EssenceOfSugar

Non-Stop is a 2014 mystery suspense action thriller set aboard a flight from New York to London, starring none other than Liam Neeson. It’s fortunately not in the style of Taken, whereby almost everything is offset by enjoyable, brainless action and a completely illogical plot, but this being from this specific genre with Liam Neeson it’s often hard to let off so easily. Sure, we gain a sympathetic situation from an air marshal with horrific problems to deal with (I couldn’t help it when it was announced his daughter had died from acute leukaemia at the age of 8, mirrored with the conversation with Jennifer about the blue ribbon that his 17 year old daughter had given him because despite being who he is, he’s still pretty much a damaged person), the film itself doesn’t often follow through with the morality themes it has given itself. To an extent, it is entertaining in a better way that you have to use your brain (for the most part), but has an ancient habit of not in the least well done plot devices. Liam Neeson is Bill Marks, an air marshal, who discovers the flight he is on has someone threatening to kill a passenger on board every 20 minutes if $150 million is not wired to a given account number. The set-up is simple and solid and we come to an understanding of a thrilling suspense ride that combines both intelligence and action. The hype is definitely not surprising. We gain much of this from the acknowledgement of the question many people would be asking: “How do you kill someone on a passenger plane without anyone noticing?” I mean, with the limited space 40,000 ft. above the ground, it would be too easy. That film wouldn’t exactly be the most popular. It helps that we are given a conventional beginning to lead us through, with the usual action of boarding the plane (his alcoholism is prominent right from the start) and interacting with crew members and passengers. In particular he takes a shine to Jennifer Summers (played by Julianne Moore) and manages to find trust in Steward Nancy Hoffman (played by Michelle Dockery). This is significant to the plot strength, because if he is to discover how someone kills someone aboard a passenger plane discreetly, he needs to know about the other passengers and that includes asking for help. Although, there’s a weakness here – of course it’s meant to be difficult considering the circumstances and what better way than to throw a plot twist in there? However, it does stretch out coherently enough, really only until the final act where a plot device manages to make its way in. What doesn’t make sense is that Bill gains and regains people’s trust too quickly in spite of the revelations. Perhaps the sympathy card was played for that reason – they can’t trust him enough as an air marshal but after airing his problems people have no other idea but to. I suppose it wouldn’t work if he didn’t have the jaded persona, but at the same time it doesn’t come naturally. If they had only one reason to trust him it would be because what he was doing was trying to save their lives and that they had to. The media is a volatile outlet and to retract the statement of being the FBI’s (we’re talking high class investigation here) prime suspect in a hijacking wouldn’t be that easy to do. The film sometimes forgets that it aims to bring its own morality to the table due to its own idea of logic. The distrust is too often forgotten, the theme of futility and hope getting more intermittent as the film progresses and whether the physics of being able to muffle a bomb blast in an airplane while managing to land it and have the present passengers all survive still sounds questionable. But a specific saving grace happens to be a young girl named Becca, travelling alone to meet her father, a walking symbol of a fragment of Bill’s life that he can finally share an experience with that he was never able to last with his own daughter. The blue ribbon being quite obvious. To an extent, this film is an enjoyable ride that sets up on a take-off with a solid, excusable premise that misses points and jumps too quickly. It is refreshing to see a wide range of people represented, showing a distinctive power of a lack of discrimination. When Bill doesn’t know who to trust, it’s simple to know he’s doing it out **** lack of knowledge and that he addresses those he needs to in order to know what’s really going on. What doesn’t work though, is that what ends up as a possible development ends up being squandered for the usual kind of ending – Julianne Moore and Liam Neeson looking at each other in the style of a happy ending of a romantic comedy. Being a mystery suspense action thriller, that’s definitely not what I was expecting (for a Liam Neeson film, I was hoping he didn’t have to do this).

I would consider it offensive if this was labelled simply as a '100 minute commercial'. It may be made involving a corporate franchise, but it is there to teach, not to sell. The LEGO Movie uniquely combines smart sharp satire towards examples like pop culture and consumerism, a charming voice cast voicing a whole array of interesting characters (if you look close enough, some of the characters parody the usual stock characters) and a morality tale. It not only subverts tropes, but also subverts expectations right until the end. It's difficult to see a film just once, especially when it contains so much humour and wit when mocking things left right and centre. Everything I feel about this film is exciting. Animation can show itself to stand out in throwing out a non generic message involving politics, business and culture. The villain himself shows the audacity as a president to not only demonstrate his nefariousness, but impose his own ideologies with no room for creativity. Not only that, but the LEGO Movie also plays on the cliches of many outrageous tropes - how does it work out when a simple, ordinary construction worker is suddenly announced as the centre of the prophecy as 'the Special'? What happens when he encounters someone considered to be the 'manic pixie dream girl'? The split personality of the Good Cop Bad Cop is refreshing when it comes to two distinctively defined cops interrogating someone, and the gleeful decision made about Green Lantern after his film ultimately failed is dark but amusing. However, when it comes to happy endings, even that doesn't remain the same. Even for the villain himself. It doesn't spit out the usual kind of messages - whether on the scale of the morality tale or the satire surrounding politics and the like.

The Jack and Rose storyline doesn't ignore the plight of the other passengers - it is hard to fault the acting of the characters - especially considering the design of the entire film had to be dramatically vast and reveal accounts that are accurate portrayals of their real-life counterparts. Thomas Andrews, the chief engineer of Titanic itself who went down with the ship and Molly Brown, known as 'The Unsinkable Molly Brown' who happened to not be acknowledged until after her death, are two examples. The relationship between Jack and Rose is more an emphasis on society's expectations in 1912. Although the romance only lasted a few days, it happened at the point of one of history's greatest disasters and only the beginning of women's suffrage. The first class and third class passengers are so much in contrast despite Jack spending so much close proximity to them alongside his witty repartee, not to mention that at both ends of the spectrum it is clear that neither class are shown to be anything but themselves. Some truly devastating dialogue, often as a pointer or a sad truth to reflect society's values, but also perhaps the odd humour that does something similar: "Music to drown to, now I know I'm in first class". There are many scenes of true beauty, such as the sunset over the sea with a poignant remark of the last light the ship ever saw. The soundtrack itself evoked beauty, particularly the rendition of Celine Dion's 'My Heart Will Go On' carrying on a beautiful moment at a truly wondrous event in the film.

Severe lack of characterisation, predictable set-up from the start, majorly contrived plot devices, the dinosaurs almost pushed to the side with about the least annoying character being Dr. Alan Grant, a stock, pointless ****'s like I didn't care any more. And it's a great insult to have one of the main female characters to be so poorly written that she was about one of the only ones to be found screaming for help.

This film is deceptively brilliant, bordering that grey area where there are characters that are depicted do not fall into the trap of specifically bad or good. There is no real physical entity that serves as an antagonist, instead twisting the twist even further by having the protagonist's other self be just as similar with elements of self-confidence. It is dealt with spectacularly, but it was obvious that this proves a real take on something that goes so much unnoticed, dealing with science-fiction that possesses a more emotional and metaphorical nature. The computer, played with a surprisingly lack of monotone by the rightfully chosen Kevin Spacey, is given a personality with a much different result compared to 2001: A Space Odyssey. Sam Rockwell's performance couldn't have been done with a different appearance, his voice able to express wild emotion and a casual tone of both indifference and contentment. It is not so much nuanced, but it was important to understand the feelings of someone isolated in space without so much as a live feed, inclusive of how natural the reveal was.

This is an honestly suspenseful thriller it truly builds up right from the beginning. The fantastic simplicity of using the same soundtrack throughout lacks monotone and adds creepy familiarity, the neighborhood as the setting proves to be a falsely secure yet sunny environment. You're almost begging Michael Myers not to take off the mask which illustrates someone who looks human, but feels inhuman with those dark, merciless look in where his eyes should be. The colour is a muted, almost grainy tone, giving a more authentic 80's feel, with the shadow in the background disappearing with a second look which we unquestionably accept until the real thrills happen, as the haunting presence that contrasted with the setting is able to come out. Even when he does, Myers is still both intimidating and ruthless as he picks them off. The self-reference of a director undoubtedly feels out of place, but the psychiatric character of Dr. Loomis played brilliantly with undeniably precise questioning by Donald Pleasance. We can forgive his more likely ridiculous stance as he searches for his patient, because it is counter-acted by such an emotionless, inhuman embodiment of nature vs. nurture with no solid reason to kill. The running time was in tune with the story-line without frequent jump scares to provide nutrition, the kills worthwhile when they happen with a amazingly juicy one in the downstairs kitchen. It works with realism a quiet, normal neighborhood disrupted by, rather than a raging presence, a silent stalker that symbolically represents the real safety of our neighborhood which can be likewise seen in other twisted slashers such as A Nightmare On Elm Street. The killer that comes out from beneath its shell and strikes without warning. A 6 year old with no soul, a butcher knife and murder on his mind? That is an argument that writes itself.

Patrick Bateman is an obviously mentally deranged yuppie. We see right from the beginning that he is purely pop-culture and sex obsessed, and we see an embodiment right there of his narcissistic mentality and the sarcastic intonation of his voice. If the film was meant to be artificial, then it was well-matched with its leading character. His crazed breakdown may be too far down the line for its previous contrast but the confessional point of view was the savior, and this portrayal of a typical yuppie was satirical enough to demand the cold sterility of an apartment, the emptiness of any kind of relationship he might have had, and the insistence of making reservations to end all reservations. Personal lifestyle for what sake?

The natural function of sleeping and dreaming happens to be reserved for this chilling rather than outright terrifying classic. Being 1984, I could expect that the sound quality and the special effects were to be cheap and crackly. However, it was less of my concern that this lack of gloss only helped to provide an authentic, unsettling atmosphere. What my main concern was was the mismatch of music when it played during the chase scenes, which only served to sadly detract from what it was trying to achieve. Freddy Krueger's appearance and personality personifies the imagination and fear of the unknown in which elements of suspense become just as important as its part in the slasher genre. His scarred face, fedora, striped red and green jumper and all too well known gloves with knives serve to bring to life a standout, recognisable performance whereby he represents a villain that borders on dreams and reality with a maybe awkward inability by the film's main protagonists to distinguish the bridge when it comes to survival. By using a vital part of everyday life, Freddy's actions have just as much effect on reality as they do in the dreamworld. Safety is immediately compromised when we are at our most vulnerable, so it isn't enough to claim that 'this is a dream, it isn't real', of which it brings a whole new meaning to.

Flat characterisation and story development with juvenile depictions of the brutal subject it was approaching. Such was this, that the costume and set design were very much bloated. The romance is too focused and seems less keen on exploring the themes of creating a society based on the treatment of competition between young people by killing each other. First and foremost, you didn't have to see the film to know how it ended. A feeling that that was how it was going to end was illustrated under the unconvincing panic of its main protagonists who would miraculously appear in the sequel. Seeing as how I had never read the books, I felt as if was some kind of condescending response to those who genuinely wanted to see the film but had never read the books.

David O. Russell hasn't quite grasped a more careful idea of portraying mental illness within a dramedy. The transparent depiction inside a Hollywood, Oscar-baited film becomes clearer towards the end, and if he knew that this script would win awards then he possibly didn't try it convincingly enough. The ending was purely cringeworthy, it lost its likeability pretty quickly and the sentimental drama that is said to be cleverly executed and believable is actually riddled with cliches. The bipolar illness itself is treated as more of a side-issue it kills any chance of an even tone by switching it on and off when needed. The comedy fails to distract from these problems, making light of the real issues (with its subject and the plot itself) and acting as if this is what it truly means to have bipolar.

One of the main flaws of this film is that a film based on androids that create an idealistic version of themselves revolves around the inventor, who becomes disillusioned at how they've changed from aiding less able people such as himself to somewhat empty and materialistic concerns. The college student was a fair target, considering who they were aiming for. However, this becomes a side issue among the division between the predictability and the actual exploration of humanity's frightening procrastination at becoming old and unable to go through life. This was in contrast with turning it into some kind of fashion statement, as if artificiality and beauty can prolong meaning of life itself. Bruce Willis is ultimately superb in this role, considerably cynical and not sarcastic, distinctive in a world of people who are plugged into androids. In turn, there are obvious cliches that you would find in an action sci-fi, albeit having action that was just as necessary as the dialogue.

I was blown away by not only the intense action and thrills, but also the remarkable storyline with amazing characters. It was packed with emotion much of the essence of Star Trek and contained some incredible twists. It is an extremely good approach to this much loved franchise, as by using an alternate timeline doesn't exploit its own advantages, but allows other people to enjoy it as much and it takes pride in its ability to stretch itself to new levels. The villain, played by the venerable Benedict Cumberbatch, commanded much attention through his mesmerising baritone voice but also his physicality. When he wasn't in scenes, you could still feel his threatening presence, and when he was, he was spectacularly manipulating and hyper-intelligent. He was cold, calculating and rational, with kick-ass moves and hypnotizingly sympathetic motives with destructive methods. The crew had to so much grow incredibly in order to face up to who could be described as one of the best villains I've ever seen. Delivering the fact that he provides the film aplenty with moral dilemmas, he contributes wit alongside his fellow actors, possibly more, without an overload of special effects and action. Enthralling as well as thrilling, it is an interesting and extremely entertaining addition to the Star Trek that doesn't lack the essence but puts a new twist on it, it is something I could watch multiple times and still would want more. When a film does that, you know it's good.

Adorable animation and lovable characters, this is both a combination of Toy Story and Who Framed Roger Rabbit in video game form Disney style. Maintains that Disney look of great animation, comedy and unsurprisingly underlying darkness alongside characters with interesting back stories where they are just begging to be loved, not to mention the film itself begging for repeat viewings because this is a film you can't see just once. It's neither patronising nor sickening, an intelligent combination of characters if not cameos with plenty of nostalgic video game references and humour which is a reason why plenty of adults should see this. It makes it feel like an instant classic and it's got an imaginative yet freaky twist in it that I've ever seen in an animation. The thing that got me was not only the heart-warming ending, but a sweet little romance between two very different characters which should be one of the sweetest romances in animation history. This film should belong up there with beautiful animations such as Toy Story.

A perhaps surreal futuristic science-fiction thriller, Cruise perfects it by staying in control of his all-guns-blazing urges but brandishes a tricky yet fascinating personality. The ending comes extremely close to letting it all go in Spielberg style, but it felt like a matter of the poignancy involved when dealing with sensitive areas, alongside the corruption and multi-faceted look of each of the characters. Besides, it still had the action, just with the intellectual superiority, hard-hitting, thought-provoking and the haunting strangeness in both the visuals and the story that many other films don't have. The plot twists were careful enough not to tie you in knots, but remembered the audience knew that it was a science-fiction thriller, and ended up creating something intelligent and mind-blowing at the same time. Strangely, this is both Cruise's and Spielberg's best film that I have seen so far.

[SPOILER ALERT: This review contains spoilers.]

This stylistic feature of black comedy has put quite a mark on reflecting and perhaps parodying America's attitudes towards culture and materialism. The fact that the design of the UFOs and Martians were less shoddy and more of what we think of them means that it helps to look at these in terms of our assumptions. A great ensemble of character with their own time to shine, the comedy is affectionate as well as outrageous. It's not meant to be predictable, it's the fact that the characters should have seen this one coming.

You could excuse this film for being showy, and perhaps pretentious, but the characters fill the void with their own spirit. Hugh Jackman especially had the most spirit, specifically with his humanity without showing off. The music is shivery, particularly when it gets to the climax of the revolution. A very good film.

I almost died of boredom halfway through, because instead of having depth in the beautifully visual scenes like in the LOTR trilogy, it felt pretty empty. I didn't want to see what happened next, I wanted it to end. And seeing it wasn't that far through, the magic of Middle Earth was lost amongst waterfalls, mountains and lush forests, and I was assuming what they were searching for what was left of the storyline. But apart from that, what also made it worse, because I think other people who disliked this film would repeat that as a criticism, was the humour that was rolled out with each line one after each other, expecting us to laugh uproariously, when it felt forced and just generally unfunny. Much of it was low-brow humour, which was one of the reasons I disliked the dwarves, only really there to please the children. Apart from the visually beautiful scenes, the only element of the LOTR trilogy that was still there and alive was Gollum, who was on perfect form. Martin Freeman could seriously carry this film on his own, as there didn't seem to be much contribution from anyone else - maybe Ian McKellen, if I saw more of him.

With surprisingly better pace than its predecessor, The Return Of The King provides a graceful and majestic yet thrilling end to the trilogy that is Lord Of The Rings. I almost cried.

This somehow did not work for me. If this was supposed to be serious, it was verging on the ridiculous. I could excuse the first one for a little low-brow humour considering it didn

It's surprising when you find one of these rare epics that still manage to captivate and spellbind over such a long period of time. The visuals were absolutely majestic, yet the story managed to unfold with such grace and never dawdled. The actors proved worthy of the role they played and kept up their spirit throughout. It was also nice to feel a little light-heartedness among the fantasy, drama and suspense that occurred. To be honest, I couldn't really point out what was actually bad about it, because it just looks like one of the best fantasy epics ever made.

Well, it

This film is a rare action masterpiece

With fantastic actors for the roles, the dark humour plays well with the situation, but the point was - neither the poignancy or comedy made it awkward, but when it did, it was done well, and it felt sweet and amusing to make light of such a horrific event. And more specifically, it managed to have not just dark humour, but also a hilarious comic effect. Joseph Gordon-Levitt has just been amazing in every film I've seen, and I still found Seth Rogen's awkward jokes funny. Great chemistry, and provided an honest account of cancer - it wasn't cheesy, it didn't feel Americanised and the way things were resolved just felt fascinating.

There are often summer films that succeed visually, but are not as spectacular without the addition of intellectual thought. It takes a while to navigate through all the confusion, but it is fascinating to see how everything works. The characters couldn't have been played better. Christopher Nolan doesn't treat his viewers as if they're stupid, but neither does he pretend he's so clever that he immediately confuses everyone. This is a rare summer film that thrills as well as fascinates, providing not just visual treats, but also intellectual ones.

A very touching and thought-provoking film surprisingly made by Terry Gilliam, one of the people behind Monty Python. The insight and themes surrounding this brilliant science-fiction film have depicted that somehow we ourselves are unsure of what is real and what is not. Each actor has their own creative part to play, and despite what you may think, with all the life-threatening and time-travel twists to get your head around, it will end up having a real impact on you, thinking about the real issues that are actually quite close to home.

Seriously, this film is better than you think. I could not stop laughing. Sure, there

As much of a sensitive, empathetic person that I am, I could not click properly with the characters and even for the film it was, reality went out of the window. I got sick of the angelic soundtrack halfway through the film of which it degenerated into a sickly pile of sugar. The acting of the main characters couldn't have saved it, and the only things I liked were the animals, and, for a comedy-drama which went on for a whole 2 hours, the only things I laughed at were the countless clichés that me and my dad could easily predict from the start.

I was indeed wary that this might be not up to standards of the first film, but when I saw it, I thought it was better. It was a ridiculous storyline, but Liam Neeson was still up to par, as I enjoyed him doing what he does best. I could empathise with the characters properly, as I felt I was much more comfortable with Kim being a stronger character than in the last film, while the rest of the cast were still fully capable of committing to the plot. The ending certainly proved better worth than the previous film's ending.

I appreciate the humour and light-hearted joking around which made the film pleasant to watch, not to mention the beautiful scenery, but I think the uneven pacing and lack of subtlety in the film (can be reflected on how the important issues of the day were portrayed - I'm not really a fan of 'in-your-face' politics and don't find obviousness a clever trait in films) made me feel distant, as was the decision to awkwardly mix the laughs and the emotional impact. The characters themselves were less flawed, although what they make up for in personality, their chemistry with each other seemed strained. Nonetheless, it was funny, Ewan McGregor providing the lead for great dry humour and was the strongest character in the film.

This film is good - I like the characters but most of all I found the climate change plot fascinating. This made the intense scenes with the snow and the rain quite entertaining, but it was pretty emotionally intense as well. It's not a perfect film, but I enjoyed it when I was younger and I enjoyed it now. It still delivers brilliantly, and Jake Gyllenhaal is still as clever and gorgeous as usual.

This science-fiction action film is a surprising emotional blend of kick-ass fights and firearm killing and disturbing dystopian themes. It evokes powerful feelings of empathy and fear which is not really seen in similar genres and left me shaken as I left the screen. This made me realise

I was aware that this film was something of great importance. And it was, but it wasn't good enough. I liked the Joker, he was a much more effective villain than what I saw of the Scarecrow and Bane. Bruce Wayne didn't seem to have much of an impact on me, but he certainly had quite a few things to say, whether they were mildly significant or extremely amusing. It was dark and thrilling, but there were a few things in here that just made it feel silly. I enjoyed the sociological aspect of choosing between two boats and the way it didn't play on the assumption that when things happened, it wasn't for money. Amazing set design, would've liked to see more contribution from Wayne, good interaction between different characters and the rapid shifting between scenes is a real problem. Still, it was fascinating and was glad I saw it.

I think it's worth pointing out that this film is rather more intelligent than complicated. It showed this by hooking you in via the first few minutes with the scenario and then explaining in depth about it from different perspectives. That's one of the first films I've ever seen do that and it remained intriguing throughout - and the end! That was probably the best ending I've ever seen! There was no loose ends, but with what the film gave you, it left you awe-inspired and shocked - who was who and what really went on? I was fascinated by the psychological aspects - it helped unearth more of the more disturbing characteristics of humanity - obsession and revenge. When you look at it, the magician's theme reflected these secrecies and psychological tricks that were employed. The actors were amazing - I didn't think Hugh Jackman and Christian Bale would star in a film together, but who cares, they were a perfect pair! It's just like Batman versus Wolverine but with magic. Despite that, the science alongside magic was a bit interfering as I was still more interested in finding out the surprise over surprise that continued to entertain me. Try not to big it up too much, Mr Nolan, you're brilliant at directing, but just try not to make it appear too big before it becomes a confusing, bloated mess.

It may be no finer a horror film than other similar distinguished works, but it worked for me. The acting may have been a little off-par, but Shyamalan has produced something that is worth watching. The actors were well matched and the way events were anticipated through the wind in the trees and grass disturbed me thoroughly. Not only that, but the acts themselves alongside the atmospheric music almost scared the living daylights out of me. I think this film effectively posed a message towards the sceptics out there, **** problem that we need to face before it's too late, even if nobody else thought so.

This film is awesome. Despite having what may be called a convoluted plot, it is given strength by the intense action, superb acting and a brilliant choice of characters, not to mention the crystalline graphics **** and the lively streets of New York. Joseph Gordon-Levitt is just so carefree and alive in this film.

Sometimes you only realise certain things until something shocking happens. This poignant tale, which somehow goes a little over the top, tells us of the fragility of human emotion and expression, a tale of how life goes on and what we learn along the way. I loved the incorporation of the cute little dog and his subtitles of his thoughts - films never really do that, but it gave us a different perspective of not just human nature. It was crazy at times, there wasn't much talking and sometimes I felt it wasn't really trying too hard to not be what it was supposed to - an art-house film. I still find it very thought-provoking, though, and the beautiful inter-mix of humour and sadness evoked so many other emotions. Ewan McGregor was great for this role, and I can't deny the others their applause either.

While it retreads familiar ground, this film is different from others that do the same thing. You cannot expect films like these to be directed just towards kids, because why should they subconsciously make the decision that it's childish and assume there's only a certain few that means you don't get labelled as childish if you see it? This film is almost perfectly developed for both young kids and older people - most of the characters are lovable in their own way and who seriously doesn't love Scrat? Regardless of any demographic, anybody who loves this film will have nothing against this little fella. Just when everything is going right, what's not to stop something small creating such a big disaster? I love the dialogue especially against the characters - I did like the pirates, although many of them just got on my nerves (guess that's what pirates do). And every character has their own personality that suits everyone - what's not to like?

This was an interesting sequel to the first film and no doubt that it had much more story to it considering the first one was merely a development on the characters. This gave us some more action combined with better character development, possibly better story development, but what I must mention is that X2 is subjectively different from its predecessor because this isn't the beginning. The first one was good because it gave us what we needed to begin with and this showed a good combination of storyline along with character development, while this one added more characters while adding a bit more action over storyline, plus it did go a little downhill in the middle. Despite that, I did enjoy this one, because there was more character development and a few more thrills and as my favourite character is Wolverine, it was great to hear more about him but without neglecting the rest of them.

This was almost strong enough to stand on its own two feet. The action doesn't overshadow the plot or the emotional aspect too much and there's a beautiful collection of individuals that moves smoothly along, bringing some amazing variety without forgetting about them. This doesn't necessarily have a particular main character and I enjoyed the twist of Jean Grey along with the epic, all-out war between different sides. I liked how the mutants particularly were working during this, because it was different to how it was when they were just fighting in the previous two films. Of course, Ratner didn't seem to have much grip on how Singer did it because from the way I saw it, the emotional aspects were difficult to control. Despite the variety, there was a lot of running and unnecessary fighting. Overall, although it wasn't as good as the previous two films, I thoroughly very much enjoyed it.

This film was not bad, but it wasn't good either. For what I can say, out of all the X-Men films including First Class, this was the weakest. I don't think I can possibly mention many bad points of the lead character, because it's not like Hugh Jackman didn't put in any effort into his character's behalf. He's been playing the god-damned Wolverine since the beginning of the 21st century, so I think he knows what he's doing. Besides him, I think the production team kind of threw some characters against a background and dialogue was added soon after, which is why some of it didn't seem to make much sense. But it's not like I didn't like all of the characters, I liked discovering characters I've seen before and it was quite fascinating seeing a popstar portray themselves as one of the mutants. To sum it up: predictable, violent fun.

This film was pretty good for what it achieved - the leads were amazing as their characters and the dialogue was interesting. The CGI was colourful, but didn't block out the story. I loved the chemistry between Erik and Charles before it descended into chaos. I doubted the film because of its possible childish aspects considering the group of teenage mutants but it also looked dumbed down from the darker X-Men films. Despite this, it managed to produce a stable backstory, there was a cool injection of humour (one scene possibly being unintentional but not in a bad way) and a cameo from a probably lovable rogue makes the film even more special.

Considering this was directed by Christopher Nolan, I thought this was going to be good. This should start of the trilogy in a good way, I thought. Then I watched it and thought, damn, this is stupid. The dialogue is mostly inane and the film blows itself into epic proportions of action and fighting nearly halfway through. The villain is ridiculous and looks like he was meant to scare kids than be properly chilling to older people. The back story develops into this? Even Christian Bale and Liam Neeson were only mildly entertaining.

This film is amazing! The characters were awesome and the genetic code plot was very well crafted! Good choice of actors - it was good to see actors other than American ones at the top of the list. I think these films will grow on me, I can't wait for the next ones. Partly fascinating, partly disturbing, partly funny, partly almost everything. Not to mention, Hugh Jackman is incredibly sexy as Wolverine. Damn.

I was particularly put off by the beginning - the jokes were more or less unfunny - so I was almost put off from watching the whole film. The jokes began to get funnier and I felt kind of at ease because it was less about slapstick and more about what was going on. Adam Sandler has that unique humour where you either like it or hate it. I think the film was slightly messy in its construction, certain pieces were skipped to and the conclusion was a bit rushed. It lacked depth because of its limited explanation - although it helped to replay events that had previously happened. That doesn't make it a bad film though, because sometimes romantic comedies are just meant to be enjoyed, and this example of a medical condition in a beautiful romantic environment is refreshingly original.

There's a particular idea thrown around in Hollywood these days. Large-scale blockbusters that were created with a budget of millions of dollars seem to be praised for the sake of it, claiming the effort that was put into the film was what made it successful, rather than how much money was put into such a project. Of course, that doesn't mean to say that every blockbuster is veiled as clever and breath-taking. The Dark Knight didn't resort to such cheesiness. With actors and actresses like that, the plot became a rainbow of viewpoints. It might feel over complicated, it might pretend to look clever, but with the introduction of new characters and continuation with previous ones, it takes into account the usefulness of each of their contribution to the plot. We gained an unusual power balance and for once, we discovered how different it felt for Bruce Wayne to not have the upper hand for longer than we expected, which was fresh. Not all blockbusters can create multiple characters and remember to include them so they feel part of it - sometimes directors neglect certain characters that could be important to the story. I loved the perception of Bane to create a politically and socially fuelled attack on the rich which was executed with such precision. It wasn't all out action - emotional aspects of action films need to be performed quite carefully and we were given a deeper and darker meaning within the film, rather than not having to explain things and so take them at face value. Christian Bale could be the only possible one to pull off such insecurity and determination, no one could look like they had another side that was properly executed, or be empathised with better. The acting was brilliant and the atmosphere gave you whatever feeling you were seeing on the screen. It wasn't at all dragged out, which I worry about with these particular lengths of film. What I didn't like about the film was the beginning, which often just peters out at the beginning of films as it just wants to get on with the film. Directors and writers shouldn't be afraid that the beginning will just go on too long so they miss out on such great achievements with the rest of the film. It also took so long for something proper to happen that Nolan usually pulls off with the Batman films. Talking isn't a problem - it's if you talk continuously and try to form the idea in a clever way when it doesn't work. In some parts, this film did try to look clever, but it tried in a particular way that is attributed to these sort of films, instead of 'hey look, I'm looking all meaningful and clever, in your face' kind of way, where you actually knew that it was pretending to be clever. In the meantime, despite some of these flaws, which you could perhaps think are significant, didn't stop it being one of the greatest films of all time. The pros majorly outweighed the cons, but what was the best attributes to this film was the mind-blowing acting of Christian Bale, where, despite being THE main character, didn't take first position in screen-time. He let other people have a chance, and director Christopher Nolan certainly helped create this film to be so breath-taking in personality as well as looks.

This film felt, though comedic, quite disturbing with the portrayal of the killings. It was better, because instead of the usual setting of a large city, it was on a London council estate. This gave it a distinctly unique British flavour. The pacing was top-notch considering it was set around a night. What also must be taken into account is the availability of character viewpoints, which, perhaps, might have been overwhelming for some people, but I thought it would be easier to hear from more people than less to provide a better understanding. The reflection of the aliens' behaviour against the teenagers which they obviously perceive to be dangerous could be compared to their perceived behaviour from the authorities point of view. Despite the less than proper language, this was still funny and surprisingly clever.

Comprised mostly of racial abuse and interrogations, this portrayal of a certain historical event is flawed because it is all jumbled together, thinly veiled as a historical masterpiece. The difficulty of using these racial themes within film is the accuracy that it is shown in order to be of certain historical value. It is one thing that you use an event from history and go slightly off track to improve it, it is another thing that you take an event from history and change it around into a complete mess that disrupts the perhaps flawless construction of history. Of course, this film is of little entertainment value, not because of the violent, horrific aspects, but because of the intensity. It wasn't all doom and gloom in the 1960's, but I suppose you could expect that from something titled 'Mississippi Burning'. At least the ending provided something a little more cheerful, despite the fact many people had been killed in the process.

Despite a weak beginning, this film manages to instead keep going up instead of sinking even lower. The actors are perfect for their roles - their contrast provided the strength it needed to maintain the thickening plot. Very good comedy - I think it weighed it down a little, which is often a side effect of trying to implement comedy so forcefully just because it was a comedy. But the upside was that it was funny anyway without trying too hard. What I didn't get about this film was that it was sometimes confusing and kept changing direction - which is difficult when you're trying to maintain a couple of sub-plots, and I don't think this handled it very well. The comedy made it more than bearable though and the film didn't just become overly benign, self-centred on making the audience feel really sorry for the characters. In the end, this film had incredible heart in fulfilling a comedic yet thoughtful purpose.

I found it quite an artistic interpretation of adolescence. It was stylistic, used to the symbolism of certain ideas and values through art. Considering this stylistic form, you wouldn't be able to compare it to other films like this, neither arty films, like 'The Tree Of Life', though. It has a uniqueness that plays well with having a young-ish director, not to mention the intelligent, cute, perhaps subtly naive look of the protagonist - he made the film feel psychological, as when you're an adolescent, things can seem overwhelming, where you often don't know what's going on and you try and maintain control anyway by doing weird things. As of this, the film was neither too dumb or too clever. It strives for the best, despite the irony of losing a little control over trying to feel like an art form - a few scenes didn't make sense - but I guess that combining genres like these can make them look and feel quite beautiful.