Reviews by Kyle Ellis

Princess Mononoke is one of the best animated movies I have seen in a long time, and is up there with Studio Ghibli's best along with Spirited Away. I will say I am probably biased, as I am a huge Studio Ghibli fan, and love all of their films, I even like Cat Returns, which along with PomPoko is considered as one of the weaker Ghibli efforts. The animation in Princess Mononoke is absolutely stunning, with rich detailed backgrounds and brilliant character animation. The image of the Stag actually made my jaw drop. The music is fantastic as well, and although environmentalism is a subject matter very difficult to get right, what the filmmakers succeeded in doing was making a highly intriguing story that was not only original but succeeded in not being preachy at all. The film is also helped by the high calibre vocal talents of Minnie Driver, Claire Danes, Billy Bob Thornton et al (voicing quite remarkable characters) and a strong script. True, some of the images like the Demon Worm, may frighten younger viewers, but it is fair to say they were very powerful. All in all, Princess Mononoke is breathtaking and I recommend it highly. 10/10 Bethany Cox

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I have long been torn between this and 2001: A Space Odyssey as vying for the title of Kubrick's best movie. Having watched the former again, I would have to call it a draw.

Dr Strangelove brilliantly dissects the insanity of "Mutually Assured Destruction" , the Cold War policy that led to the ability to wipe out the human race many times over. Sadly, nothing has been learnt from it. Nuclear arsenals remain. Perhaps this film should be mandatory viewing for political leaders who have control of such things.

Peter Sellars gives some of the best film performances of his career as an RAF officer, then deranged Nazi scientific adviser to his portrayal of a US president.

The film looks very good in this 1080p version.

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I have long been torn between this and 2001: A Space Odyssey as vying for the title of Kubrick's best movie. Having watched the former again, I would have to call it a draw.

Dr Strangelove brilliantly dissects the insanity of "Mutually Assured Destruction" , the Cold War policy that led to the ability to wipe out the human race many times over. Sadly, nothing has been learnt from it. Nuclear arsenals remain. Perhaps this film should be mandatory viewing for political leaders who have control of such things.

Peter Sellars gives some of the best film performances of his career as an RAF officer, then deranged Nazi scientific adviser to his portrayal of a US president.

The film looks very good in this 1080p version.

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When a Great White Shark stakes a claim off the waters of a peaceful community island of Amity, it is only the towns Chief of Police Martin Brody (Roy Scheider) that recognises the potential damage that could be done, it is only when oceanographer Matt Hooper (Richard Dreyfuss) arrives to confirm Brody's suspicions, that a large dangerous predator is snacking on the locals and tourists. Only when the attacks are intensified that the Town's financially concerned Mayor Larry Vaughn (Murray Hamilton) sits up and takes note after ignoring Brody's warnings. A bounty is paid to local salty sea dog fisherman Quint (Robert Shaw) and accompanied by Brody and Hooper set out to sea to confront the danger face to face.

In the advent of Universal's 100th Anniversary, a selection of it's films have been restored digitally for blu ray releases and some cases as here also re-released on the big screen in a new 4K rendered print for audiences in 2012 to witness what made people so terrified and thrilled back in 1975 when Jaws was first released. Jaws literally invented the term summer blockbuster and opened the Hollywood studios good or bad to the opportunities of releasing a picture in the sunny season. Jaws went onto smash box office records and became a phenomenon that would not be beat till Spielberg's friend George Lucas introduced the world to some space fantasy opera 2 years later in 1977.

Having been too young to catch Jaws on the big screen the first time round, (my first initial experience was at the age of 9 on British TV when it premiered October 9th 1981), a chance to catch this in the format it was meant to be seen in was too much to of an opportunity to miss out on. From my first viewing all those years ago I was immediately hooked, transfixed, terrified and thrilled at this story and it has remained one of my favourite films of all time ever since.

Peter Benchley's best selling novel was picked up by David Brown and Richard Zanuck and after first choice Dick Richards didn't work out they turned to new kid on the block Spielberg to direct, who had one theatrical film Sugarland Express under his belt. Although it is the incredibly well received TV film Duel, Zanuck and Brown obviously seeing the parallels between that story of an every man confronting a faceless nemesis in the shape of a big truck and seeing the potential this young director could bring to this project. They couldn't have been more right, although things didn't go along swimmingly straight away. Spielberg was not too impressed with the screenplay provided by the author Benchley and bought Pulitzer winning play write Howard Sackler to do a re-write. Also wanting some humour asked friend Carl Gottlieb to offer some help as well as offering a role, Gottlieb choosing the politically motivated editor Meadows aligned with Hamilton's Mayor Vaughn. Gottlieb went onto do a complete re-write after only been employed to do a polish, John Milius would also contribute. Arguably the films most classic scene the USS Indianapolis speech where Quint recounts his experience as a crew man on board the ship which delivered the Hiroshima/Nagasaki atomic bomb which was then subsequently torpedoed and sunk with the crew been left at the mercy of the sea and thousands of sharks. A true story, this was said to have been worked on by both Sackler & Milius although Shaw a gifted writer himself rewrote the scene after researching the incident .

One of the reasons that the subsequent sequels have never captured the magic of the original has been that although Jaws 2 might have had some exciting if not preposterous moments on sea it never was as half as compelling on land as the original. Jaws is obviously well know for the action that plays out on the water but it also is invested with hugely enjoyable interactions on land, witness the moments of tenderness the beautifully played sequence between Brody and his young son Sean as the young toddler sits at the dinner table mirroring his Father's actions until he's noticed. Spielberg a director well known for working well with children shows at an early stage in his career how he elicits such performances from minors in one of the most touching scenes of his career. Although the sea moments have never been bettered, the opening sequence when a unsuspecting skinny dipper (Susan Backlinie) becomes the first victim is utterly terrifying, as she whipped across the surface violently by the unseen terror. Much has been made of the mechanical shark and Spielberg himself has little love for it but the fact is the problems that allowed the effect to only be employed sparingly play to it's strength. It is more of what you don't see makes it work, that by the time we do see the shark properly in a scene that now goes down in legend with Schneider famously ad-libbing the most famous line of the film "We're gonna need a bigger boat" that the work has been done. Although that rubber shark may look somewhat lifeless in some sequences for all it's expensive ground breaking SFX Jurassic Park hasn't one scene to level the sheer thrill of Jaws.

The fact we don't actually get to see the shark until a good hour into the film is not a problem as the story is told so well by it's actors, Jaws is invested with some great supporting players, Lorraine Gary's supportive Wife and Murray Hamilton's Mayor but it is the three major players this film belongs to. Schneider off the back of an impressive turn alongside Gene Hackman's Oscar winning role in William Friedkin's French Connection, is simply magnificent as Brody, the every man, not an islander from New York afraid of the water. Brody representing the audience, relative unknown Dreyfuss provides much of the humour and seasoned actor Shaw commands the screen with his unsubtle but undoubtedly memorable turn.

When composer John Williams let Spielberg hear his idea for his academy winning score, the director initially laughed at Williams but attributes a large percentage of the success of Jaws to his score, not since Bernard Hermann's score for Psycho has the music become synonymous with a film. Williams work is so simplistic but devastatingly effective, choosing to use the music only when the real threat is present when it's not it's misdirection on the directors part as well as genius main theme the score delivers all departments, thrilling, scary, sinister and touching. Rarely has music to a film been a character in itself, it may have been parodied and copied but that has never robbed it of it's ability to entertain. Verna Fields academy awarded editing has the film paced to perfection.

Many will cry the director has moved onto more powerful work but for all the importance of Spielberg's academy winning output, I would argue that other directors are capable of just as impressive or superior results. Whereas in the blockbuster arena no other director has matched the efforts displayed here. Jaws also sees the director break two cardinal rules in mainstream cinema, killing a child and although admittedly off screen a dog. The scene is that more impact full that he's lightened the mood with the bathing cap moment "that's some bad hat Harry". When we get that Hitchcock zoom moment as Brody realises he's helpless to prevent the scene right in front of his eyes. Spielberg being also greedy after getting great results from test audiences decides he could pack one more scare into the film and in his editors swimming pool shot the now famous Ben Gardner decapitated head sequence that made audiences around the world jump out of their skin. Benchley was appalled at Spielberg's intention to close the film, the author had the shark get tangle up in the ropes and drown. Though the director wanted something more explosive quite literally and in an ending which program Myth Busters devoted an entire special to prove if it was possible ( it was just). Remarked to Benchley that if I have their attention for the duration they'll buy it however preposterous, he was not wrong. Jaws literally is suspenseful film making at his best but enriched with a great script a superb cast and one of the most memorable scores of all time.

The criticisms for Annie have been unfair I feel, then again maybe there's some bias as it was one of my absolute favourites as a kid and still is. There have been worse musicals before and since, as well as better admittedly(Wizard of Oz, Singin' in the Rain, West Side Story), High School Musical movies anyone, as well as The Wiz, Mame and A Chorus Line for examples? As for Aileen Quinn, she isn't ginger! She was wearing a wig, plus Annie has red hair! And she was about 10 years old, when she did this movie, and in my opinion she had a fantastic singing voice for her age, and she is an appealing and spunky actress. Albert Finney is just wonderful as Daddy Warbucks, with his gruff voice, and his slow transformation from stern to heartfelt.. it was totally believable. The locket scene was very moving. Broadway diva Ann Reinking was a lovely Grace Farrell(just look at her dancing in "We Got Annie"), and I liked her voice very much. Sometimes though, it was hidden over the highest voices especially in "I'm think i'm Gonna Like It Here". But to be fair, the arrangements are always done to the abilities of the singers. Bernadette Peters and Tim Curry had a little less to do, but they were excellent in their villainous roles, and their rendition of "Easy Street" was wonderful. Carol Burnett was fantastic in this movie, making Miss Hannigan as nasty as humanly possible, and performance-wise steals the film. The dialogue is very witty and warm-hearted throughout and Burnett has the best lines, she sings and acts the heck out of "Little Girls". The servants did well too, though I don't know any of their names, though Geoffrey Holder was a delight as Punjab. The orphans are delightful, especially Toni Ann Gisondi as Molly, she was so cute, who put rare energy into "Hard Knock Life", and "Without a smile." I was really impressed with the performances. The songs are just marvellous, even the ones added to the movie(especially "Sign"), except for "Dumb Dog", very forgettable and pointless. I have seen the stage play,(my sister Kathryn played Molly) and enjoyed it as well, though the movie should stand on its own and that's what people seem to not take into account. The 1999 film was good if too short and sugary sweet, but while this may seem like blasphemy I've always considered this the better film, more faithful doesn't always mean better you know. The wonderful title song "Tommorow!" played over the title credits, and there was a reprise in the white house, which is one of my favourite scenes. But it showed in her face that Aileen Quinn preferred "Maybe." "Let's Go to the movies" surprisingly worked on its own merits. It looked lovely with some nice movie star references, and the production values in the entire film are fabulous, glitzy and evocative. But the best element of the movie along with Burnett and the songs was the choreography by the immensely talented Arlene Phillips. I disagree that it was overblown, as a matter of fact it worked amazingly well. The only real criticisms I have with Annie, is that I agree that John Huston was the wrong director, I felt his heart wasn't really in it and his inexperience in the musical genre did show somewhat and while nail-biting the climax was a little contrived, but the performances, songs and choreography completely overshadowed them. Fantastic. 9/10 Bethany Cox

I don't think it is quite as good as the 1939 classic, which was and still is my childhood favourite, but it is an enjoyable underrated film, that is nowhere near as bad as some people say it is. The animation while simple, is colourful and adds to the charm of the film. The songs, while not as fabulous as the 1939 film, are still very nice and quite charming, even "Carousel". Liza Minelli does an excellent job as Dorothy, and I think her singing voice here was beautiful, and here she sounds like her mother, the wonderful Judy Garland. I loved the characters Pumpkinhead, Glinda (voiced by beautiful opera singer Rise Steevens) and the Horse, but the biggest surprise was Ethel Merman as the witch Mombi. This is still the same person who has the big, brassy voice from films like Call Me Madam, yet she does this film, and manages to do a truly excellent voice over, that is both sinister and fun. Even Margaret Hamilton, the wicked Witch in the 1939 film, voices Aunt Em here The story is like the animation, cute and charming, not the best story line in the world, but stays fairly true to the film it obviously drew its inspiration from. All in all, an enjoyable, charming film. It's not perfect, but I've honestly seen worse. 8/10 Bethany Cox.

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I had never heard of Wicked until I popped onto Joey McIntyre's (ex- new kid on the block) website and found that he had played one of the leading role's in a new broadway musical titled 'Wicked' - I was intrugued and wanted to know more, so I checked out the official site for the musical and listened to some clips, just by the previews of the songs I was drawn in and wanted to know and hear more, so I was pleasantly surprised to find out that my sister who studies at Italia Conti was in a production of it here in the UK! so not only would I get to hear the whole songs I would know the story too! WOW it was fantastic and the songs are incredible so I had to get this CD immediatley! Elphaba (played by Idina) has one of the most amazing voices and I would of loved to have seen her play this part! all the tracks roll with effortless ease and some are truly beautiful like the finale song
This is a must have buy for all musical lovers or lovers of the Wizard of Oz

Dr. Seuss's stories are funny and charming, and some of them like How the Grinch Stole Christmas and Horton Hears a Who have been made into surprisingly good films.(Jim Carrey was brilliant as the Grinch but the animated short is a wonderful timeless classic) However, Cat in the Hat is just a joke of a film. I saw it with four of my friends at the cinema for my 12th birthday 5 or 6 years ago, and all of us hated it.

The main problem is the casting of Mike Myers, or miscasting more like. He was good as Austin Powers and Shrek, but his performance as the Cat was beyond cringe worthy. There were times when he had a preposterous Scottish accent that didn't suit him at all(it sounded nothing like the voice he used on Shrek), and all the Cat had to do was make terrible fart jokes, and sing songs with lyrics that were impossible to decipher.

The script was terrible, full of fart jokes and clichéd one liners. Kids are most unlikely to laugh at the overused bathroom humour, they will a find it unfunny, or b find it offensive. None of the 5 of us laughed once in this movie, other than when the Cat was singing.

The film does have two redeeming qualities. One is some nice scenery in the latter half of the film. The other is Dakota Fanning, who was the only actress in the film who made some effort to make her character true to the story. Kelly Preston was okay, and Alec Baldwin is very good in films like the Shadow and Hunt For Red October, but in films like this and Thomas and the Magic Railroad, he is completely wasted as the villain.

All in all, a lifeless and unfunny film. It isn't quite as abysmal as Home Alone 4, but it is really awful. I am sorry if I have offended anyone, I genuinely hate criticising movies, but Cat in the Hat really did take the biscuit. 1/10 for the scenery and Fanning. Bethany Cox

My first choice goes to Paprika, though that, this, Tokyo Godfathers and Perfect Blue(in order of personal preference) are extremely good. Millennium Actress is outstanding in every regard. The animation style is both beautiful and surreal, which is a very good mix. The music is truly wonderful, ethereal and haunting, without overbearing or underplaying the drama. The dialogue is thought-provoking and emotionally complex. Millennium Actress really is also a masterstroke in storytelling, there is always something happening yet the story manages to be told in poignant, truthful, thoughtful and sometimes funny ways. The characters are interesting and well-defined, as well as always relateable to the audience. The voice acting does nothing to undermine this, being dynamic and expressive. Overall, outstanding both as an animated film and film in general, and Kon's second best of a truly impressive resume. 10/10 Bethany Cox

I am not afraid to admit as an 18 year old female that I have a soft spot for My Little Pony, as I do with all my childhood favourites. I watched this show, not expecting much at all, and was really surprised at how much I loved it. When I first heard of My Little Pony:Friendship is Magic, I was a little worried of who it would appeal to, thinking of the conception that it was for little girls and pre-schoolers and little else, but I was wrong. Sure that may be the main target audience, but there may be adults who might admire how much My Little Pony:Friendship is Magic accomplishes.

Several reasons make this show appeal to me. There are the life lessons. This is a very educational show I feel which I think parents will appreciate, and the life and moral lessons are important ones and aren't delivered in an overly-didactic and convoluted fashion. There is the humour. I agree that My Little Pony:Friendship is Magic is very winning in its humour, there are many times where I was amused by the situations and writing. Not all of it is funny though, the show manages to convey some poignancy as well without being too schmaltzy.

There is also the characters. Other than the lessons and the humour, the characters and the way they interact are what make the show work. All the characters are genuinely cute and engaging without leaving a bad taste in the mouth, and they are simple yet interact so well with each other and they also have unique personalities. The story lines are also simple but well paced and quite clever, and the writing is cute, funny and poignant. I also liked the animation, the colours are bright and breezy, the backgrounds are ethereal-looking and the character designs are adorable, and the music is lovely complete with an infectious theme tune.

Overall, a huge surprise and if given a chance without prejudice well worth watching. 10/10 Bethany Cox