30 minutes is where It's a Wonderful Life becomes ever more wondrous, and is the film at its blackest. George's failures have finally bested him, but just as he's about to end it all, Clarence Odbody, his guardian angel falls to Earth and shows him what Bedford Falls would be like without him. The town becomes a dark, twisted shadow of its other self, with Potter as its king and the people as his subjects. It's the film's darkest chapter, and a stunningly nihilistic vision of how things might have been.

The fact that things end on a happy note is never in doubt of course, but those who say seeing the townspeople come to George's rescue is Capra giving in to the soppy stuff before the end missed the point. After such a thoroughly miserable ordeal, George deserves his happy ending, and truly earns his redemption, like all the great film heroes. It's a Wonderful Life is often thought of as an upbeat, sentimental Christmas fable. What utter tosh! This is a film that takes us on a journey fraught with raw emotion, and rightfully earns a hallowed place in the Christmas pantheon.

2 guns movie review

Relies heavily on chemistry between its talents and quintessential gunslinger bravado, 2 Guns excels with classic explosion and slow-mo bullet dispenser moments. Mark Whalberg and Denzel Washington are well cast, they seem comfortable in their roles and exhibit the action oriented partnership patented in the late 80s. However, the story might have some inconsistent rhythm and convenient coincidental occurrences that could hamper the experience, considering it tries to put quite a few twists along the way.

Story revolves around the two main protagonists, Robert Trench (Denzel Washington) and Michael Stigman (Mark Whalberg), who are undercover DEA and undercover Navy officer, respectively and unbeknownst to one another. Each plans to rob a bank for 3 million dollar and pins the deed to the other. They eventually find much more than they expect in the vault and will be hunted for this abundance of cash by drug lord and other shady organizations.

There are arguably many angles to cover, especially since the perspective shifts quite a lot.

The movie does a decent job of stringing these events together, but there are some cases which seems overly rushed. Timeline is used in a back and forth manner, locations could be identified more clearly. These sudden changes may perplex some viewers who aren't accustomed to crime action movies.

For a movie that focuses mostly on the duo, Denzel Washington and Mark Whalberg deliver. They are fun to watch, give life to compelling characters and legitimately look compatible. It's good to note that Whalberg fits more in rugged debonair with quips as he doesn't revert to his confused face too often. Denzel Washington is as charismatic as ever with somewhat threatening air at appropriate times.

Bill Paxton as the corrupt agent shows capable eerie remorseless performance as a corrupt agent. Paula Patton gives a certain feminine touch, although a little less quixotic. The stars are aligned and script is suitable to the theme. There are some lines that could sound overly childish, but for most the dialogues are aptly written and properly delivered. Expect some violence every now and then, mostly intimidating grunts and point blank shots, common bread and butter of gunslinger movies.

The movie has certain heist and conspiracy flair, even though they are sadly not utilized too effectively. It's also nice to see some degree of variation so the movie isn't all mindless bullet-fest. Ultimately, it thrives on old school appeal of underdog vagabonds with lots of ammunition, and in this case, isn't necessarily a bad thing.

Whats eating gilberts grapes movie review

What's Eating Gilbert Grape is one of those little treasures that for the most part most people do know about, mainly due to Leonardo DiCaprio's knock out performance as Arnie Grape. But both he and Johnny had this great chemistry together that made what could have been a very boring movie into an extremely touching piece of film that meant more and more to me as I grew up. When I was a kid and watched this film, I just loved laughing at all of Arnie's jokes not realizing why he was so silly. As a teenager I could start to relate to having a little more pressure with a job and school. Then as an adult and having my mother become ill, I could relate completely to Gilbert in his frustrations of just wanting to be young and enjoy his life. I think that's why this film is special to a lot of people, those who have felt the added little pressures in life and makes you think on what's eating at you? This is the story of Gilbert Grape.

In the small town of Endora, Gilbert Grape is busy caring for his mentally handicapped brother, Arnie. His morbidly obese mother, Bonnie has done little except eat since her husband died, and longs only to see Arnie live to the age of 18. With Bonnie unable to care for her children on her own, Gilbert has taken responsibility for repairing the old house and looking after Arnie, who has a habit of climbing the town water tower, while his sisters Amy and Ellen do the rest. The relationship between the brothers is of both care and protection, as Gilbert continually enforces the 'nobody touches Arnie' policy. A new "Foodland" supermarket has opened, threatening the small Lamson's Grocery where Gilbert works. In addition, Gilbert is having an affair with a married woman, Betty Carver. The family is looking forward to Arnie's 18th birthday. A young woman named Becky and her grandmother are stuck in town when their car breaks down. Gilbert's unusual life circumstances threaten to get in the way of their possible romance. His affair with Mrs Carver ends when she leaves town in search of a new life following her husbands death,. Becky becomes close to both Gilbert and Arnie and as she talks to Gilbert she begins to unlock some buried hopes, dreams and happiness. Later on, Arnie tries to run away yet again from his bath and in his frustration Gilbert finally snaps, hitting Arnie several times. Guilty and appalled at himself, Gilbert takes the car and runs out without another word, fearing that he is leaving his family just like his father and brother did.

What's Eating Gilbert Grape is just an incredibly beautiful and touching movie that will always have a special place in my heart. It makes you laugh, cry, and think about how precious life is. All the characters are relatable or likable in some way. Even in the smallest of all towns where it seems like it's just dead, there is life. That's what this movie is about to me, everyone has a story and everyone has an experience to share. This is just a terrific film, quality acting and a heart felt story, I very much recommend that if you get the chance to watch it. If anything for Leonardo DiCaprio's incredible performance and Johnny Depp singing to him "Match in the gas tank, boom boom!".

Reservoir Dogs Movie review

Bloodily violent, irreverently shocking, politically incorrect, inventively funny and so on and so forth… I'm trying to find the right expression to describe "Reservoir Dogs" and I finally got it, it stands in three letters: N-E-W. There was something waiting in the abyssal wombs of cinema, so repressed it was waiting for deliverance with a fierce impatience, a deliverance with a quite original and cool-sounding name: Quentin Tarantino, the new incarnation of modern violence with STYLE. "Reservoir Dogs" is more than a debut; it's a sensational entrance that consecrated Tarantino among the most influential directors of his generation, and THE reference in independent film-making.

Tarantino invented a new style that would never desert his films, and would make each of his creation, the epitome of coolness. It's so fresh to watch "Reservoir Dogs" now and to realize how new it was at that time. I remember the first time I watched the film, I was 17, and the movie literally blew me away in every single aspect, and I guess the fact that I wasn't familiar with the Internet or IMDb was a good thing since it didn't intercede with my approach of the film. I didn't want to know what's so cool about Tarantino, I just discovered him with his film, shortly after watching "Pulp Fiction", and for some reason, I loved "Reservoir Dogs" a little more. Tarantino quickly became my favorite director as a teenager, and in my early 20's because of this level of creativity in the writing, the directing, and the editing.

The writing is Tarantino's trademark and his greatest quality, the movie starts with a whole discussion about the meaning of "Like a Virgin" told by a fast-speaking Tarantino, himself as Mr. Brown, then a whole debate starts about tipping and non tipping. That's the question raised by the first minutes of "Reservoir Dogs" and the least we could say is that the talk is so trivial it sounds real and authentic in its rawness and makes the characters more human, if not sympathetic. More generally, the whole characterization is driven by dialogs so delicately vulgar you never miss the action, or wait for something 'to happen'. Script 'happens' in Tarantino's films, like meals you've already eaten but with a new special taste, something juicy, creamy, and spicy. It's almost an indigestion of creativity … I don't need to tell you the lines, if I start them, you know the rest : "You shoot me in a dream …", "Are you gonna bark all day, little doggie?" etc. etc. And these dogs not only bark, but they do bite a lot.

Indeed, if the movie was all dialogs, it wouldn't have had the same impact. It's like Tarantino already knew his lesson, and wanted to make something big, from the beginning. From the iconic slo-mo walking scene down the alley with the opening credits, you get the idea that this "Little Green Bag" song will be the 'hallelujah' glorifying the birth of a new style of film-making, and instinctively, you know something special will happen after these credits, and you're not disappointed by what follows. Blood, blood all over the car seat, and probably one of the most convincing painful screams ever. You really can feel for Tim Roth in that scene, it's like the real actor got one real bullet, and the rest is the touching expression of a growing friendship between Roth as Mr. Orange, and Mr. White, his mentor played by Harvey Keitel. He combs his hear, whispers something that provoke Orange's cute but heartbreaking smile: the chemistry is so believable, you understand that the movie is not just about cool dialogs. Then, comes Mr Pink as Steve Buscemi, asking who the rat is! Because this is the first serious element we have. It's the story of a botched jewel robbery, with a traitor among these gangsters. This question will be the starting point of the narrative with three specific back stories told in flashback.

The three characters depicted in flashback are Mr. White, Mr. Orange, and Michael Madsen as Mr. Blonde. And in the memorable-action department, the winner is undoubtedly Mr. Blonde: the one who provided the most iconic and recognizable moment of the film. The iconic ear-cutting scene with the "Stuck In the Middle With You" music, like a reminiscence of "A Clockwork Orange" rape scene with 'Singin' in the Rain' as a musical background, the scene is disturbing, violent, bloody, but also … iconic. The violence is not meant to be cool, but just to show how psychotic Mr. Blonde, one of the most twisted gangster villains, is. And his torture is also crucial because it will unmask Mr. Orange as the snitch, and will make his relationship with White, even more complex. In one minute, the movie raises a new dimension, deeper and more tragic.

Forget the cool and raunchy dialogs, the creative editing, where flashbacks interfere with parallel stories, as when we witness a great scene where Orange tells a story within another story. Too many insertions as to create a confusing feeling until the last iconic scene : after the slo-mo opening, the ear-cutting, the Mexican stand-off, as the last memorable scene that would lurch this movie into Pop Culture. Forget the wonderful ensemble cast with so many colorful characters (literally) and such believable actions and reactions like childishly arguing about nicknames instead of preparing a serious job. All these elements are great, but it would have been nothing without the tragedy … 

The beauty of the film relies on this profound relationship between Mr. Orange and Mr White, made of respect and honor, and the last minute of the film was something that reminded of Peckinpah's films, a moment of honesty and loyalty, incarnated by Orange's last confession, and White's heartbreaking gesture as to redeem the act of a man he still loved as friend … Keitel's last look before the movie ends will haunt me forever.

127 Hours Movie review

In 2003 mountain-climber Aron Ralston went on a hiking trip in a desolate part of Utah without telling anyone where he was going. He became trapped at the bottom of a canyon when a boulder dislodged and pinned his right arm to a wall. Over the course of five days with little water, less food, and no hope of being found, Aron made a video diary documenting his ordeal while trying to sustain by any means necessary (including drinking his own urine). Eventually, in a moment of desperation, Aron was forced to amputate his arm with a dull knife in order to escape. Ralston is obviously a brave human being, who was faced with a dilemma in which many people would've chosen death. His act is a triumph of human determination and willpower and his story is brought to life by Oscar-winning director Danny Boyle. 127 Hours is widely considered one of the best films of 2010 and recently received six Oscar nominations, including Best Picture. While complaints have been aimed at Aron's character (some people see his decision to not tell anyone where he was going "stupid), the use of dream sequences/surreal imagery, and Boyle's hyperkinetic style; I found no issue with these aspects of the film. In fact, I've been so impressed by this film the two times I've seen it I can hardly find a negative thing to say about it.

Boyle and his co-writer Simon Beaufoy (the Oscar-winning scribe behind Boyle's previous film Slumdog Millionaire) stay faithful to Aron's ordeal and over the course of a riveting 90 minutes, Boyle shows us how powerful the will to survive can be. The success of the film hinges on the dynamite portrayal of Aron by James Franco. The film spends the first 15 minutes establishing Aron's thrill-seeking personality; his drive to Blue John Canyon in Utah, his encounter with two girls (Amber Tamblyn and Kate Mara), and eventually the moment where he found himself in an unimaginable situation. From here, it's a one-man show for Franco. Aron has a watch, a video camera, a CD player, headphones, a flashlight, a rope and pulley, but almost no food and little water. Franco leads us through Aron's initial attempts to escape, his quiet acceptance of his fate, and his refusal to simply wait for death. Knowing the ending doesn't make the film any less suspenseful and the proceedings are nothing short of riveting.

Boyle tells this story in just 90 minutes, a perfect running-time that neither drags it out nor rushes it. In the hands of another director this could have been a snooze-fest, but Boyle has crafted a film that creates tension by perfectly capturing the claustrophobia of Aron's ordeal. While dream sequences/hallucinations are used, they don't clutter the story needlessly. They are necessary to establish Aron's personality and further the themes that Boyle and Beaufoy are trying to convey with their interpretation of Aron's story. It's not these images or his visual pizazz that Boyle uses to carry the story, but his willingness to stay with Aron and allow James Franco to lead the audience through the story with his show-stopping performance.

The success of the film rests on Franco's shoulder and I couldn't spot the slightest misstep in his performance. Franco has to be interesting enough to hold your attention for over an hour, as well as making his character's journey believable. Through body language and tone of voice, Franco makes you believe you're watching an optimistic man slowly relinquish all hope before making one final decision in an attempt to save his own life. This is not a typical Oscar-bait performance, but a nuanced performance built on much subtlety. Spending the bulk of the film in a small space without the use of his right arm, Franco brings the audience right into that canyon with him. When the climactic scene arrives, you believe that Aron has reached this point of desperation. Had Franco made the smallest mistake in his performance, it could've brought the whole film down. I believe James Franco would win the Academy Award if not for Colin Firth as he delivers one of the most riveting and truly impressive screen performances of 2010.

One can't discuss this film without mentioning the climax, where Aron must finally take his fate into his own hands and amputate his arm. The scene is both realistic and horrifying, even more when one takes into account that this actually occurred. Rarely does a scene make me wince and recoil the way this scene did. It's brilliantly shot, acted, edited, and executed; graphic, but Boyle only shows as much as necessary relying on haunting sound effects and Franco to convey what's happening. It's a powerful, unforgettable scene.

127 Hours is an unforgettable experience that works on so many different levels. It's entertaining, exciting, intense, brilliant, and ultimately moving; a triumphant piece of filmmaking and is undoubtedly one of the best films of 2010. Having seen it several now, it's still as suspenseful and powerful as it was the first time I watched it. While subsequent viewings and time may show some imperfections, it will remain the most intense movie-going experience I had in 2010.

Into the wild movie review

*** This review may contain spoilers ***

One of the best movies I've ever seen. Beautiful, deep, true, adventurous, sad, occasionally funny, real, at times very touching. Based on a real-life novel, it is written and directed by Sean Penn. I have always loved the movie work of Sean Penn. Congratulations and thank you to Mr. Penn on giving me a few hours of though-provoking delight. Can you say Oscar? This movie says it loud and clear!

The story; Christopher McCandless, just graduated from college in the early 1990s, goes off on an adventure. He is smitten with books he reads—Thoreau, London, Byron. He wants no money, so he gives his to needy causes or burns it. Chris is cocky, driven, industrious.

He is traumatized by his parents' bad marriage. He tries to work through his anguish. He seems determined to destroy himself just to prove that he has different values than his parents. He is inconsiderate of his family and keeps them worried about his whereabouts and safety, as if a single reassuring phone call would ruin his rebellion. He fancies himself a philosopher, but acts the petulant child. It is a great credit to the film that we see these character flaws in our hero.

Off on the road, he makes a number of foolish choices – and suffers from some of them. Other foolish choices, such as daring to kayak a rapid river, bring him joy. He meets a lot of people and almost all are kind to him. His interactions with people are intense, the kind you have when you are planning to run off and disappear while you are still a mysterious entity. He avoids getting too close to anyone.

The movie is gorgeous. Mountains, plains, sky, rivers, animals. The acting is fantastic, totally believable. The actors are incredible and perfectly cast – Catherine Keener as an aging hippie vagabond, Vince Vaughn as a wacky farmer growing who knows what, William Hurt as Chris' potbellied suburbanite dad, Marcia Gay Harden as the type of mom who breeds children who wants to run off to the wilderness to escape from her. Emile Hirsch plays Chris, and does a great job of it. When an actual photo of the real Chris McCandless comes on screen, we see that Hirsch resembles him. Original songs by Eddie Vedder give the right feel – that of a well-to-do young white man heading out on a chosen adventure, getting gritty by choice. His goal is to get to Alaska, but on the way there, he hits many other states and Mexico, too.

Chris is a clueless kid from the warm South. He plans to go to Alaska, yet only arrives with any needed equipment because kind folks force it upon him – a machete, warm clothes, rubber boots. He's highly educated and gets good grades, yet, early on his trip, ignores a big sign that warns of flash floods. That prepares us that we are going to wince many times at his low level of common sense, while at the same time reveling in his physical strength and willingness to press on.

At one point, Chris passes through Los Angeles. He is dirty, hungry, tired, and goes to a downtown mission shelter. The other men there are also dirty, hungry, and tired, but not of their own choosing. It is not their adventure, it is their life. He realizes fast that he does not want to feel categorized with men who are in dire straits due to misfortune and not due to following their own adventure.

The movie shows Chris as an honorable young man. I do not want to give away any of the plot, so I'll just say – the young man has principles and so does the movie.

A few parts of the movie confused me. After Chris's college graduation, he meets h is parents at a restaurant. He brings with him a lovely young woman, obviously his date. Weirdly, it turns out that she is his sister!

There is more confusion when Chris picks up work on a farm run by Wayne, the Vince Vaughn character. What are they growing or doing? What's up?

There is an unintentionally funny scene where an old man tells Chris that he does not have time for adventures because he is too busy with leather. I thought the old guy was confessing being into whips and chaps. But no, he has a workshop where he tools leather.

There were a couple spots where the editing distracted from the movie. I saw a preview; maybe it was a rough cut. There's a scene on the farm where a triple screen is used – like a cheesy commercial.

Another scene, where Chris is eating an apple, is a series of jump cuts, which I really liked. It seemed an homage to French auteur filmmakers. But it ends with Chris mugging at the camera. With it, Sean Penn breaks the believability and acknowledges that yes, this is just us making a movie.

There is another part where Chris is in a car with the older man who is dropping him off. As they pull up, there is an inexplicable cutaway shot of what looks to be the head of a cannon.

Much of the movie is like a travel montage or music video involving mountains and sky. The scenes are so beautiful.

I know people that have elements of Chris in them. And I think I've met all the characters he runs into out on the road.

Donnie Darko movie review

*** This review may contain spoilers ***

In recent years, Hollywood has specialised in churning out mainstream trash; generic trash not even fit for the cutting room floor. Yet despite these movies' shortcomings, they continue to enjoy success at the box office. Sequel upon sequel, photo fit remake upon photo fit remake, frequently taking the box office by storm whilst simultaneously relegating smaller independent projects to the now relatively unheard-of arthouse cinemas. The tragedy is that the independent filmmakers are often those with the most talent; the most creativity; the most flair. One such filmmaker is director Richard Kelly, who saw the release of his scifi-drama-horror-tragedy-comedy-romance-thriller Donnie Darko last year. After reading a few rave reviews for the movie, I decided to check it out to find out what all the fuss was about.

Donnie is a seventeen year-old boy with major emotional problems. He suffers from a psychological condition not dissimilar to schizophrenia, and lives most of his life in a medication-induced daze. We watch as Donnie meets Frank, a six foot tall rabbit which predicts the end of the world. Returning to his house, Donnie finds a jet engine jutting out from the side of his bedroom. The remainder of the movie follows Donnie's coming to terms with the ghostly presence of Frank in his life, the purpose of his existence, and the fact that the world will end unless he intervenes.

Without giving too much away, I can safely say that Donnie Darko is a mind-blowing experience. And I use the word `experience' in its truest sense. From the opening shots of Donnie's suburban hometown, through to the satirical take on Middle American high schools, the movie is incredibly involving on many levels. In fact, each frame speaks to us on more profound terms than the majority of arthouse films would claim to do. This is, in part, due to the impeccable performances by each and every member of the cast. Jake Gyllenhaal, a relative unknown, delivers a subtle yet emotionally charged performance as Donnie himself - the scene in which he tells his psychologist of his various childhood traumas is made both funny and moving by the haunting way in which Jake delivers each line, contrasted with the almost childish qualities of his movements on the couch. Most incredible of all, however, is his terrifying screen presence as he trudges slowly through a deserted corridor or along a dark street, head tilted slightly forward, face fixed in a confused, bewildered expression. Drew Barrymore is also superb as the liberal high school teacher rejected and scorned in a Conservative education system, while Patrick Swayze is excellent in his extended cameo, a smartly observed satire of a self-help guru with a few skeletons in the closet.

Where the movie comes into its own, however, is in its ability to incorporate and deal with a variety of genres. Every movie genre seems to make an appearance, so much so that to categorise the movie as simply a `psychological horror' or a `supernatural thriller' would be an unforgivable insult. Even the movie's portrayal of a high school, whilst unique and original, even bears a slight resemblance to the teen movies of yesteryear, what with school bullies, the new kid in town and an annoying gym teacher. Yet, Kelly never lets his movie sink to the depths of clichéd teen drama. Instead, he paints a startlingly realistic portrait of suburban America, interspersed with flashes of sci-fi surreality. The movie never descends into total Lynchian weirdness, yet nothing ever seems quite real.

Donnie Darko may conjure up images of oversized bunnies and watery projections protruding from people's midriffs, yet on an emotional level it is very much human. Donnie Darko is as much a drama as it is a thriller, and a superb character study at that. We are often led to question whether Donnie's visions and actions are the consequence of a paranoid, twisted, drug-polluted mind, or whether he really is experiencing such things. His gradual disillusionment as he realises that there is no hope and that he may have to go through eternity alone is beautifully portrayed, while the sense of peace and inner fulfilment he ultimately achieves is a truly inspirational message.

Without meaning to sound overtly soppy and without meaning to spoil the ending for anyone unfortunate enough not to have seen the movie, Donnie Darko concludes in one of the most mind bending, emotionally affecting ways possible. On a scientific level it will fuel debates for years to come (I have already read numerous different interpretations of the ending on the internet) but emotionally it transcends the conventions of modern movie making. In fact, it soars. The last few minutes, where Tears For Fears' Mad World is played over shots of various characters breaking into fits of hyper-emotion or contemplating their actions, are tremendously moving, while the lyrics (`I find it kinda funny/I find it kinda sad/the dreams in which I'm dying are the best I've ever had') perfectly summarise Donnie's state of mind. Furthermore, the last few lines of the movie, without telling you what they are, are meaningful on so many levels, and mark the end to a film steeped in emotion, surrealism and subtle beauty.

I implore you to watch this movie. It most certainly is not for everyone, and will probably be cast off by a lot of the movie going public as pretentious, artsy nonsense. Donnie Darko only saw a very short, unsuccessful US run and was accompanied with very little hype. Hilarious, heart-rendingly sad, terrifying, profound, intellectually stimulating, emotionally absorbing and thematically relevant, this is by far the best movie of 2002. And for all those wishing to know if there's any American Pie-style crudity, sadly not - although at one point we are treated to a rather interesting discussion regarding the sex lives of smurfs.

Gran Torino Movie review

*** This review may contain spoilers ***

Now I understand why Clint Eastwood took over the directorial reins for Changeling from Ron Howard. (Howard dropped Changeling in order to make Frost/Nixon, instead.)

Eastwood did an excellent job on Changeling, with a genuine feel for the dark subject matter, and guided Angelina Jolie to one of the best performances of her career, to date, significantly expanding her dramatic range.

The film that Eastwood really wanted to make this year, GRAN TORINO, was greenlit by that other deal. This is crucial, since all of the Hmong cast are first-time actors, who were hand picked by Eastwood from cold auditions. Any film with a cast of unknowns can be a tough sell in Hollywood, even with Eastwood helming and starring. (The list of award winning Eastwood films that almost didn't get made is long and very distinguished.) In casting, Eastwood didn't want "thespians." He wanted an honest exactness of performance.

While I really like and respect Changeling, I found GT to be far more satisfying. GT is probably *not* the best film of this year, but it is one damn fine entertainment and it fully holds its own in this rich season of films that are up for awards contention.

GT is an humorous and compelling meditation on the themes of ubiquitous bigotry, culture clash, political refugee immigration/resettlement (and, by way of that, US foreign policy) and Old School, Doing the Right Thing (vs today's more commonplace "situational" ethics). All of this rolled into two, parallel, coming of age stories, served on platters heaping with very real slices of life. The messages crack like jabs, with the sting of truth, and are never too preachy. (Eastwood is one of the few directors who respects the intelligence of his audience. He surprises film goers, always, without ever talking down.)

One coming of age story involves a neighbor kid, Tao Vang Lor (played by Bee Vang), a dirt-poor son of divorced Hmong immigrants (Vietnam war political refugees).

Tao lives with his mother, sister and grandmother, next door to Walt Kowalski (Eastwood). Walt insists upon calling Tao, "Toad" (initially, with some good reason). Tao's sister, Sue, (a scene stealing Ahney Her), is spontaneously outgoing and engaging with Walt, and confides to Walt that Tao is growing up without any proper male role models in his life. In fact, Tao is in the midst of confronting the grim prospects of either being recruited into his bad-seed cousin's gang or becoming a permanent victim of said 'bangers.

The less obvious coming of age story revolves around Walt Kowalski, a recently widowed Korean War veteran. Walt's Polish ancestry seems to serve no purpose other than to establish him as "ethnic" white, living in a dog-eared neighborhood of ongoing immigration stories. Walt is a curmudgeon, who lacks basic "people skills" with even his own family, let alone the world around him. But he has managed his way though life, fine enough, up to the opening of the film's story.

Just about every review I've read about GT describes Eastwood's Kowalski as a "racist Korean War veteran," which misses one of the major points raised in the film -- that bigotry in the US is deeply ingrained in every niche of society. None of us is innocent or absolved of anything in this regard and the film is very frank about this point. Initially, this serves as nothing more than a source for shock humor, but Eastwood finds a way to subvert this into a message of tough-love hope.

The gang life incursions into the story are very true to life. Gangs are always either recruiting new cannon fodder or marking new victims. If parents seeing this film had no clue about this, they ought to start finding ways to open up ongoing lines of discussion with their kids about what's really happening, day-to-day, at school, in the playground and elsewhere. Most of the time, kids like Tao, just internalize all of these pressures, hoping that they won't be picked on, and otherwise feeling powerless. None of us should ever kid ourselves about *all* kids, not just some kids, being "at risk."

(As for the non-white, poly-ethnicity of Kowalski's part of town, the disbelievers of the authenticity of that have only been exposed to the rarefied 'hoods of mainstream Hollywood. I can name any number of mid-to-small cities/towns where the exact mix and flavors in GT are very real. You don't have to live in a 'hood to pass through and/or stake out an occasional corner on which to hang. The Latino and black "presence" in the film never implied that they lived in that neighborhood, although they were obviously trolling for victims. Perps who don't intend to be caught *rarely* hunt in their own backyards.)

Walt knows that he's dead set in his ways, not all of them "bad," but not most of them "good." Beyond the confines of his own property line, Walt may be a little more effective than Tao, out in the real world, but, he too is, in many ways, powerless to change the way most things are. Nevertheless, in getting to know Tao, Sue and the extended Hmong community to which the Lors belong, Walt discovers that his Fort Apache ways don't work anymore. Walt realizes that he has yet to finally come of age, too. (Some will call this "atonement." I call it "growing up, again, at 78." Both are spot on.)

This film will make you laugh. It may even make you cry. But it might also make you think about some stuff you thought you were long ago done with thinking about.

People at the screening I attended were so startled at the end that there was a significant moment of silence before applause finally broke out.

GT is another lovely present from Clint Eastwood. Don't miss it.

Top gear tv review . You don't even have to like cars..

Let me say that this is easily my favorite show on TV...ever. It's not just because I am a huge "petrol head" automobile fan either. More importantly, each episode is so finely crafted. The cinematography, music, commentary and choice of subject matter is second to none.

Top Gear could have easily just shot a car sitting on some asphalt and talked about it. Instead, they use all types of lens filters to color shots, cloud part of the shot, etc. They use high speed cameras to show a tire spinning in slow motion with the smoke wafting off the pavement. They take shots from helicopters high above through patchy cloud cover as a car cruises down a winding race track. Every shot is beautifully executed.

This camera work would be beautiful alone, but it has been paired with a fantastic soundtrack. Every song is picked to illustrate some sort of emotion. For instance, the main presenter, Jeremy Clarkson is driving his beautiful Aston Martin DB9 through the French countryside and he begins to speak about the beauty of the car and how it is like no other driving experience. It is his favorite car. As he is talking, the sun is setting and they use a soft filter on the camera with an amber tint. To top it all off they play Massive Attack's "Heat Miser". If you know this song it is a slow, warm, almost sad mixture of simple piano key notes and deep string instruments. It fits perfectly and really conveys the emotion of the moment. I can't stress enough how NO show on TV would even think of using songs from little known artists like Massive Attack. I could go forever but just know that they play punk, classic rock, new wave, classical, hip-hop and obscure UK electronic...and it all fits beautifully. Producers of TV and even movies should get some guts and learn that we know this music and it has a huge impact on the depth of a show.

With all of this fine camera work and music as a backdrop comes some great commentary from the 3 presenters. Jeremy Clarkson (the older know it all), Richard Hammond (the young wild one), and James May (the conservative middle age guy) combine to bounce intelligent and very opinionated commentary off each other. This is all mostly scripted, but they do it in a natural way. It all comes off as fun and off the cuff. They don't pull punches either. They regularly attack the government officials, protest groups, auto execs, and other countries. It is great to see a show that is not afraid to say whatever it wants without fear of offending.

Lastly, the choice of cars is fantastic. If you watch this show, likely you have some interest in cars (you don't have to...it's great entertainment). If you do, you'll appreciate how they pick everything from exotic supercars to econo boxes. They pick not only the obvious in each car class, but also some lesser known and interesting cars as well. Vehicles from all over the world are put to the test. I really love the fact that they pick some wildly expensive exotics and some extremely valuable collectors cars and actually drive them hard. Car shows usually show you these valuable cars, but then drive them slowly around because they are afraid of damaging them. Top Gear does a fantastic job of keeping the car reviews interesting. Want to see how fast a Ferrari 612 Scaglietti is? Well, lets put Jeremy in it and race it against a passenger jet carrying Hammond and Mays from London to Switzerland. How agile and fast is a Mitsubishi Evo? Let's put a champion rally racer in it and race it down a snowy mountain road against a championship bobsled team on a equal length chute. It's ideas like this that have kept this show fresh for so long. 

There are many more aspects of this show I could talk about (ie. The Stig, Stars in a Reasonably Priced Car, the news, etc) but I am being a freak. I will end by telling you that the Discovery Channel has already aired a number of "edited for the USA" UK original episodes here in the States. They were chopped up and lost a lot of their flow and character. I was thrilled to see that Americans could get a chance to see this show. I was disappointed in Discovery for editing out a lot of the British slang, foreign cars, and worst of all the fun jabs at American culture. Are we Americans that sensitive that we can't handle pokes at our weight, love of anything big, gas guzzlers, and that our auto industry is falling behind? Are these secrets? Apparently Discovery execs think so. Well, Top Gear has announced they are making in conjunction with Discovery Channel a "Top Gear USA". They have said that the UK test run on Discovery was well received but (in their infinite wisdom) they think that a new USA version will go over better here. They have pulled the edited UK originals from Discovery and have already started shooting the new Top Gear USA. It is complete with a new trio of hosts, their own test track, and the Stig from the UK show. The biggest differences will most likely be no studio audience, only cars that we've heard of here, and a lot more US made cars. If you ask me this is a huge mistake. This show works as it is. Everyone I know here in the US that watches the unedited originals loves it. It goes to the old saying, "If it isn't broken, don't try and fix it.". I believe we will end up with a watered down, poorly conceived, cheaply made variation of a good thing. Wait...isn't that why America's auto industry is falling way behind? Ironic isn't it?

Thor : The Dark World Movie Review

*** This review may contain spoilers ***

Thor is a superhero that is created in 1962 by Stan Lee, Larry Lieber and Jack Kirby and was published by Marvel Comics making his first appearance in Journey into Mystery #83. Stan Lee wanted to create someone stronger than the strongest man so he made a character that is an actual god. Thor became a big hit in Journey into Mystery and was a founding member of The Avengers in 1963, in fact, Loki (Thor's arch- nemesis and his own brother) was not only the first villain the team ever faced, but was also the entire reason bringing the team together in the first place.

Alright, now that I got the brief comic book history out of the way, I will now tell you what we think of Thor: The Dark World. Honestly, I think that this is one of the best Marvel Cinematic Universe movies to date and possibly a great superhero movie.

The storyline is set after the events of Avengers Assemble with Loki safely locked away in prisons of Asgard and Thor bringing peace to the nine realms which breaked out into chaos in his absence. While searching for Thor, physicist Jane Foster discovers a powerful ancient force which possesses her body and awakens a dark evil which seeks revenge against Asgard and hopes to plunge the universe into darkness.

First, let me go into the flaws for starters. Christopher Eccelston (who you all recognize as the ninth incarnation of The Doctor in Doctor Who) really sells his part as Malekith. However, the problem wasn't the casting; it was the amount of screen time Eccelston got. He doesn't get as much screen time as Malekith and it's very unclear as to why he was implying his evil intentions. In simple terms, I guess he just wanted to destroy every life form he opposes but like I stated, there's no intentions as to why he's doing this.

Now on to the great achievements. The cast like in the first film were very believable and did a good job at representing their roles. Chris Hemsworth was brilliant as the God of Thunder. His long hair, great build and screen presence makes him look the part. It's clear that Hemsworth hasn't read any of the Journey Into Mystery or The Mighty Thor comic books but even if he hasn't read both series, he still gives a great performance.

Tom Hiddleston as Loki was breath-taking and I'm sure that the fan service for this particular comic book character will agree with me. Tom Hiddleston is clearly loved by every single human being after his portrayal of Loki on Avengers Assemble and in this case, he isn't any different. He's still the God of Mischief; he's one of the most compelling comic book characters in this film and is one of the most complex. I especially loved the interactions between him and Hemsworth; When Thor says that he doesn't trust him anymore; you can see something die in Loki's Eyes. For a second, he seems so lost and vulnerable, but then he puts the mask back on.

Natalie Portman as Jane Foster was actually not that bad in this case. She feels more fleshed out than she did in the original film and actually is connected to plot. The same thing applies to Sif and the warriors three and even Frigga has a great moment. And Heimdall…I don't even need to describe on how badass his voice was. Anthony Hopkins plays Odin which is Thor's father and he sells the part pretty well. You can tell why Odin is king and does have a plan and a reason for everything he does. Basically, every single character gets a moment to shine and every single actor cast in these parts are perfect.

The comedic moments fit in perfectly with various environments and are very subtle. I heard some people had problems with the comedic moments and I don't see any flaws with them whatsoever.

The action sequences were absolutely breath-taking as with the special effects. The final battle clearly extends the underground, skies and even different universes simultaneously. The direction was also unbelievable and this was not only due to Alan Taylor's direction, Joss Whedon was also involved in some directions and actually assisted Taylor when he needed it. (clearly, someone needs to give Whedon a medal) The set pieces and the other nine realms talked about in the first film are seen in this particular film and are beautiful. The location of Asgard was even better believe it or not.

As a big fan of Marvel comic books, it's great to see Malekith (despite his different appearance and how the character came to be) and Kurse hit the big screen. Actually, let me talk about Kurse for a brief moment seeing as no one really mentioned him that much in various reviews. In your case, you may say that Kurse can be just as intimating as the Hulk in terms of scary power. In conclusion, he's an overall badass.

The theme of this movie was really dark and it really shows here. While it can have hilarious moments at times, it's still a brave movie with possibly the darkest moments in Marvel Cinematic History.

In conclusion, besides the confusing evil intentions from the main villain, Thor: The Dark World certainly is a brilliant blockbuster. It has a unique cast, superb soundtrack, outstanding action sequences and special effects, the storyline is good and the direction was simply amazing. This film definitely deserves a 9/10.

The greatest tv show ever made "Breaking Bad" Review

It is funny when you think back on 'Breaking Bad's early days and how they contrast with the way it is now. For its first two seasons, it was largely a cult show outside the U.S., featuring a fanbase that was passionate but not exactly huge. It was even dropped from UK TV due to poor ratings, never to be picked up again. However, around the time the third season premiered, its popularity began to rise, increasing with each subsequent season, thanks to word-of-mouth, reaching a pinnacle with the fifth season becoming the most-talked-about television series of 2013, as large numbers of people starting catching up with the show. This is undoubtedly due to the quality of the series – it is absolutely brilliant. The current success of it can be seen through three recent achievements – it entered The Guinness World Book of Records for being the best-reviewed TV show ever, the Writers Guild of America listed it as one of the great TV series ever written and it also walked away with the top prize at this year's Emmys (and chances are, may do next year as well). 

One aspect of the series that no one can dispute is the brilliance of its cast. Thanks to Walter White, Bryan Cranston is no longer "that guy who played the dad in Malcolm in the Middle" and has deservedly won three Emmys for his role as Walt because like the show, he is fantastic, especially as he conveys his character's development from being "Mr. Chips" to "Scarface", as creator Vince Gilligan once remarked in his pitch for the series. Meanwhile, Aaron Paul is superb as Jesse, perfectly capturing a range of sides to his character, from being naive to mature to stubborn to introspective. Aside from the concept of how an ordinary man change transform into an entirely different person, at the very heart of 'Breaking Bad' is the tumultuous relationship between Walt and Jesse. It goes up and down like a roller-coaster, yet it gives the show heart even as the pair do desperate things and we, as viewers, can't helped but be deeply engaged with them, as they argue, confide, fight and of course, cook.

However, the other cast members are just as good as the two leads. As crime scene cleaner Mike Ehrmantraut, Jonathan Banks is outstanding (he should've won that Emmy) and Dean Norris is terrific with strong screen presence as Walt's DEA brother-in-law, Hank Schrader. While Anna Gunn and RJ Mitte are both great as Walt's wife and son, as they form a family relationship with Cranston that is never anything but realistic considering the situations he places them in, even if Gunn's character is not the most likable. Bob Odenkirk is a pleasure to watch as Walt and Jesse's metaphor-loving lawyer Saul Goodman, providing some comic relief, especially whenever his bodyguard Huell Babineaux (Lavell Crawford) is around. Special mention should be given to Giancarlo Esposito, who is mesmerising as Gus Fring, the owner of fast food chain, Los Pollos Hermanos. 

'Breaking Bad' is one of those series where every episode leaves wanting you more, especially with a number of incredible cliffhangers that Gilligan has left viewers dangling on – without spoiling anything, the season five mid-way cliffhanger left me (and many others) desperate to find out what would happen next. It has grown progressively darker over the course of its five seasons, starting out as a black comedy before slowly (and understandably) morphing into something deeper and more serious, while still retaining moments of humour. Similarly, it has also grown increasingly good over its five seasons, being excellent at first before becoming incredible; with the recently-aired fifth season the best of the lot (some of the greatest episodes in the entire series are a few near the end). The key to this show's success is Gilligan, the very man who created it, who has written and directed a multitude of episodes and always manages to brilliantly place the characters in disastrous situations. The quality of the writing, acting and directing (with a special mention to Rian Johnson) on display here is exemplary and on a level that is rarely equalled. If you haven't seen this truly masterful series yet, then you know what you need to do and if you have seen it all, I can't imagine any reason why you wouldn't want to go back and watch it all over again. I know I will.

Pulp fiction movie review

"Pulp Fiction" is considered Quentin Tarantino' masterpiece; both as a writer and director. Although it's not a perfect film and has a couple flaws, "Pulp Fiction" has one of the greatest scripts that changed the way films were made. The film opens with a conversation between "Pumpkin" and "Honey Bunny" as they chat about their new plans to rob restaurants instead of banks and liquor stores. Eventually this scene will end the film as it doubles back on itself. Often times- and we're seeing the case more and more with Tarantino- he'll drive a film on dialogue instead of plot and substitute plot for senseless dialogue. That happens here, but it works most of the time. Lately it hasn't been working on the level of "Pulp Fiction." 

Uma Thurman plays Marcellus Wallace's (Ving Rhames) wife, Mia, and her only importance to film is to be entertained by Vincent Vega (John Travolta) on a date that's not quite a date. I feel as if these scenes are supposed to entertain us since it has nothing to do with the plot that is extremely thin compared to its run time (154 minutes). Travolta, for me, is the real stand out. When he's on screen his scenes, whether Jackson is next to him or not, are full of energy and pulp. He does a lot of listening, some dancing, a lot of arguing and/or debating, and offers up a lot of great comedic moments. His best scenes are with Uma Thurman when they go to Jackrabbit Slims. This little date, where they talk about nothing of much importance as far plot is concerned, is funny, engrossing and entertaining. I don't know why it never gets old, but it doesn't. The acting between the two is great and both were worthy of their Oscar nominations for Best Actor and Best Supporting Actress respectively. This section of the film is one of the strongest of the three along with "The Bonnie Situation." The writing and acting is superb in both sections. This date leads to an overdose as Mia takes a line of Vincent's heroine. The direction here is much in the mold of a graphic Hitchcock film. To add to the suspense the owner of the house counts to three (Something that happens quite a bit in the film). As he slowly counts to three we see all the nervously waiting faces in the entire room. We get a close-up shot on the needle that's cocked back and ready to strike. We get a close-up on the red dot where the needle needs to hit. It slowly builds the scene and the suspense. Tarantino handles this scene and all the others with a ton of precision and a lot of confidence. 

Tarantino makes huge strides as a director since his previous film, "Reservoir Dogs," and a lot has to do with his confidence as a director. The older Tarantino is too confident in his abilities. The majority of "Pulp Fiction" has a lot of energy and snap to it. If you watch closely to the opening scene in "Reservoir Dogs" you won't see that same kind of crisp, confident direction from Tarantino. There are a lot of pauses throughout that conversation and it doesn't quite flow like a Tarantino film that we've become used to. To his credit he was working with some B-list (Some C or D-list) actors. He's not working with much more here, but the majority of his major role players are all acted out terrifically with the exception of one: Bruce Willis- through not fault of Tarantino; Bruce is just a bad actor. 

The section of the film that really drags, and is noticeably behind compared to the other two sections, is "The Gold Watch" section. This section is incapable of greatness since Bruce Willis single handedly ruins it with his "Die Hard" facial expressions, especially when they're not needed. The writing here is also the worst and, at times, puts the actors in very difficult situations. This section becomes annoying as we hear Bruce Willis call his girlfriend- that we won't care at all about- Lemon Pie, Sugar Pie, and retard. When he calls her a retard it's pretty funny, but other than that this lacks the punch that Travolta and Thurman provided minutes earlier. This section is bloated with dialogue, bad acting, and uninteresting characters. "The Gold Watch" has its moments and definitely picks up when we meet the gimp and the crazy world that we fall into. It just takes too long getting there. Christopher Walken provides a very interesting and hilarious story of the watch that has been passed down anally from generation to generation of the Coolidge family. 

"The Bonnie Situation" may very well be the strongest section of the film. This is where we meet "The Wolf" (Harvey Keitel) as he cleans up a mess made by Vincent Vega in a hilarious scene where he accidentally "shot Marvin the face." "The Bonnie Situation" offers up quite a bit of laughs, some great acting, and a very strong ending. The film ends where it started with Jules (Jackson) talking about changing his life around as he "walks the earth." Thankfully Gods interventionist-like hand, that saved him hours earlier, doesn't make him walk too far as He has sent him a weak person for the transitional Jules to save. The film ends on Jules changing or turning against everything he has ever done or known. Instead of being a bad - and killing "Pumpkin" (Tim Roth), he gives him some money, out of his own wallet, for a chance to start fresh and redeem himself. This might actually be "Pumpkin" and "Honey Bunny's" last heist, and they have Jules to thank for the chance at redemption and changing their ways.