Reviews by Kyle Ellis

This was a wonderful movie, with colourful characters, a fun storyline, and a funny and sometimes touching script.(I liked Shrek as well, but I slightly preferred this) I don't think it is quite as good as Toy Story, but I found it an enormously entertaining film, it was much better than I expected. The animation was truly excellent, with colourful and engaging backgrounds, and no stiff movements as far as I could see. I wasn't hugely keen on the song playing over the end credits, but compared to the overall goodness of the film, that is such a minor criticism, and it is fair to say that people have different tastes in music. The script was very, very funny, particularly with the character Roz. The voice talents were fantastic, John Goodman and Billy Crystal were brilliant as Sulley and Mike, Steve Buschemi clearly has a lot of seedy fun as Randall, Jennifer Tilly is wonderfully innocent as Mike's girlfriend, and the late James Coburn is wholly convincing as Waternoose. And I loved the character of Boo, she was so cute, and I loved the ending, people complained it was overly-sentimental but I thought it was so sweet. The story, as is always the case with Pixar films is highly original and charming, and doesn't drag at all. Overall, a wonderful film, truly entertaining and a must-see, and if you are starting to lose faith in Disney and their countless sequels, this is perfect for you. 9.5/10 Bethany Cox.

The original 'A Nightmare on Elm Street' is still to me one of the scariest and best horror films there is, as well as a truly great film in its own right and introduced us to one of the genre's most iconic villains in Freddy Krueger. It is always difficult to do a sequel that lives up to a film as good as 'A Nightmare on Elm Street' let alone one to be on the same level.

While the best of the sequels from personal opinion is the third, the fourth one is another one of the series' better sequels. Like the third film it is not on the same level as the original, a very difficult feat, but it does have enough of what is a large appeal of the original and why it works so well. Not perfect, but a lot of very good things.

'The Dream Master' is not without its flaws. With a couple of exceptions, the acting is largely wooden (while not the worst offender as such, Tuesday Knight is no Patricia Arquette) and the beginning rock song is really cheesy and feels out of place. The story at times gets a little silly.

However, Lisa Wilcox is a winning lead and Robert Englund continues to terrify as the iconic character that epitomises "what nightmares are made of". 'The Dream Master' is to me the second best directed sequel, courtesy of Renny Harlin, giving a potentially clichéd premise freshness and imagination.

Special effects are neatly executed. The humour is darkly comic and very funny and there are some wickedly cracking one-liners. The scares are aplenty and they are legitimately creepy with some cool deaths (the water bed one is a strong example) and amazing dream sequences thrown into the mix. Alice being flung into the on-screen action from the cinema balcony is one of the series' most marvellous highlights.

It's a beautifully photographed film, particularly the dream sequences, and is the most unique-looking 'A Nightmare on Elm Street' sequel with its European art-horror visual style. The production design is both dream-like and nightmare while the music is suitably haunting.

Overall, good sequel and one of the series' better ones. 7/10 Bethany Cox

I also recommend the TV series, but not the sequel. I still think that Tarzan is the last great Disney movie, but pretty much everything else after lacks the magic that Disney once had, as far as I'm concerned.(with the exception of the surprisingly good Fantasia 2000, Bambi 2 and Emperor's New Groove) 10 years ago, this was one of my all-time favourites. I remember, every time I went swimming, I felt really inspired to be a mermaid. That's the effect this movie and the TV series had on me. The animation is absolutely gorgeous, especially the underwater scenes, and the storm. The script is intelligent and witty, and everyone involved did a marvellous job putting it across. The songs are fantastic, as always with Alan Menken. In fact, the only score of Alan Menken's I don't like is "Home on the Range". My favourites are "Part of your World"(my sister is always singing it around the house) and the wonderfully energetic "Under the Sea". The characters are probably the most memorable in a Disney movie, especially Ariel, a beautiful and feisty mermaid, with a dream of being a human. She has a beautiful voice also, well we have the talented Jodi Benson to thank for that. Sebastian is so funny here, a he was in the series, but as well as Flounder(another great character)he was ruined in the sequel. Kenneth Mars's Triton is an inspiring father-figure, who reminds me of my grandfather. The best character is without question, Ursula, who scarred me for life after watching her. Likewise with The Evil Manta from the series. Whilst her song is probably the least memorable song of the movie, it still works. Flotsam and Jetsam are also really creepy. Miles better than Ursula's really bland sister Morgana at any rate.To round off, I can't forget Louis the chef. He is so funny here, unlike in the sequel, where the same joke was repeated but badly underplayed. I can't believe some people hate this movie. It is one of Disney's best along with "Beauty and the Beast", "Lion King", "Snow White and the Seven Dwarfs" and "Sleeping Beauty". Highly recommended for all ages. 10/10. Bethany Cox

I also recommend the TV series, but not the sequel. I still think that Tarzan is the last great Disney movie, but pretty much everything else after lacks the magic that Disney once had, as far as I'm concerned.(with the exception of the surprisingly good Fantasia 2000, Bambi 2 and Emperor's New Groove) 10 years ago, this was one of my all-time favourites. I remember, every time I went swimming, I felt really inspired to be a mermaid. That's the effect this movie and the TV series had on me. The animation is absolutely gorgeous, especially the underwater scenes, and the storm. The script is intelligent and witty, and everyone involved did a marvellous job putting it across. The songs are fantastic, as always with Alan Menken. In fact, the only score of Alan Menken's I don't like is "Home on the Range". My favourites are "Part of your World"(my sister is always singing it around the house) and the wonderfully energetic "Under the Sea". The characters are probably the most memorable in a Disney movie, especially Ariel, a beautiful and feisty mermaid, with a dream of being a human. She has a beautiful voice also, well we have the talented Jodi Benson to thank for that. Sebastian is so funny here, a he was in the series, but as well as Flounder(another great character)he was ruined in the sequel. Kenneth Mars's Triton is an inspiring father-figure, who reminds me of my grandfather. The best character is without question, Ursula, who scarred me for life after watching her. Likewise with The Evil Manta from the series. Whilst her song is probably the least memorable song of the movie, it still works. Flotsam and Jetsam are also really creepy. Miles better than Ursula's really bland sister Morgana at any rate.To round off, I can't forget Louis the chef. He is so funny here, unlike in the sequel, where the same joke was repeated but badly underplayed. I can't believe some people hate this movie. It is one of Disney's best along with "Beauty and the Beast", "Lion King", "Snow White and the Seven Dwarfs" and "Sleeping Beauty". Highly recommended for all ages. 10/10. Bethany Cox

Not only one of Scorsese's best films, but one of the best of the 70s. It is very hard hitting, dark and still has the resonance and power to shock. The cinematography is measured and chilly, yet very atmospheric, while Bernard Hermann's swansong score is superb, yet more proof at how amazing a composer he was. The story is unsettling but wonderfully told, and the script is brilliantly written. Scorcese also directs impeccably, while the acting is just excellent. Robert DeNiro gives one of his best performances, the whole film is worth watching just for his performance, that's how good it is, but that's not to dismiss Jodie Foster, Harvey Keitel and Cybill Sheppard in the supporting cast for they are just as good while Scorsese's own cameo is genuinely frightening. There you have it, another one of Scorsese's best with a brilliant atmosphere and mesmerising central performance. 10/10 Bethany Cox

Not only one of Scorsese's best films, but one of the best of the 70s. It is very hard hitting, dark and still has the resonance and power to shock. The cinematography is measured and chilly, yet very atmospheric, while Bernard Hermann's swansong score is superb, yet more proof at how amazing a composer he was. The story is unsettling but wonderfully told, and the script is brilliantly written. Scorcese also directs impeccably, while the acting is just excellent. Robert DeNiro gives one of his best performances, the whole film is worth watching just for his performance, that's how good it is, but that's not to dismiss Jodie Foster, Harvey Keitel and Cybill Sheppard in the supporting cast for they are just as good while Scorsese's own cameo is genuinely frightening. There you have it, another one of Scorsese's best with a brilliant atmosphere and mesmerising central performance. 10/10 Bethany Cox

It is hard to describe the brilliance that is Goodfellas. As good as Raging Bull and Taxi Driver are, I think Goodfellas is Martin Scorsese's best film and is a textbook example of a great director at the peak of his talents. The film crackles with raw energy and enthusiasm, the film is superbly directed and the final sequence is nothing short of stunning. The script is also excellent with memorable quotes, the story is never less than compelling and the pop and rock soundtrack is winning. The cinematography and detail is immaculate, and the ensemble cast is one of film's finest. Joe Pesci won an Oscar for his performance, and as good as he was, he is perfectly matched by Robert DeNiro and Ray Liotta. All in all, it is a brilliant film and an instant classic no matter what time, day, week or year. 10/10 Bethany Cox

First off, I adore the first two Godfather films. They were wonderfully made, scored, directed and acted with compelling elegiac stories. However, while I do not think it is as bad as it is made out to be, The Godfather Part III is a disappointment. I did like it in general, but in comparison to the first two it is like a distant relative.

Starting with the good things, it does look splendid. The cinematography is beautiful and the settings are superb. The music is also outstanding, and the direction is good. The acting is uneven, but not all of it is bad. Al Pacino does have a lot of fine moments as a more gentler Michael, while Andy Garcia is electrifying too.

However, I didn't like the story as much here. It lacked the elegiac feel of the first two, it has a lot of loose ends and there was a number of times I didn't know what was going on. The script isn't as thoughtful, intelligent or as sophisticated here, instead some of it is quite stilted. As much as I do love Diane Keaton I personally don't think she was necessary here, she served her purpose perfectly in the first two. Finally I have to concur about Sophia Coppola. She never convinces as the "symbol of innocence", and just comes across sometimes as embarrassing. Much has been said about the climax in the opera house, some loved it, others didn't. I think it was a mixed bag. I had no problem with Pacino, the way it was shot and the music but it did come across as very protracted.

So all in all, not awful, not great. 6/10 Bethany Cox

I had been well aware of this film's reputation as a masterpiece for some time, and when I finally saw it I was so glad I did. I have seen it three times now, it improves each time. Lost in Translation is a brilliant film, but also a film you need to see more than once to appreciate it.

Lost in Translation for example is a brilliantly written film. The script is wonderful, with a healthy balance of energetic humour and bittersweet soul-searching. The story, driven by its characters, is slowly-paced but purposefully so, any faster it would have detracted from any magic and poignancy and also would have made the title irrelevant. And I love the ambiguous but very meaningful ending. Lost in Translation manages to be both sad and funny, but it is also in its tone a magical and irresistibly moving film.

I can't say I am a fan of Sophia Coppola. I can say though Lost in Translation is her best written and best directed film, and probably the only one I would consider a masterpiece. And speaking of Coppola, she makes some risky but wise decisions such as the balance of the humour and the bittersweet poignancy and altogether it is a rock-solid directing job.

Lost in Translation looks absolutely beautiful too, with its skillful lighting, beguiling location work and stunning cinematography. The Japan-pop soundtrack creates a big emotional impact, and just adds to the authenticity Lost in Translation has.

The acting is marvellous. Bill Murray gives a delicate, restrained and masterful performance in the lead role, and from his performance here you would never guess he is the same Bill Murray who starred in broader films like GhostBusters. Scarlett Johanssen also gives one of her best performances as the younger woman trapped in a loveless marriage, not to mention she looks lovely here and shares a believable chemistry with Murray.

In conclusion, a masterpiece. 10/10 Bethany Cox

I had been well aware of this film's reputation as a masterpiece for some time, and when I finally saw it I was so glad I did. I have seen it three times now, it improves each time. Lost in Translation is a brilliant film, but also a film you need to see more than once to appreciate it.

Lost in Translation for example is a brilliantly written film. The script is wonderful, with a healthy balance of energetic humour and bittersweet soul-searching. The story, driven by its characters, is slowly-paced but purposefully so, any faster it would have detracted from any magic and poignancy and also would have made the title irrelevant. And I love the ambiguous but very meaningful ending. Lost in Translation manages to be both sad and funny, but it is also in its tone a magical and irresistibly moving film.

I can't say I am a fan of Sophia Coppola. I can say though Lost in Translation is her best written and best directed film, and probably the only one I would consider a masterpiece. And speaking of Coppola, she makes some risky but wise decisions such as the balance of the humour and the bittersweet poignancy and altogether it is a rock-solid directing job.

Lost in Translation looks absolutely beautiful too, with its skillful lighting, beguiling location work and stunning cinematography. The Japan-pop soundtrack creates a big emotional impact, and just adds to the authenticity Lost in Translation has.

The acting is marvellous. Bill Murray gives a delicate, restrained and masterful performance in the lead role, and from his performance here you would never guess he is the same Bill Murray who starred in broader films like GhostBusters. Scarlett Johanssen also gives one of her best performances as the younger woman trapped in a loveless marriage, not to mention she looks lovely here and shares a believable chemistry with Murray.

In conclusion, a masterpiece. 10/10 Bethany Cox