Reviews by Kyle Ellis

I am not a fan of Adam Sandler, I find he is good in the more dramatic films(Punch Drunk Love and Reign Over Me are his best performances to me) and save a few exceptions(Spanglish, The Wedding Singer and Happy Gilmore) I find him irritating in comedy. However, Anger Management is one of the exceptions, Sandler is quite good here but Jack Nicholson outshines him. The script is funny likewise with most of the gags(the describing-who-he-is scene), the story intriguing, the pace snappy in the first two thirds and the characters fairly likable. What lets Anger Management though are one or two scenes that don't quite work such as the basketball scene and a final third that is not only a little draggy compared to the first two-thirds but rather clichéd and cheesy too. Overall, entertaining and a better film than I anticipated. 7/10 Bethany Cox

While Melancholia is not a perfect film and I can totally understand the polarisation, I found myself very much impressed by it. Some of the dialogue is rather awkward, one or two of the characters sketchy and there are a few ideas that are were introduced and broached but could have been explored more. The pros outweigh the cons though, because it is a ravishing film to look at. The settings are breathtaking, and while the cinematography has a technique that is not going to be everybody's cup of tea Melancholia was an example of its utilisation being effective and somewhat necessary. The music is likewise amazing, Wagner's Tristan and Isolde is one of my favourite pieces and was in sync with the visuals perfectly, very like a symphony on film. The story, while slowly paced, has emotional complexity and the groom's love and affection is done very tenderly. Its hybrid of European art-house and Hollywood sci-fi is very interesting. It is not an easy movie to like and get invested in straight away and does I think need to be seen more than once, but on repeat viewings you get more out of it and is rewarding as a result. The opening sequence is truly arresting and one of the best opening sequences of any film in recent years, while the ending is similarly moving. Lars Von Trier's direction is accomplished and never amateurish, again not for all tastes(I know many people who have a wide ranging taste in film and have never warmed to Von Trier). Other than the visuals and the opening, it was the acting that made the film as good as it was. Kirsten Dunst earned best actress and deservedly for a courageous- and her most meaty, performance. Charlotte Gainsburg is more composed but is a very well-characterised and affecting contrast. John Hurt and Charlotte Rampling as the parents give droll turns, while Udo Kier is appropriately surly. In conclusion, a very well film but understandably polarising. 8/10 Bethany Cox

Apparently Adam Sandler dedicated this remake of the 1936 classic to his late grandmother. Now I can admire that, really I can, especially when the 1936 classic was her favourite film. But someone needs to tell Sandler that good intentions don't always make a good film. The ambition is there, but the film just isn't that great, not as pointless or as awful as the remakes to Psycho or the Wicker Man(which was unintentionally hilarious) I admit but sorry this wasn't good. There are one or two good things, such as the soundtrack, striking scenery and John Tuturro's turn as the Spanish butler. However, the script is cloying and lacking in wit, the direction is uninspired and the story is too saccharine and simplistic. Then in terms of acting, Adam Sandler gives one of his more unlikeable performances(I liked him in The Wedding Singer, 50 First Dates and Spanglish though found him irritating here and in Click) and Winona Ryder while she looks lovely forgets her acting lessons. Overall, has its good points but it isn't great. 4/10 Bethany Cox

I actually wasn't expecting to enjoy TRON:Legacy, but coming from someone who is fond of the original 1982 film, I did. TRON:Legacy isn't a perfect movie though, then again neither was the original movie. The film thematically is deeper than the original, but there are some parts where it comes across as rather formulaic for my tastes. Also while the characters are likable, they aren't given that much depth, and again while the dialogue is intriguing at most some of it is weak and dare I say stilted.

That said, TRON:Legacy has a lot to redeem it. Jeff Bridges is great and Garett Hedlund is likable, but when it comes to the acting the film is stolen by a gleefully enjoyable Michael Sheen and a wonderfully edgy Olivia Wilde. The action sequences and chases are very exciting, and help keep the momentum of the pace and story going, and the soundtrack is just fantastic. But the real revelation is in the film's look. The film looks amazing and one of the most visually stylish films of the year- I just loved the cinematography and editing and the special effects and use of neons are outstanding.

In conclusion, a surprisingly enjoyable film that I wasn't expecting to like. 7/10 Bethany Cox

True, it isn't as good as the book, which is a childhood favourite of mine, but it is still a delightful and charming film. The look of the film is splendid, with bright colours in most scenes and some very memorable scenes such as the killer sharks, and the peach was stupendous. The script is very clever and funny, especially with Centipede, who has some truly hilarious lines. The performances are exceptional, Paul Terry is very appealing as James and Pete Postelthwaite delights as the mysterious man, who is responsible for changing James's life forever. There is also a terrific voice cast, including Simon Callow, Richard Dreyfuss, Susan Sarandon and David Thewlis who breathe fresh air into the screenplay, but it is certainly Miriam Margoyles and Joanna Lumley as the ghastly aunts who steal the show. I do however have two complaints of the film. I did find Randy Newman's songs forgettable, and they occasionally mar the film's pacing, and Paul Terry's singing voice just was a bit weak. Other than that, it is a delightful film, with an 8/10. Bethany Cox

'Kingdom of Heaven' had an immensely talented cast going for it, despite being unsure about seeing Orlando Bloom in an especially substantial lead role. It also looked great from the trailer, and have liked a good deal of Harry Gregson-Williams' work which can be one of the better components of films. Ridley Scott is not the most consistent of directors, his best films like 'Alien' and 'Blade Runner' are brilliant but lesser films such as 'Robin Hood' are really not good (personal opinion of course).

There are also films of his that are much better in the director's cut version. 'Legend' is one such example, but the biggest one for me is 'Kingdom of Heaven'. Found it a very mixed bag as the theatrical/ non-director's cut version and found a lot of issues with it (and this is actually forgetting the historical inaccuracies), such as choppy storytelling, erratic pacing and underwritten characters on top of Orlando Bloom and the dialogue. While it is still not a perfect film still in the director's cut version, it is a big improvement and some of what were major problems in the theatrical version are corrected.

Not all though. Do still find Orlando Bloom charisma-void and out of his depth, have nothing against him but this role was a meaty one, even more so in the director's cut where he is more complex, and needed a lot of authority and a wide range of emotions and to me Bloom didn't have enough of either.

Some of the middle of the film stalls a bit in the pace, the storytelling not always going very far. Although the characters are much more interesting in the director's cut edition, a few of them could still have gotten into more depth such as those with not much screen time still and the same goes with the themes, also did that the messaging at times could have been more subtle.

Improvements are many though. The characters generally are far more interesting and better developed, Eva Green's went from one that one questioned the presence of and was hugely underwritten to a well fleshed out character. They interacted more convincingly and not in as stilted a fashion. Despite some aimlessness in the middle, the pace is less erratic and doesn't jump around as much. The story is uneven still, but there is generally more cohesion and less choppiness, more of a sense of resolution with the vast amount going on and for me the contemporary relevance was a good thing.

Dialogue flows better and is less awkward, quite intelligent here too.

Both editions cannot be faulted visually. It is gorgeously shot with lots of atmosphere and the costumes and sets are stunningly evocative, with the siege especially being quite breath-taking. In fact, the action was very tense and powerful in both versions as well but especially in the director's cut. Harry Gregson Williams' score rouses and also has emotional impact, the director's cut does it more justice and a better job is done complementing everything whereas in the theatrical version it was the case of a great score deserving a much better film. Scott directs everything skillfully which is remarkable considering there was a lot to balance. The messaging and everything regarding tolerance and the historical inaccuracies were much criticised and still are, they weren't as big an issue for me.

With the exception of Bloom, the cast are very good. The standouts being an against type Edward Norton who gives a lot of complexity and intensity to his character and Gasshan Massoud showing how to do cool and menacing wonderfully. Eva Green's performance is deeply felt and Jeremy Irons shows a lot of dignity and restraint here.

Overall, didn't care for the theatrical version, but this review is namely for the director's cut which is an infinitely better, if imperfect, version and is a fairer way to judge the film on. My thoughts though. 7/10

This 2012 film of Frankenweenie I don't think is as good as Edward Scissorhands(my personal favourite), Ed Wood, Beetlejuice, Batman and Big Fish. If Nightmare Before Christmas counts, I'd include that as well. Sleepy Hollow was also excellent, as was Sweeney Todd. As a matter of fact I was dithering whether to say that this was Burton's best since Sweeney Todd, but I felt Big Fish had more heart. And I consider the 1984 short film superior. This in mind, it is vastly superior to Planet of the Apes(his worst), Charlie and the Chocolate Factory, Alice in Wonderland and Dark Shadows.

Frankenweenie(2012) is not quite perfect. The story wavers slightly in pace and focus when Victor's classmates plot to uncover his secret. That said, I was hugely impressed with it, one of my personal favourites of the year so far actually. The visuals are simply gorgeous. The black and white shadings fit with the Gothic atmosphere, and the deliberately grotesque characters are vivid in their design. The music score by Danny Elfman has this haunting undercurrent that Sleepy Hollow had as well as the sparkling beauty that made Edward Scissorhands so poignant. It is a very dynamic and atmospheric score indeed.

It is a very well-written film as well. It is wickedly funny, already improving on Dark Shadows with some very clever nods to Godzilla movies and other B-movie horror films. But Frankenweenie doesn't rely on manic humour, fart jokes or slapstick to make itself funny. The humour here is actually very subtle and deadpan. What is further special about Frankenweenie was its story. Having seen and loving to death the short film I knew what to expect, but I found the telling of this story to be fresh and just with as much heart. While there are funny moments that don't jar with the focus of the story and generally the film is full of energy, the film is often very poignant. The ending in particular has genuine pathos to it.

The characters are instantly engaging, oddball like with the best of Burton's films but engaging nonetheless. Aside from Sparky, the most memorable of them were Victor, Mr. Rzykruski- there is an intentional uncanny resemblance to Vincent Price- and the creepy girl with the cat. The voice work is really excellent, Catherine O'Hara, Martin Short and Winona Ryder give wonderfully dry vocal performances but it was Martin Landau who stole the show, he was an inspired choice for Mr. Rzykruski, and he is deliciously eccentric yet does equally wonderfully in conveying the character's wisdom.

All in all, a really delightful film, not Burton's best or quite one of my favourites, but I do consider it his best film in the past decade or so. 9/10 Bethany Cox

After thoroughly enjoying the first two Austin Powers movies, they were daft but enormous fun, I watched this third instalment. I was disappointed admittedly, but I enjoyed it nonetheless. The plot takes the whole meaning of daftness to a whole level, so some of it verges on ridiculous, and while Mike Myers is brilliant as Austin and Dr Evil, he overdoes it as the Dutch villain Goldmember and the cameos are very hit and miss. That said, the sets and costumes are still wonderful, the soundtrack is groovy and the script is comedy gold with the cool catchphrases, bad-taste buffoonery and surreal slapstick. In terms of supporting performances Beyonce Knowles is a knockout as sexy and sassy Foxxy Cleopatra and Michael Caine is a dentally-challenged delight as Austin's dad. Seth Green is also fun as Scott Evil. Overall, an inferior sequel, but it was still a lot of fun, with Myers still having his mojo. 7/10 Bethany Cox

The plot once again is daft and while Heather Graham is really pretty she isn't quite in the same league as Elizabeth Hurley. That said, it is a fun, witty and sophisticated "shagadelic" sequel, that is literally like a lava-lamp lampoon that is stupid and as sophisticated as the first film. It isn't as good as a film to the first, but I think where it is improved from its predecessor is that it is more relaxed in style. Once again, the sets and costumes are gorgeous to look at, the soundtrack is funky and takes you back to the period and there are many moments of sparkling wit in the script. The film also moves quickly while being more relaxed at the same time. The performances from Mike Myers, Michael York and Rob Lowe are top notch too. Overall, a tad inferior, but a fun sequel nonetheless. 8/10 Bethany Cox