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DOWNLOAD MOVIE 51st State, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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51st State, The
I am not really sure what the appeal of this movie actually is. It's
definitely not the action, since fights are simple and few and far
between. I wouldn't think its the comedy, since the premise of pretty
much every joke is the same. It seems the majority of the humor in this
movie is Samuel L. Jackson's character dealing with the differences
between England and America and Robert Carlyle's character's disgust
with Americans. Of course, every-so-often, we get a dash of toilet
humor to mix things up. Pretty simple. Nothing special.

And yet, somehow, this movie manages to stay entertaining enough
throughout the bulk of it. My only guess is that it comes from the
charisma of the cast and characters. Samuel L. Jackson defies logic by
kicking ass in just about every movie he's in, whether the flick's good
or not. Robert Carlyle's energy and enthusiasm is enough to prevent me
from getting annoyed with his constant whining. Emily Mortimer plays
the soft-spoken, sexy assassin hired to bring in Jackson's character.
And Meat Loaf….well….Meat Loaf bothered the hell out of me. His
role as the Lizard, the big-time American drug dealer and previous
employer to Jackson, is over-the-top and completely unconvincing as
someone who would have rose to power in the American drug market. At
times, he is just downright aggravating to watch (especially when he
starts ranting and referring to himself in the third-person).

Fortunately, Meat Loaf (and a nearly as annoying Rhys Ifans)are not
enough to completely drag the film down. It manages to stay quirky
enough to keep entertaining and you shouldn't feel as if you completely
wasted the last 92 minutes of your life. My advice? Check it out once,
it's a hit or miss.

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DOWNLOAD MOVIE Love in the Afternoon Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Mismatched lovers are a staple of romantic comedies, and romantic movies in general. Sometimes it’s wealth or social station that divides the lovers; in Love in the Afternoon, it’s age and experience. Audrey Hepburn plays Ariane, a young music student who becomes fascinated by a man she learns about from her private-detective father’s files: Frank Flanagan (Gary Cooper), an older man who is distinguished by his wealth and his number of romantic “conquests” in every city and every continent. When an impulsive good deed puts Ariane in Flanagan’s path, she begins to play a role that’s totally unlike her real self, pretending to be as much of a cosmopolitan lover as Flanagan himself. But the question that she doesn’t want to face is whether this pretense will make Flanagan fall truly in love with her or simply consider their relationship to be yet another casual affair.

The opening of the film is the best part, an amusing voiceover from Maurice Chevalier, who plays Ariane’s father, describing how Paris is indeed the city of love. It sets the light and casual tone of the film… possibly all too well, as there ends up being very little substance to Love in the Afternoon. The film doesn’t have much of a narrative or sense of dramatic tension, which is something that’s necessary even in a comedy. In short, there’s very little reason to keep watching. And at over two hours, it’s substantially too long to carry itself on the strength of “let’s just see what happens.”

Despite the famous cast, the acting doesn’t carry the film, either. Gary Cooper looks the part of the bored, wealthy businessman, but that’s all: he comes across not as a great lover but as a cold pleasure-seeker. His performance goes through the motions, but he fails to infuse the character of Flanagan with any spark or charm. Hepburn, in turn, is perky and bright, but she seems to be forcing herself to turn on the charm; there’s no sense of connection between the two main actors, and in the end their relationship (and the conclusion of the film) is implausible. The only actor who seems comfortable in his role is Maurice Chevalier, who delivers the only genuinely funny scenes in the film with his characterization of Ariane’s private-detective father.

Love in the Afternoon has not aged well at all in the forty years since its 1957 release, with the film as a whole suffering from a lack of context for its story. It’s impossible to identify with Ariane as a character, because we know too little about her circumstances. She’s indeterminately young, lives with her father, and appears to be a music student, but it’s impossible to know what that says about her in 1950s France. Similarly, we don’t know whether Flanagan’s playboy habits are considered morally wrong, mildly scandalous, or simply a wealthy bachelor’s ordinary behavior. Even the central relationship of the film, the affair between Ariane and Flanagan, is dulled by this lack of context. There’s no indication of what attracts Ariane to Flanagan in the first place, and we don’t see the social consequences of their relationship. Is Ariane courting scandal by seeing him? Is Flanagan behaving out of the ordinary in becoming interested in her? The film depends too heavily on the viewer making the correct assumptions, so that when considered by itself as a story, Love in the Afternoon falls flat.

Video

Warner’s presentation of Love in the Afternoon has its good and bad points. On the good side, the 1.85:1 widescreen image is anamorphically enhanced, and the contrast of the black-and-white image is excellent, with good shading and detail visible.

Pulling down the ratings score are the presence of edge enhancement and a not-very-restored print. There’s a moderate amount of noise in the image, and many picture flaws, ranging from speckles and flecks to actual scratches. These are quite noticeable and detract from the overall image quality.

Audio

The Dolby 1.0 mono track is satisfactory; as it’s a dialogue-based movie, the dominance of the center channel doesn’t detract at all from the effect. The soundtrack is free of the problems that often crop up in older movies, like distortion or muffling of the sound. Dialogue is clear and natural-sounding and is well-balanced with the music and background sounds.

Extras

The Love in the Afternoon DVD includes cast and crew biographies and a trailer for the film. The menu screens are attractively themed to the film while also being very straightforward and easy to use.

Final thoughts

Love in the Afternoon just didn’t work for me as a film. The pacing, the acting, the lack of an engaging narrative all conspired to leave me cold. If you’re a particular fan of older movies in general or Cooper or Hepburn in particular, it’s probably worth picking up the DVD as a rental; otherwise, I’d skip it.
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DOWNLOAD MOVIE Lethal Weapon 3 Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:

Anytime is a good time for popcorn(which I’m finding out as I snack on a bowl while I review this DVD at 9 in the morning), and anytime is the right time for a “popcorn” movie. Although the series went one step too far with the 4th edition in the series, but this 3rd offering presents the same strengths as the rest of the series, along with a few new talents added to the mix.

Riggs(Mel Gibson) and Murtaugh(Danny Glover) are back once again, with Murtaugh always getting dragged into more trouble by the risk-taking Riggs. Both team up with an internal affairs officer named Lena(Rene Russo) to catch yet another killer. The film lacks a strong bad guy, but director Richard Donner is lucky that the chemistry between the three leads is excellent, and their conversations are sharp and energetic enough to carry the movie. Gibson’s jokester personality gives the movie a needed dose of humor, as well. This edition also tries to integrate some drama into the mix, and although at times it’s a little much, it’s performed well.

“Lethal Weapon 3” is a strong effort from all involved, and although it goes a little long at times, the cast is excellent and director Richard Donner stages both the action and conversations well. Wait till after the credits roll for another funny sequence.

This director’s cut edition includes 3 additional minutes of footage. This DVD is listed as “Not Rated”.


The DVD

VIDEO: Although I have not seen the original edition, this new edition from Warner Brothers is, visually, a very pleasing experience. Images are consistently sharp and offer good detail; clarity is also fine throughout. Colors are natural and occasionally bold, looking nicely saturated and not exhibiting any problems. Flesh tones are natural, and black level is good. Jan De Bont’s cinematography(he also directed both “Speed” and “Twister”, as well as the cinematography duties on “Die Hard̶ is marevelous, and gets a nice presentation here.

I really didn’t notice anything that I felt was problematic or worth complaining about. No pixelation or shimmering, and aside from a couple of tiny marks here and there, the print used is clear and clean. Overall, Warner has presented the director’s cut of this film with very strong image quality that fans of the series will enjoy.

SOUND: This new Director’s Cut edition (as with the first and second edition of the series) offers both a remastered Dolby Digital 5.1 soundtrack, as well as a DTS edition. Both are very good, and I didn’t notice much difference in the details of either. The remastered Dolby edition though, is an especially good-sounding effort. The film’s audio offers plenty of action-movie audio, with both a giant explosion and a well-played car chase within the film’s first 10 minutes, along with a number of other intense sequences spread out throughout the rest of the running time. Surrounds are used effectively and the audio also offers some powerful bass at times, as well.

The film also offers a great score by Eric Clapton, Michael Kamen and David Sanborn; the score does a fine job at giving the action a boost and helping along the comedic tone of some scenes. The music sounds excellent, filling the room with ease and sounding dynamic and thrilling. Dialogue is clear as well, never sounding harsh or thin.

MENUS:: These new editions of the film also offer new menus; the one for this film offers a main menu with the opening scene playing, along with music from the movie. Although sub-menus aren’t animated, there are different animations when one makes a selection from the main menu.

EXTRAS: It would have been a fine addition to the “Lethal Weapon” experience if Warner Brothers had provided packed special editions of these titles(a commentary from either the cast or Richard Donner), but still, aside from the extra footage, there are a couple of additional supplemental features.

Trailer: The film’s theatrical trailer is included, letterboxed at 2.35:1 and in Dolby 2.0

Also: Cast and crew bios and a text section about the final scene.


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DOWNLOAD MOVIE Next Best Thing, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Next Best Thing, The Reviewed By Michael Brendan Posted 03/15/00 14:31:00

"Is there a third option?" (Pretty Bad)

* 1/2 (out of four stars)– "The Next Best Thing" is a movie with a decent idea, but whose execution is so hollow, I could almost hear the echoes of the actors as they tried breathing life into the one-dimensional cookie-cutter roles they’ve been given to play. The concept is there, but the emotion didn’t bother to show up.The movie stars Madonna as Abbey, a yoga instructor involved a rocky relationship with a self-absorbed record executive (Michael Vartan). Her boyfriend is a walking, talking cure for codependency - a man so inconsiderate of anyone else, he could ignite the flames of anger in any reasonable human being without saying a word. (This guy is so emotionally cruel, he’d be stoned by the Amish.) But he is a pillar of strength for our beloved Abbey, who can’t seem to live without him. One day after work, she returns home to see him (gasp!) packing his things. She immediately calls her best friend in the world, a gay landscaper named Robert (Rupert Everett). They soon get together, mulling over their miserable love lives and crying on each other’s shoulder. After a few too many cocktails, they temporarily take their relationship to the next level - at least physically, which results in an unplanned pregnancy. They decide to have the baby, and remain a family - or rather, the next best thing.Things go smoothly for the first few years, but the inevitable complications soon arise, when Abbey falls in love with a nice businessman named Ben (Benjamin Bratt) - a development which causes Robert to become a tad defensive, especially with regards to their son, Sam (Malcolm Stumpf). Disagreements soon escalate to shouting matches, which in turn leads to the American judicial system. If the characters had any definition to their personalities, the movie might have had a chance. But Tom Ropelewski’s script doesn’t incoroporate interesting people into his interesting idea. One is tempted to blame Madonna for her bland portrayal, but I don’t really think it’s her fault. The character of Abbey is so underwritten, I can’t see what she could have brought to the role without having the screenplay go through rewrite after rewrite. Her character is so pathetic at times, it just doesn’t seem to ring true. I’d suspend my disbelief if I didn’t think it’d be an insult to her. The engaging Rupert ("An Ideal Husband","My Best Friend’s Wedding&quo Everett, who houses one of the most shining personalities in movies today, seems sadly bogged down by the script. As the third point to the "triangle," Benjamin Bratt really isn’t given enough to do to remain memorable.The movie was directed by John Schlesinger - a very capable director of such movies as "Midnight Cowboy" and "The Falcon and the Snowman." If the script has bothered to create real characters with real lives and real motivations behind their actions and feelings, the movie would have undoubtably risen to the level anticipated by the filmmakers. I read there was a great deal of tinkering with the script, apparently to no avail. Starting from scratch isn’t necessarily a bad thing. In fact, it may be the next best thing.
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DOWNLOAD MOVIE Lord of the Rings: The Two Towers, The Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Lord of the Rings: The Two Towers, The

Lord of the Rings: The Two Towers – ***1/2 (out of 5)   (2002)

Cast: Elijah Wood, Ian McKellen, Viggo Mortenson, Sean Astin, Orlando Bloom

Directed By Peter Jackson

Before I begin this review, I feel the need to point out how strong of a fan I am of Tolkien’s original Lord of the Rings trilogy, as well as The Hobbit, and how delighted I am to see it come to life for a new generation.  Since I have read each of the books multiple times as a child and teenager, it is a difficult task to try to divorce my opinions about the book and how it relates to the movie as much as I can.  Basically, I have to assume I know nothing about the book.  I do this for the vast majority of people who read this review that may not have read the trilogy, and are trying to find out if they would enjoy the film on its own.  I will say that Peter Jackson has made my task much easier, because his films are not really giving you Tolkien’s original vision but rather an interpolation, extracting elements which are more conducive to the cinematic grandeur than in the hauntingly whimsical adventure that the books they’re based on are.

With this in mind, it’s surprising how much the movie bothers to retain of the book, because it’s hard to imagine that much of THE TWO TOWERS makes sense, with the multitudinous characters and location changes, to someone who has not read it.  The first two hours serve mostly as a set-up for the final third of the film, as well as for the final film of the trilogy.  So much has been abbreviated that it becomes somewhat difficult to know precisely what is going on at all times.  The best we can do is try to get the gist of each scene, and follow the general direction of where things are headed. 

It didn’t really need to be this way, as Jackson spends so much time and effort in sweeping cinematography, full of swirling shots around mountains and fortresses, that probably an hour of the three hour running length is only scenes of eye-candy meant to impress us with the beautiful imagery.  As lovely as these images are, they do come at the expense of the story, which is as barebones as can be and still maintain a semblance of structure.  For the first two hours, it’s a bit of a dry experience, with only Gollum providing genuine moments of interest, probably because his motivation is the easiest to understand.

THE TWO TOWERS directly follows the events of THE FELLOWSHIP OF THE RING, and doesn’t do very much to tell you what came before, so do not watch this without seeing the first film.  Here, the fellowship is now fragmented, with Frodo and Samwise following the Gollum to Mordor to destroy the ring, Merry and Pippin have fled into a dangerous forest where they are captured by a large tree creature called Treebeard the Ent, while Aragorn, Legolas, and Gimli, and the obviously not-dead Gandalf, shore up the troops by allying themselves with Theoden, the king of Rohan.  They need all the help they can get, as the bad wizard Saruman has created the world’s most impressive assemblage of evil in a mighty Uruk-Hai army that tramples through the lands in their quest for the destruction of Man. 

The experience of watching THE TWO TOWERS hearkens back to the feeling of watching TITANIC, not in its story, but in the structure.  The first two hours are merely set-up to an inevitable cataclysmic conclusion, so for a while we must be entertained by looking at all of the nice cinematography and special effects that are the backdrop to the story.  Admittedly, all of it is very beautifully rendered, and there’s no skimping in the imagery department.  Even with all of the impressive sights and sounds, the story doesn’t really draw you in until the events of the final third of the film, with the Uruk-Hai siege of Helm’s Deep.  This is the hour that makes the price of admission worthwhile, and just like we were during the crash of the Titanic, we are rapt in silence, mouths agape, in awe of one of the most magnificent battles ever created in the history of cinema. 

THE TWO TOWERS is a triumph of special effects and imaginative cinematics, like a moving painting that almost lulls you into thinking you are watching a masterpiece, which some champion the film as being.  Don’t believe the hype.  Peter Jackson’s vision is impressive, but only a small portion of that of J.R.R. Tolkien’s creation, and so far removed in tone and storytelling, that he is like a little child that is given a bunch of toys to play with, having a grand old time lavishly creating scenarios for his new playthings to battle each other out in extravagant style.  Luckily for us, he has a love of adventure and excitement, so even if he is impatient with the poetry and beauty that is part of the joys of reading Tolkien, we are entertained with the colossal clashes of good and evil presented with a ceaselessly feverish intensity.

Back to Qwipster’s Movie Reviews            

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DOWNLOAD MOVIE Stick It Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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“Stick It,” written and directed by Jessica Bendinger in her feature film directorial debut, explores the competitive world of gymnastics focusing on Haley Graham (Missy Peregrym), a former gymnastics prodigy who devoted her life to gymnastics until, at the age of 15 and a nationally ranked Final Championship hopeful, she inexplicably walked out in the middle of the prestigious Championships competition. Now a headstrong 17-year-old, she has turned her back on the world of gymnastics, using her gravity-defying talents instead to challenge authority and earn herself a less than sterling reputation. When her latest joyride with her dirt biking pals, Frank (Kellan Lutz) and Poot (John Patrick Amedori) lands her in juvenile court, the judge sentences Haley to hard time at VGA, an elite gymnastics academy run with military regimentation by the renowned and uncompromising gymnastics coach Burt Vickerman (Jeff Bridges).

Once Haley arrives, she wastes no time challenging Vickerman and his established rules. Her defiant behavior begins to influence the impressionable athletes training at VGA and provoke Vickerman who struggles to maintain peace and order. Haley’s razor-sharp wit and rebellious attitude instantly win her both friends and enemies. Joanne (Vanessa Lengies) plays Haley’s nemesis, a stuck up, by-the-rules gymnast who doesn’t take kindly to being overshadowed by Haley. But not everyone at the VGA takes an immediate dislike to Haley. Elites Wei Wei Yong (Nikki Soohoo) and Mina Hoyt (Maddy Curley) are impressed with Haley’s defy and conquer attitude and start to look up to her, welcoming her fresh and irreverent perspective on the sport and on life.

When Vickerman inadvertently discovers what caused Haley to scrap her Final Championship aspirations two years earlier, he suddenly realizes that what he thought was simply bad attitude is actually something more complex and that Haley’s sarcastic humor is just a way to disguise her pain, sadness and feelings of betrayal. What begins as a battle of wills between coach and athlete slowly evolves into guarded mutual respect, and Haley’s talent and unique personality inspire the VGA’s elite squad, who find a hero in their new teammate who shows them some rules are meant to be broken. And, as Haley struggles to re-enter the sport despite personal and professional setbacks, she discovers there is more to life than winning medals and ribbons.

Bendinger delivers an exuberant portrait of a spirited, gutsy, and highly individualistic young heroine who takes on the world of competitive gymnastics. She successfully captures the emotional journey and evolution of the character as Haley comes to terms with events in her life that have gotten in the way of her realizing her full potential. Bendinger also offers a realistic and humorous view of the tough world of competitive gymnastics, revealing the commitment, discipline, and rigorous training these athletes must endure to be able to do what they do with their bodies. She is meticulous in terms of the sports’ technical details and has fun taking aim at the bizarre, often arbitrary code of points and rules for judging performance, such as showing how an accidentally exposed bra strap that suddenly appears while you are twisting through the air at high speed can earn you a uniform deduction.

Bendinger has put together an exceptional cast of young, emerging talent that play well alongside veteran actor Bridges who brings experience and a finely honed sense of craft to the film. The chemistry between Bridges and Peregrym is tangible and makes for engaging storytelling. Newcomer Peregrym imbues her character with the perfect blend of biting sarcasm and bad attitude, while the multi-talented Bridges lends a credibly balanced combination of irascibility and charisma to his. Together, the two actors create a convincing, often confrontational relationship as longtime coach/former champion and rebellious prodigy who keep testing each other but ultimately learn to respect one another and become unexpected allies. The supporting cast includes Jon Gries, Julie Warner, and Gia Carides, plus cameo appearances from celebrated professional gymnasts including Olympic champions Carly Patterson, Bart Conner, Alanna Slater, and Nastia Liukin.

Bendinger has also assembled a capable creative team to realize her vision, stage the action effectively, and deliver a film that resonates with the high energy, spirit, and enthusiasm of her script. Director of photography Daryn Okada’s fast-paced camerawork is constantly moving and defying gravity. It soars, spins, and captures the action adeptly from every conceivable angle, using a motion-control, suspended camera system known as Spidercam that allows the gymnastics to be filmed three-dimensionally with the camera gliding in, out and around the gym from a variety of unique perspectives. The kinetic cinematography, combined with editor Tony Takaki’s quick cutting style, matches the athletes’ exuberance, impetuousness, and driving ambition. The production design by Bruce Curtis and costume design by Carol Ramsey use styles, patterns, and color schemes to define each character’s distinct personality. The stunt choreography by Keith Campell is top notch. Also not to be missed is the dance choreography by Missy Elliott’s choreographer, Hi-Hat, for Wei Wei’s climactic hip-hop balance beam routine.

The film’s rocking soundtrack features an eclectic and heady mix of established artists and up-and-coming acts that blur the lines between music genres and seamlessly blend a variety of influences from metal to rap. They include Missy Elliott, eclectic Detroit-based rock band Electric Six, New York artist K7, five-piece band My Morning Jacket, rapper Talib Kweli, alt rockers Blink 182, hip-hop Fanny Pack, punk group Damone, the six rappers of Jurassic 5, singer Jeannie Ortega, Fall Out Boy, Green Day, Styx, Adam Ant, and even Perry Como and the film’s John Patrick Amedori.

“Stick It” is a fun and entertaining film that proves loyalty, friendships, and individual athletes matter more than rules, judges or scores. Bendinger, who was once a competitive gymnast, stated in a recent interview, “When the world was indifferent and unpredictable, gymnastics provided my first tastes of self-esteem, self-reliance and that thing most kids crave more of…control. ‘Stick It’ was my opportunity to remind people that in families and in sports, there are things that matter more than rules: the kids themselves.” “Stick It” is a story of empowerment that will resonate with everyone.

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Descent, The Reviewed By MP Bartley Posted 07/20/05 00:42:06

"People, the message is clear: never go outdoors!" (Awesome)

How should a film critic review a horror film, in particular a great one, like ‘The Descent’? It’s much like trying to review a comedy without spoiling the jokes, as you try to tell people how scary it is without telling them just why. But I’m not going to do that. I’m not going to tell you just when to expect certain scenes that will get you shrieking and peeking through your fingers at the screen. I’m not going to tell you just which of the characters can and can’t be trusted. I’m going to try and make this review as spoiler-free as I can, because I guarantee that going in knowing as little as possible, will mean that ‘The Descent’ will fry your nerves and give you the most purely horrifying two hours even the most jaded of horror fans will have ever had.Meet Sarah (Shauna Macdonald), Juno (Natalie Mendoza), Beth (Alex Reid), Sam (Myanna Burning), Holly (Nora-Jane Noone) and Rebecca (Saskia Mulder). Six friends who share a love of adventure sports and have decided that for this summers escapade, they will go cave exploring in the Appalachian mountains. Sarah is feeling a little fragile at the minute, so her best friend Beth is along, mainly to look after her. Juno is the spirited, if over-bearing, leader of the group and Holly is her unpredictable, on the edge protege. Sam is the medical student and youngest of the group whose mothering elder sister is Rebecca. Soon, one of them will have stabbed another in the throat and one of them will have her skull smashed open by one of her companions. And the rest of them? Let’s just say it’s not pretty. Welcome to ‘The Descent’. Because down in the caves, these women will find something waiting for them in the darkness. I’m not going to say what, apart from it’s not werewolves. Because this is certainly not ‘Dog Soldiers’. Whereas in that film you had six squaddies banding together to fight off a common enemy, here Neil Marshall takes a totally different approach. Here, when the claustrophobia kicks in, the girls bicker, fight and generally don’t pull in the same direction meaning a bad situation gets rapidly worse. Much worse. And while ‘Dog Soldiers’ is a wonderful blend of horror and comedy, Marshall again takes a different road and succeeds just as confidently. There’s no warm and snappy banter here, just a grim and desperate fight for survival. This results in what is probably the best out-and-out horror for years. If ‘Dog Soldiers’ brought to mind ‘Aliens’ this is ‘The Thing’ meets ‘The Texas Chainsaw Massacre’. Even in the first hour, when we don’t see or know what is waiting to feast upon the unlucky ladies, Marshall ramps up the tension to queasy levels. As the girls squeeze through gaps Paris Hilton might find a tight fit, Marshall pushes his camera into every nook and cranny, and right into the panicked faces of the protagonists. This is a cinematic experience that will have the claustrophobic amongst you desperate for air yourselves. And although it won’t happen, ‘The Descent’ should be the first on the list for the Academy’s consideration of best production design. The caves here are a wet, dark, dripping nightmare with no light at all apart from the lights the girls themselves bring. Huge chunks of the film are cast in near darkness, meaning that anything could be lurking in the shadows. And frequently something is. It would have been so easy for the tone of the film to fall flat between the tense and foreboding first half and the creature-infested second. But it doesn’t. Once the creatures do arrive, the film tightens into full-blown, blood-drenched horror. Legs are splintered, eyes are gouged and heads are smashed. And the less said about a nasty case of rope burn the better… ‘The Descent’ shows just how well Neil Marshall knows horror, and just how much confidence he has as a director. From the relatively simple cottage setting of his debut, he really pushes himself here and nails every target he reaches for. Fights are shot upside down, in the water, with several intensely-crafted sequences of terror that will have nerves rattling long after the credits have rolled. Marshall knows exactly what he’s doing, setting some scenes up so you just know something’s about to jump out at you, only to feint and get you with a sucker punch you just didn’t see coming. And you know how people say ‘Carrie’ has the greatest ‘jump’ of all time? There’s at least two moments here to rival it. I don’t scare too easily, but I unashamedly yelped out here AND nearly crushed my girlfriend’s hand. His cast are also excellent through and through with Macdonald, Mendoza and Reid the standouts. It’s further testament to his writing that we get an immediate feel of the dynamics, rivalries and tensions between the girls just through looks or small parts of dialogue. There’s a huge history between two in particular that we can all recognise, and that you just know in the hands of a lesser writer would have required a long dialogue scene that isn’t needed to spell it out. But the film has no desire to slow down for unneccessary character moments. It has one aim, to frighten you remorselessly, and it achieves that aim without respite.With his two features, Neil Marshall gives further credence that he’s the new Sam Raimi. One of his films is a horror/comedy best viewed on a boys night in with beer and pizza, while the other is an exercise in pure fear. If ‘Dog Soldiers’ gained a cult following in America, then ‘The Descent’ will certainly got more people sitting up and taking note, provided it gets the release it certainly deserves. And if it does, then expect a Hollywood studio to come wafting a big wad of money Marshall’s way with his pick of projects. Hopefully Marshall’s undoubted skill as a horror director, won’t be neutered if Hollywood does come a-calling, but for now just take the long, dark descent into hell that he’s offering right now.
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Ring Two, The

The Ring Two (2005) / Horror-Mystery

MPAA Rated: PG-13 for violence, disturbing images, and language Running Time: 111 min. Cast: Naomi Watts, David Dorfman, Simon Baker, Elizabeth Perkins, Sissy Spacek, Gary Cole, Kelly Stables Director: Hideo Nakata Screenplay: Ehren Kruger (contains elements of the novel "Ringu" by Koji Suzuki)

 

It didn’t take me long to figure out the reason why The Ring Two isn’t nearly as effective as its predecessor, The Ring.  The makers of this film got caught up in thinking that it is the story and mythology that had people flocking to the theater in droves.  Actually, what people really went to the theater for was a good scare and nothing more, which the first entry provided again and again.  Horror sequels already have an uphill battle as it is, mostly because the horror behind all of the strange events have already been revealed fully in the first film.  Usually, to combat this, sequels try to crank up the gore and sensationalism to an even higher degree, but The Ring Two goes in the opposite direction by barely even trying to raise pulse levels.

The sequel finds Rachel (Watts, The Assassination of Richard Nixon) and her son Aidan (Dorfman, The Texas Chainsaw Massacre) out of Seattle, having relocated to the town of Astoria to get away from the memories and start anew.  Rachel is working for the local newspaper when she stumbles upon an uncanny news story involving a dead teenager and a strange but familiar videotape.  Rachel destroys the tape but the problems still persist, starting with the fact that Aidan thinks he can see young Samara, the horrific girl killer they thwarted in the past.  Soon, Aidan starts showing symptoms of something unknown, including a drop in his body temperature, as well as some new, odd behavior.  Once again, Rachel must get to the bottom of these weird events in order to try and stop them from consuming, and possibly ending, their lives.

If The Ring was just out to give you a scary good time, The Ring Two seems on a mission to lull you into meditative relaxation.  Not that I’m opposed to a different direction for a sequel — it is generally preferable to a rehash of the first film.  However, if the first film were like this, I’d never have to write a review for a sequel, since very few would have bothered to see it. 

I’m wondering just how many people were hoping to see more background to Samara and her tragic story at the conclusion of The Ring.  Obviously, the makers of The Ring Two think that it constitutes the vast majority of those who enjoyed the first film, so they have provided a few new twists to her story.  However, underneath all of that, The Ring Two is still the same "child possessed" horror film we’ve seen in many incarnations before, and even if it isn’t just a regurgitation of the first film, it is still quite derivative as these sorts of films go. 

As someone who didn’t really like the first film, I’m not surprised that this sequel also fell short in my book.  However, at the very least, I’m a bit disappointed at the marginal and very predictable thrills this one has to offer.  When the "scariest" moment of your film comes when a bunch of deer decide to open up a can of whoop-ass on a car, you’re doing something wrong. 

The Ring Two, like the plight that Aidan goes through, is a shell of its former self, the temperature noticeably cooled off to the point where it appears anemic.  Hopefully, like the mysterious tape itself, those who make decisions as to the franchise’s future will see the folly in making any more "copies" of the original in the future.

— The opening scene is a direct sequel to the events in Rings, a 16-minute short released as a bonus disc to the DVD of The Ring in 2005.
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