Reviews by kyleslittlewor

John Carpenter's 1978 'Halloween' is wholly deserving of its status as a horror classic. To this day it's still one of the freakiest films personally seen and introduced the world to one of horror's most iconic villainous characters Michael Myers.

Which is why it is such a shame that not only are all of the sequels nowhere near as good but that the decline in quality is so drastic. Ok, the original 'Halloween' is very difficult to follow on from, but most of the sequels could at least looked like effort was made into them. 'Halloween II' is not the worst of them, or one of the worst of them. It is not really a good film, not by a long shot, but oddly enough it still manages to be one of the better 'Halloween' sequels and one of the few semi-watchable ones despite its glaring faults.

'Halloween II' has strengths. It is one of the better-looking and more polished sequels and has a suitably eerie look. The music has a spine-chilling atmosphere, if not as much as the first 'Halloween' and not as big a character of its own that the music in the original was.

Didn't care much for the acting generally, but both Jamie Lee Curtis and Donald Pleasance make successfully game efforts and Michael Myers does evoke some creepiness.

There are also unfortunately some significant drawbacks. The biggest fault is that the atmosphere and tone are just wrong. The film just feels like a stale retread minus the chilling scares, nail-biting suspense and the feeling of being unsettled. There is nothing creative or shocking about the scares or deaths, it's all by-the-numbers, over-familiar and indifferent. Everything is just too predictable and dull in pace to be remotely suspenseful.

Stupidity is also all over the film. So many moments are intelligence-insultingly ridiculous and almost illogical, and the hospital setting would have been more effective if it wasn't so under-populated and drab (it actually didn't feel like a hospital at all). Didn't care for the direction either, there is no flair and very little engagement with the material, at times there is too much of an imitation of the direction of the first 'Halloween' but with no success.

Curtis and Pleasance aside, the acting is ropey and everybody has to work with a clunky script, with a stilted flow and a lot of unintentional laughs, and annoying characters (with the old characters being so dumbed down that they are no better).

Overall, mediocre but one of the semi-watchable sequels of the series. 4/10 Bethany Cox

John Carpenter's 1978 'Halloween' is wholly deserving of its status as a horror classic. To this day it's still one of the freakiest films personally seen and introduced the world to one of horror's most iconic villainous characters Michael Myers.

Which is why it is such a shame that not only are all of the sequels nowhere near as good but that the decline in quality is so drastic. Ok, the original 'Halloween' is very difficult to follow on from, but most of the sequels could at least looked like effort was made into them. 'Halloween II' is not the worst of them, or one of the worst of them. It is not really a good film, not by a long shot, but oddly enough it still manages to be one of the better 'Halloween' sequels and one of the few semi-watchable ones despite its glaring faults.

'Halloween II' has strengths. It is one of the better-looking and more polished sequels and has a suitably eerie look. The music has a spine-chilling atmosphere, if not as much as the first 'Halloween' and not as big a character of its own that the music in the original was.

Didn't care much for the acting generally, but both Jamie Lee Curtis and Donald Pleasance make successfully game efforts and Michael Myers does evoke some creepiness.

There are also unfortunately some significant drawbacks. The biggest fault is that the atmosphere and tone are just wrong. The film just feels like a stale retread minus the chilling scares, nail-biting suspense and the feeling of being unsettled. There is nothing creative or shocking about the scares or deaths, it's all by-the-numbers, over-familiar and indifferent. Everything is just too predictable and dull in pace to be remotely suspenseful.

Stupidity is also all over the film. So many moments are intelligence-insultingly ridiculous and almost illogical, and the hospital setting would have been more effective if it wasn't so under-populated and drab (it actually didn't feel like a hospital at all). Didn't care for the direction either, there is no flair and very little engagement with the material, at times there is too much of an imitation of the direction of the first 'Halloween' but with no success.

Curtis and Pleasance aside, the acting is ropey and everybody has to work with a clunky script, with a stilted flow and a lot of unintentional laughs, and annoying characters (with the old characters being so dumbed down that they are no better).

Overall, mediocre but one of the semi-watchable sequels of the series. 4/10 Bethany Cox

Warning: Spoilers
The Shining, you know what's weird about this movie? This is the movie that everyone, for people who claim to not like horror films, will always say that The Shining is a terrific film. This is Stanley Kubrick's classic vision of Stephen King's horror tale of madness and blood. This is just an incredible film and wither you have seen it or not, you have heard of it, know a few lines from it, and know some of the classic images. Who could forget Jack's "Here's Johnny!"? Who could forget "All Work and No Play Make Jack a Dull Boy"? Who could forget that chilling ending? This is the film that is unforgettable and honestly in my opinion is Kubrick's best work. I know there is a lot of argument in that department, a lot of people say it's 2001: A Space Odyssey or Clockwork Orange or even Dr. Strangelove, but if those film pioneered film making, then The Shining perfected it. This is the tale of isolation, madness, terrifying images, and the ultimate ghost story that will crawl underneath your skin.

Jack Torrance, Jack's son Danny, and Jack's wife, Wendy arrive at the Overlook Hotel on closing day. The elderly African-American chef, Dick Hallorann, surprises Danny by speaking to him telepathically and offering him some ice cream. He explains to Danny that he and his grandmother shared the gift; they called the communication "shining." Danny asks if there is anything to be afraid of in the hotel, particularly Room 237. Dick tells Danny that the hotel has a certain "shine" to it and many memories, not all of them good, and advises him to stay out of room 237 under all circumstances. Danny's curiosity about Room 237 finally gets the better of him when he sees the room has been opened. Danny shows up injured and visibly traumatized after Jack tells Wendy that he loves his family. Seeing this, Wendy thinks Jack has been abusing Danny. Jack wanders into the hotel's Gold Room where he meets a ghostly bartender named Lloyd. Danny starts calling out the word "redrum" frantically, and scribbling it on walls. He goes into a trance, and withdraws; he now says that he is Tony, his own "imaginary friend." Jack sabotages the hotel radio, cutting off communication from the outside world, but Hallorann has received Danny's telepathic cry for help and is on his way. Wendy discovers that Jack has been typing endless pages of manuscript repeating "All work and no play makes Jack a dull boy" formatted in various ways. Horrified, Jack threatens her and she knocks him unconscious with a baseball bat, locking him in a storage locker in the kitchen. Jack converses with Grady through the door of the locker, which then unlocks releasing him. Danny has written "REDRUM" in lipstick on the door of Wendy's bedroom. When she looks in the mirror, she sees that it is "Murder" spelled backwards. Jack picks up an axe and begins to chop through the door leading to his family's living quarters. "Here's Johnny!", and Jack's legendary image is born.

The Shining is one of those films that you seriously have to make time to see, this is an incredible film and still gives me nightmares. Jack Nicholson's performance is timeless and unforgettable. But one I also feel is extremely overlooked is Shelley Duvall, her scene of finding Jack's rant All Work is incredible, that's a look of horror and you can see that fear in her face after realizing her husband is mad. Also another incredible scene is when Jack sees a ghost woman in the bathtub, it's honestly one of the most terrifying scenes in horror cinema. The reason this film is so well known is because it's a film of perfection, it's been on The Simpsons, it's been shown in other films and it's a film that will forever stay with you when you see it, trust me.

10/10

Warning: Spoilers
The Shining, you know what's weird about this movie? This is the movie that everyone, for people who claim to not like horror films, will always say that The Shining is a terrific film. This is Stanley Kubrick's classic vision of Stephen King's horror tale of madness and blood. This is just an incredible film and wither you have seen it or not, you have heard of it, know a few lines from it, and know some of the classic images. Who could forget Jack's "Here's Johnny!"? Who could forget "All Work and No Play Make Jack a Dull Boy"? Who could forget that chilling ending? This is the film that is unforgettable and honestly in my opinion is Kubrick's best work. I know there is a lot of argument in that department, a lot of people say it's 2001: A Space Odyssey or Clockwork Orange or even Dr. Strangelove, but if those film pioneered film making, then The Shining perfected it. This is the tale of isolation, madness, terrifying images, and the ultimate ghost story that will crawl underneath your skin.

Jack Torrance, Jack's son Danny, and Jack's wife, Wendy arrive at the Overlook Hotel on closing day. The elderly African-American chef, Dick Hallorann, surprises Danny by speaking to him telepathically and offering him some ice cream. He explains to Danny that he and his grandmother shared the gift; they called the communication "shining." Danny asks if there is anything to be afraid of in the hotel, particularly Room 237. Dick tells Danny that the hotel has a certain "shine" to it and many memories, not all of them good, and advises him to stay out of room 237 under all circumstances. Danny's curiosity about Room 237 finally gets the better of him when he sees the room has been opened. Danny shows up injured and visibly traumatized after Jack tells Wendy that he loves his family. Seeing this, Wendy thinks Jack has been abusing Danny. Jack wanders into the hotel's Gold Room where he meets a ghostly bartender named Lloyd. Danny starts calling out the word "redrum" frantically, and scribbling it on walls. He goes into a trance, and withdraws; he now says that he is Tony, his own "imaginary friend." Jack sabotages the hotel radio, cutting off communication from the outside world, but Hallorann has received Danny's telepathic cry for help and is on his way. Wendy discovers that Jack has been typing endless pages of manuscript repeating "All work and no play makes Jack a dull boy" formatted in various ways. Horrified, Jack threatens her and she knocks him unconscious with a baseball bat, locking him in a storage locker in the kitchen. Jack converses with Grady through the door of the locker, which then unlocks releasing him. Danny has written "REDRUM" in lipstick on the door of Wendy's bedroom. When she looks in the mirror, she sees that it is "Murder" spelled backwards. Jack picks up an axe and begins to chop through the door leading to his family's living quarters. "Here's Johnny!", and Jack's legendary image is born.

The Shining is one of those films that you seriously have to make time to see, this is an incredible film and still gives me nightmares. Jack Nicholson's performance is timeless and unforgettable. But one I also feel is extremely overlooked is Shelley Duvall, her scene of finding Jack's rant All Work is incredible, that's a look of horror and you can see that fear in her face after realizing her husband is mad. Also another incredible scene is when Jack sees a ghost woman in the bathtub, it's honestly one of the most terrifying scenes in horror cinema. The reason this film is so well known is because it's a film of perfection, it's been on The Simpsons, it's been shown in other films and it's a film that will forever stay with you when you see it, trust me.

10/10

Warning: Spoilers
The Shawshank Redemption is written and directed by Frank Darabont. It is an adaptation of the Stephen King novella Rita Hayworth and Shawshank Redemption. Starring Tim Robbins and Morgan Freeman, the film portrays the story of Andy Dufresne (Robbins), a banker who is sentenced to two life sentences at Shawshank State Prison for apparently murdering his wife and her lover. Andy finds it tough going but finds solace in the friendship he forms with fellow inmate Ellis "Red" Redding (Freeman). While things start to pick up when the warden finds Andy a prison job more befitting his talents as a banker. However, the arrival of another inmate is going to vastly change things for all of them.

There was no fanfare or bunting put out for the release of the film back in 94, with a title that didn't give much inkling to anyone about what it was about, and with Columbia Pictures unsure how to market it, Shawshank Redemption barely registered at the box office. However, come Academy Award time the film received several nominations, and although it won none, it stirred up interest in the film for its home entertainment release. The rest, as they say, is history. For the film finally found an audience that saw the film propelled to almost mythical proportions as an endearing modern day classic. Something that has delighted its fans, whilst simultaneously baffling its detractors. One thing is for sure, though, is that which ever side of the Shawshank fence you sit on, the film continues to gather new fans and simply will never go away or loose that mythical status.

It's possibly the simplicity of it all that sends some haters of the film into cinematic spasms. The implausible plot and an apparent sentimental edge that makes a nonsense of prison life, are but two chief complaints from those that dislike the film with a passion. Yet when characters are this richly drawn, and so movingly performed, it strikes me as churlish to do down a human drama that's dealing in hope, friendship and faith. The sentimental aspect is indeed there, but that acts as a counterpoint to the suffering, degradation and shattering of the soul involving our protagonist. Cosy prison life you say? No chance. The need for human connection is never more needed than during incarceration, surely? And given the quite terrific performances of Robbins (never better) & Freeman (sublimely making it easy), it's the easiest thing in the world to warm to Andy and Red.

Those in support aren't faring too bad either. Bob Gunton is coiled spring smarm as Warden Norton, James Whitmore is heart achingly great as the "Birdman Of Shawshank," Clancy Brown is menacing as antagonist Capt. Byron Hadley, William Sadler amusing as Heywood & Mark Rolston is impressively vile as Bogs Diamond. Then there's Roger Deakins' lush cinematography as the camera gracefully glides in and out of the prison offering almost ethereal hope to our characters (yes, they are ours). The music pings in conjunction with the emotional flow of the movie too. Thomas Newman's score is mostly piano based, dovetailing neatly with Andy's state of mind, while the excellently selected soundtrack ranges from the likes of Hank Williams to the gorgeous Le Nozze di Figaro by Mozart.

If you love Shawshank then it's a love that lasts a lifetime. Every viewing brings the same array of emotions - anger - revilement - happiness - sadness - inspiration and a warmth that can reduce the most hardened into misty eyed wonderment. Above all else, though, Shawshank offers hope - not just for characters in a movie - but for a better life and a better world for all of us. 10/10.

As much as I do love Ran, The Hidden Fortress and Throne of Blood, it was Seven Samurai that I love most of Akira Kurasawa's films. As with all Kurasawa's films, it is incredibly well made with authentic scenery that would give meaning to the term epic and the camera work is truly spectacular. This is especially true in the final battle, with inspired use of moving and multiple camera, precise editing, telephoto lenses and variegated film speeds. As always with Kurasawa, the direction is consistently brilliant. Add to that a stirring score from Fumio Hayasaka and a thoughtful script and you have more reasons why Seven Samurai is so good. The story unfolds slowly, but never felt dull to me and is never hampered by the three-and-a-half-hour running time. Plus Seven Samurai is interesting for being one of the first few to utilise the plot element of recruiting/gathering of heroes into a team to achieve a goal, seen especially with when the audience is first introduced Kambei. The action is spectacular and looks even better with the use of multiple cameras from various angles, and any humanity Seven Samurai has, and it does have a lot, is shown in a poignant way. The cast are excellent, with Takashi Shimura and especially Toshiro Mifune the standouts. Overall, of a resume of one of the greatest directors who ever lived, responsible for many wonderful movies(and I'd say that Seven Samurai and Ran are among the best movies ever made) Seven Samurai stands tall. One of the easiest 10/10s I've ever given. Bethany Cox

As much as I do love Ran, The Hidden Fortress and Throne of Blood, it was Seven Samurai that I love most of Akira Kurasawa's films. As with all Kurasawa's films, it is incredibly well made with authentic scenery that would give meaning to the term epic and the camera work is truly spectacular. This is especially true in the final battle, with inspired use of moving and multiple camera, precise editing, telephoto lenses and variegated film speeds. As always with Kurasawa, the direction is consistently brilliant. Add to that a stirring score from Fumio Hayasaka and a thoughtful script and you have more reasons why Seven Samurai is so good. The story unfolds slowly, but never felt dull to me and is never hampered by the three-and-a-half-hour running time. Plus Seven Samurai is interesting for being one of the first few to utilise the plot element of recruiting/gathering of heroes into a team to achieve a goal, seen especially with when the audience is first introduced Kambei. The action is spectacular and looks even better with the use of multiple cameras from various angles, and any humanity Seven Samurai has, and it does have a lot, is shown in a poignant way. The cast are excellent, with Takashi Shimura and especially Toshiro Mifune the standouts. Overall, of a resume of one of the greatest directors who ever lived, responsible for many wonderful movies(and I'd say that Seven Samurai and Ran are among the best movies ever made) Seven Samurai stands tall. One of the easiest 10/10s I've ever given. Bethany Cox

 I'm not going to hide that Motoko Kusanagi is one of my favorite anime characters and GITS it's one of my favorite animes too.

When I first checked this figure and compared it with others form different collections I knew this was the onw I wanted, it's very very well sculpted, from head to toes. Even the jacket looks real and I admit the pose is very sexy too, the painting has been applied correctly everywhere I don't find a mistake wherever I look at. But I find some minor details in the figure that they could have correct. One of the is the size of her hips I think they're a little bit big, they look more for a bigger woman, they hair doesn't look very realistic and the eyes of my figure are grey and not purple or maybe red. And the face looks like the one of a younder girls, Motoko is more adult. But as I said they're minor details.

The figure comes with a basement for a better display and recommend it to all those GITS fans.
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The Japanese film Bakushû (1951) was shown in the U.S with the title Early Summer. The director was Yasujiro Ozu.

The film is a quiet movie about a family in postwar Japan. The family lives together in suburban Tokyo--mother, father, their son and his wife, their two young boys, and their daughter, Noriko.

The daughter is played by the wonderful actor Setsuko Hara, who is perfect for the role. (Ozu wrote, "Every Japanese actress can play the role of a prostitute . . . however, it's rare to find an actress who can play the role of a daughter from a good family.") Setsuko Hara is that actor, and the role of Noriko is that role.

Hara was a famous film star. Besides Ozu, she starred in movies by other great Japanese directors--Akira Kurosawa and Mikio Naruse. But she was Ozu's muse, and, in one case, he refused to direct a movie if she didn't star in it. She also starred in Late Spring (1949) and Tokyo Story (1953). These three films form "The Noriko Trilogy." The plots are independent of each other, but the protagonist in each film is named Noriko.

In this movie, the family is happy. Sister and sister-in-law get along well, they have a beautiful home, and the son is a successful doctor. The only problem is that Noriko is 28, and not yet married. She appears to be content. However, at the time, it was assumed that a woman would get married. In fact, it's not obvious why she hasn't married. It may be as simple as that the right man hasn't come along.

The plot works itself out from these basics. It reminded me of a Jane Austen novel--friendships, interactions, and minor disagreements. No hatred, no anger, and no jealousy. People have basically accepted the fact that Noriko won't marry, at least unless Mr. Right comes along.

This movie is pure Ozu. The camera angle is low and shoots upward. This makes sense because most of the interpersonal action takes place while the actors are seated on mats, in the Japanese fashion. Also, Ozu believed that audience members to the front of a movie theater have to look up at the screen, so be wanted the action to be closer to their eye level.

Ozu uses another interesting technique. He shows us a set with actors speaking in it. Then the actors leave, but we still see the set. That's Ozu's way of telling us that life goes on. A room is still a room, even if no one is in it.

This movie is a masterpiece. It has an amazing 8.2 IMDb rating. I rated it 10. If you love great movies, it's a must-see.

P.S. We saw the Criterion Collection version of Early Summer. Normally, Criterion Collection DVD's have many special features, but this one doesn't. There was just one extra film--a short documentary entitled Ozu's Films Behind the Scenes. This movie features three film professionals who had worked with Ozu many years earlier. It's anecdotal and interesting, but not worth seeking out.

Warning: Spoilers
This was a well thought out, well paced, well cast, and well designed play! It was based on the cartoon and might not appeal or make sense if you haven't seen the original, and that's fine. It's meant for fans! We were impressed by the creative solutions to physically complex characters and scenery, particularly no-face and the train. The people working the large costumes and puppets faded away as the story unfolded. The cast was top notch, dancing, singing, full of amazing energy. We thoroughly enjoyed the entire performance and the music was amazing, coming from a hidden orchestra revealed at the end. I recommend this play to anyone who loves the movie and Studio Ghibli productions.