Ben's Reviews

A few querky and charming elements but this is ultimately now a desperately dated piece of 80's kitsch. David Bowie is awful ( never act with babies Dave!)and poor old Jennifer Connelly is left manfully wresting with the muppets to make something of it. Apologies to those whose childhood memories I may have maligned.

A stunningly beautiful and haunting movie. Art direction is first rate, as are sets, costumes and lighting....however this movie is not so much "slow" as "stationary". More or less nothing happens. Its more like looking at a painting than watching a movie, but quietly compelling for all that.

I loved the querkiness of this movie...really different from the run of the mill...but this is what you expect from Tim Burton, is it not?. Interesting story, great performances, humour and poignant moments, however it was sorely in need of editing - too long and meandering - should have been shorter, snappier and more focussed to be a classic. Fans of Munsters and Addams family will enjoy!

Fascinating premise (if a bit of an old chestnut) and starts well, but soon descends into predictable bilge. Silly, sensational and empty, it's like a long and bad episode of Dr Who....(who seems to be in it incidentally). Some nice scenery alleviates the dross though some daleks would have helped.

If you go into a Lynch film expecting to get it all, you are kidding yourself and this was no exception; if anything it's more obscure than any. It can be read in a bunch of different ways, but its ambiguity is part of its mesmerising impact. With Lynch it is as always wonderfully executed. Need a clear resolution to your movies? Don't bother. Love fim making that is witty, wise and wierd?...this is for you! Acting and casting superlative as well.

This documentary was still enjoyable at a second viewing. The good natured and star-struck approach of the auteur would endear it to anyone...his genuine love of the muisc and subculture comes across well. I like Metal, though not a fanatic, but I would imagine any open- minded music fan would get soemthing out of this. There are some very funny, Spinal Tap moments and some genuinely scarey wierdos... entertaining and engaging

This came with the acolades of a number of friends whose opinion I rate, however I struggled with it. Undoubtedly interesting, harrowing, complex and subtle, ultimately for me at least it was not very satisfying. If you like a stark existential ramble that goes on for three hours, this is your type of film. Some strong performances ( Julianne Moore, Phillip Seymour Hoffman), poignant moments, (the doomed attraction between the shy cop and the sad junkie) and Tom Cruise playing himself is sort of chilling...

Very, very slow. Made very little impact. The next day neither my partner nor I could recall much about it. However the perfromances were charming and the premise interesting, if a bit unbelievable.

Deeply disturbing junk. Really nothing to redeem it.

Bloody awful. No wonder Kylie dumped him.

A cheerless critique of a listless generation, this film holds your attention through great cinematography, the clever use of music and gritty performances. Its grinding sadness is a bit gruelling though and the 'plot' disintegrates a bit in the telling.

This is a film with a big reputation and its easy to see why. Highly confronting in its casual depiction of a wholly anarchic and violent society, the fact that is is based on a true story is chilling. Technically masterful, with very natural performances and a fast and addictive plot, it's not fun, but ultimately very satisfying.

This is a strong documentary in the Michael Moore genre. I guess the idea that corporations behave like psychpaths is not all that new, but it is well developed in this long but compelling film. Its pretty bleak though when you realise how powerless we are in daily life to avoid supporting dysfunctional corporations that avarice of which is ultimately destructive. If you like Moore's films, Al Gore, Upsize Me etc you'll enjoy this.

I love a stylish French comedy, especially a somewhat dark one, but this was frankly pretty weak. Slow and with endlessly unresolved snippets of action and meaningless scenes, the characters are dull and outcome most unsatifying. I really wouldn't bother.

Generally enjoyable wander through the Battle of Britain from a Czech point of view. Love story at the heart of it is a bit wet, but some great flying sequences and charming performances.

Really quite enjoyable this one. Probably helps if you are a Hitchcock buff, but you don't need to be to get a fair bit out of this. It has an interesting plot touching on a range of current taboos. Intense performances and the use of the cityscape as a character lead to a pretty creepy ending.

Stellar cast (John Malkovich, Julia Roberts, George Cole, Glenn Close), fascinating premise (alternative look at the Jeckyl and Hyde story) and star director ( FRears)....why have I never heard of it? ....Because its a total lemon, that's why! Some of the photography, especially of Julia Roberts at her most ghostly, - a porcelain 'gamin' add a modicum of charm to a remorseless failure to engage you at any level. For this it avoids " Don't bother"

Not a bad old film, but has a strangely unsatisfying ending and suffers from comparison with modern films in action sequences. I also can't have much faith with John Wayne being a German with a mid-west accent. Still, it held may attention pretty well.

A classic war film. Although it has dated a bit (notably the effects and acting style) it is still visceral stuff and would have been quite shocking when released.I've read the book and the film tries to follow it quite faithfully (although all out of order). This probably makes the film a bit long and meandering and some subplots are not well explained. Makes an interesting comparison with Saving Private Ryan.

This Coen bros paen to the past is a pretty enjoyable film with strong performances and careful crafting, especially in art direction and cinematography. The plot is a bit of a Coen formula though, so it ends up as something of a triumph of style over substance. Still, Billy Bob Thornton does a wonderful cross between Bogart and Jimmy Stewart that makes the film. Fine support from James Gandolfini and Frances Macdormand.

Probably one of the most viscerally arresting films of the last ten years, this is an intensely moving though chilling drama. Lars Von Trier’s celebrated naturalistic approach gives the film great conviction and grittiness. But in counterpoint I love the way classic seventies music is used as a kind of ‘Greek chorus’ to allow you reflect on each bleak episode of the action. The heart of the film is Emily Watson’s mesmerising performance, although the whole cast is excellent. If there is any criticism possible of such a wonderful film it is that Bess’s tormentors at ‘the Kirk’are a little exaggerated and the ending is slightly ‘Disney’.

This stylish and energetic psychological drama fully utilises Beatrice Dalle's unique ability to play an erotically-charged nutter. Whilst Dalle viscerally dominates the picture, Anne Parillaud is also excellent and more memorable.Indeed, the contrast between the different types of beauty represented by each star echoes the central point of the movie in a sublime casting move. The plot meanders a bit and you feel a bit sorry for the poor old men, who are ground up and spat out in this torrid tale that focusses on the bizarre and destructive relationship between two unstable sisters.

A very attractive and vibrant movie that explores youth, European integration and the transience of modern relationships, in a kind of existential journey. Very real though charismatic performances all round, but with national stereotypes, (from a French perspective), not quite buried, (especially the cardboard cut out English yobbo and the stiff German). Barcelona sometimes seems to be the star, providing a light-filled and languid environment for the prettily and imaginatively shot goings-on, (you couldn't really call it 'action'). Indeed, the film could be excellent if it had a little more structure, though too much structure may have damaged its charm as well as undermining the veracity with which it tells its tale.

What a bizarre movie. Originally in English it seems to be badly dubbed, but isn't, it's just really wooden acting. In essence this is Emmanuelle, (complete with floral seventies ambience, early synthesiser soundtrack, unconvincingly simulated coitus and fuzzy film stock) attempting to be Kubric, (as in the library sex scene) or Fellini, (as in the carnival “wall of death” scene) though it's all embarrassingly badly done. That having been said, it has its moments as an amusing period piece and the leading lady is very charming, with or without her clothes.

What a bizarre movie. Originally in English it seems to be badly dubbed, but isn't, it's just really wooden acting. In essence this is Emmanuelle, (complete with floral seventies ambience, early synthesiser soundtrack, unconvincingly simulated coitus and fuzzy film stock) attempting to be Kubric, (as in the library sex scene) or Fellini, (as in the carnival “wall of death” scene) though it's all embarrassingly badly done. That having been said, it has its moments as an amusing period piece and Silvana Venturelli is very charming, with or without her clothes.

I had not seen this film since it was released in 1979. Mostly it has stood the test of time well, though it is a little kitsch in places. Kinski is quite stunning and whilst she is occasionally a bit wooden, the casting fits the Hardy character so perfectly that it remains in my view a pretty faithful adaptataion of the text. Lovingly, if somewhat sentimentally shot and with a mesmerising supporting cast, its a fine film and very rewarding experience if as little hard work.

Not a great fan of the genre, but this was amusing enough. Some of the humour ruined the suspense a bit, but you gotta love the zombies, who are generally more sympathetically portrayed than the living.

The tone of this thought-provoking movie falls somewhere between La Strada and La Dolce Vita and the film explores some territory common to these, namely the uncertain role of men in a changing world. Not as focused and entrancing as La Strada and lacks the breadth of La Dolce Vita though. Easy to see why Scorcese loved this film; the central role of Fausto would be perfect for De Niro. Transformation role of the carnival pivotal as in several other Fellini films and he does these characters and scenes so well.

Rather tiresome example of the serial kiler genre. Morgan Freemen wasted trying to make the most of a meandering script punctuated by worryingly imaginative but obscene violence, thankfully only shown in its aftermath. Brad Pitt truly tragic...why did this man choose to become an actor? His hopelessness contrasts cruelly with the craft of Freeman and Kevin Spacey. In short, you'd be better off watching the Silence of the Lambs again.

Fans of Tarantino, Guy Ritchie and the Coen brothers who missed this back in 1999 may like to check it out. A witty black morality tale with lots of twists, its cast (other than a very young and chubby pre-Cruise Katie Holmes and a delightfully Thurmanesque Sarah Polley), is largely unknown, but it has some very funny moments right up to its almost Monty Python ending.

I really enjoyed this movie. Rarely does a film capture your attention from the first frame and not let you go until the titles roll. Although I have not see the original film for which this is the sequel it is so well structured that this does not matter. The performances of Ethan Hawke and Julie Delpy are incredibly natural - the 'making of' documentary on the disk makes clear how this was achieved through exhaustive workshopping and improvisation. The film makes you care about these characters and in a short time explores important and personal themes about modern relationships, (surprisingly deeply), leading to a satisfying and witty ending. I also love the way the director uses the device of his having to catch a plane to create impetus and dramatic tension - really good film.

This movie is often described as a much loved art house classic, which probably builds unrealistic expectations. It was pretty enjoyable though, especially in the first half when it seems to manage to develop not only the relationship between the boy, Toto and the old projectionist, Alfredo but also the characters of most of the village. This part of the film is very rich with Italian charm. The part of the film dealing with the adult Toto's memories meanders off a bit towards the end though and this director's cut is certainly a bit long. It seems sometimes the studio gets it right in this regard.

Entertaining and original Irish movie, but with a bit of a 'made for TV' quality about it. Snappy writing and terse direction are supported by believable performances, which make the way the plot manipulates your sympathies work, against the odds, as both humour and drama. Kelly Reilly especially charming and a big star in the making.

Not my kind of movie. Watched a bit over an hour of it and found it excruciatingly tedious and formulaic. That having been said, it may well be very enjoyable to lovers of this genre.

I was looking forward to this - good director, stellar cast, (including with wonderful Kelly Reilly) etc - and it was indeed enjoyable, but at the same time it was slightly disappointing. Somehow it didn't quite hang together well, with a disjointed story exposition and strangely wooden direction. Cast of English acting luminaries carries it off despite this though, delivering some wonderful tragi-comic moments.

This is probably my favourite movie of 2005, meticulously conceived and directed. It is an intense love story with a twist. All 3 lead actors are amazing, but Natalie Press is a star in the making. A lovely movie experience shimmering with intensity and generating irresistible sympathy for the characters.

You feel faintly grubby watching this rather tacky , no holds barred documentary on the last months of the life of Aileen Wuornos. It is of course utterly fascinating if you have seen the movie version of her story and makes you realise that Charlise Theron got pretty close to reality in portraying this deeply disturbed and unhappy woman. Director/ writer Bloomfield makes a strong, if crude case for Wuornos being insane and her execution being politically manipulated. The confronting presence of Aileen herself though is what makes the film totally riveting. Not a great documentary film per se, but if you've seen "Monster" you have to see it.

This is a really very enjoyable movie, even though it has more or less no plot. A wandering French world music lover moves in with a family of Romanian Gypsies - that's about it. However, the music is wonderful and the personalities of the Romany people, (mostly seemingly playing themselves) make it seem like a particularly warm and involving documentary at times. Romain Duris complete with wild hair is well, himself , but the stars are Izidor Serban as the old man he befriends and Rona Hartner, who is a red hot screen presence, especially in the dance scenes. Great atmosphere, important message and only misses four stars for being a wee bit shapeless.

A film about somebody dying - Mmmm... as someone who hated "Terms of Endearment", I wasn't looking forward to this, but it turned out to be excellent. Involving, clever and emotionally rewarding (rather than gruelling) I'd recommend it most highly. Sarah Polley is just great and Debbie Harry as her mother - masterful casting. Almodovar being producer ought to have been a give away that this has real substance.

One for the afficionados probably, but I did enjoy it. Tati's brand of beanpole gallic slapstick is very charming but some of the sight gags are now very well worn.

Sometimes Wenders' European view of social alienation and societal breakdown in the USA is a bit clumsy, using well worn icons, but overall this is an entrancing movie. Interaction between cinematography, direction , performance and Ry Cooder's score is flawless. Stanton's role is iconic and Kinski mesmerising as always. A bit long though and some sequences leave you wondering what Wenders had in mind, as they seem to add little to plot or character development. Just atmosphere I suppose, which in the end is what makes this film so memorable.

Swaggering film making from the master Almodovar. Bernal makes 'innocent' charm quite magnificent and the supporting cast is equally strong. The film tackles a typically confronting Almodovar subject with an equally typical combination of wit, incisive (even brutal) honesty and sensitivity. The plot is involving and stylishly exposed. Maybe not his best, but still a great movie.

It is essential to watch the three parts of this trilogy in order. Taken together, Blue, White and Red are a masterful achievement. A great deal is going on in these films and they warrant multiple viewings. The final film, Red is possibly the best of them and ties up the loose end in all three films in a dramatic conclusion. Irene Jacob is mesmerising in an understated way and painstakingly, Trintignant provides the perfect foil. Although the slow pace may be frustrating to some, flashes of humour and striking human insights illuminate the experience. Tremendous stuff.

Witty and entertaining, you will enjoy this if you liked 'Amelie', although it has a more naturalistic tone. Intriguing premise is confidently handled and it quickly hooks you in. A very engaging cast carries the narrative along at a non-stop pace and the journey is sprinkled with some very funny moments.

I thought they'd stopped making 'adult movies' that pretend to have a plot. Execrable motel room rubbish, (from the ten minutes or so I bothered with).

It is important to stick with this film, because its riches are mostly found in the resolution of the story at the end, although there is rich character development and ensemble drama to enjoy throughout the film. It is probably one of the most uplifting films I have ever seen , interweaving a number of themes which culminate in the most positive assertion of the richness to be found in human kindness and the simple joys of friendship. Simple film, wonderful story and beautifully executed. Nearly perfect.

This is a most enjoyable film from a range of points of view: the quality of the script, ( Bryan Forbes' adaption of Kingsley Amis), charming performances (notably Sellers delightful playing straight, rather than 'goonish', comedy and supported by a host of great British character actors), and as an illuminating period piece ( the post war period but prior to the swinging sixties). It is great that DVD has brought such gems back from oblivion.

I had read Thomas Keneally's original novel and had put off seeing the film because of my reluctance to be confronted by the horror of it all... in retrospect a mistake, as there is so much more to this than a graphic representation of what the Holocaust must have been like to those who experienced it. This movie explores a range of fundemental themes in telling its story. Liam Neeson brings the man who was Oskar Schindler to life, but it is Fiennes' chilling portrayal of the monster Amon Goethe as a socially quite likable fellow who never understood that what he was doing was wrong which is most haunting. Overall, one of the best movies of modern era and a must see.

Well I may be the only reviewer so far to think this has any merit, but clearly it does. Most of the films is a frank but sensitive essay on the perils and pleasures of sexual obsession. Atmospheric, with strong acting (especially Eiko Matsuda in female lead role). The sex is portrayed for grit rather than erotica and the movie builds disturbingly to a highly confronting ending. Based on a true story, it's not for the sensitive, but rates as a cinematic achievement if not much fun to watch.

The rivetting conclusion to Jean De Florette. Daniel Autueil and Yves Montand almost manage to steal the limelight from the gorgeous Emmanuelle Beart, but her impossible beauty and aching innocence are what make the emotional rollercoaster of the plot so compelling. Fabulous ensemble playing from the rest of the cast as well. The scene with the water expert (the matchless Ticky Holgado) is quite magical and once again unforgiving landscape is a tangible presence. Don't die having not seen this film.

Possibly one for the film buffs and purists only, but for those who love film it simply has to been seen. Remarkably modern in technique, acting and the issues addressed, there is a great deal to enjoy. The luminous presence of Louise Brooks reminds us that she was the first truly great film actress, but the supporting cast are riveting too. Having sat through the 3 hour movie it is still worth watching the documentary. Got to be seen once in your life in my view.

Entertaining and unusual drama with well rounded characters and a confronting and highly relevant storyline. Explores the human challenges posed by immigration sympathetically, but without pulling it's punches. Terse storytelling delivered through a tight script and clever editing.

Has some of the timeless qualities of 'La Strada' but also looks forward to the swinging sixties. A fascinating tableau of characters, happenings and incidents reflected in the experiences of a playboy in and around Rome as the 50's became the 60's; murder/ suicide, a sham miracle, parties, fame, class, celebrity and decadence all explored in this long but rewarding movie experience....but only if you're prepared to put a bit of effort in.

Very entertaining and atmospheric old gem, with strong performances from the two female leads. Agree with comparisons to Hitchcock, but with a stylish Gallic twist. Great ending too - actually quite scarey - you'll kick yourself that you didn't guess it.

Kind of a wierd hybrid ( a bit like "The beast" itself), this film is part horror movie, part costume drama and part martial arts fest and it probably doesn't really work on any of these levels. It does however succeed as a by-product of this ambiguity in being markedly unusual and the central precept is curiously relevant in today's world. Vincent Cassel, who was great in "The Apartment", is plain silly in this and Monica Belluci is largely wasted in a vaccuous role. In short, an amusing curio but not a great film.

I know it's a given for the genre, but this has a profoundly silly plot and somewhat plastic production values for good measure, (notably the especially unconvincing violence effects). Nonetheless it is quite enjoyable if you are not asking too much or if you are a bit tired. I hope the dialogue was better in Japanese than the subtitles suggest. Azumi is undoubtedly a cute little thing, and it has its moments of excitement but you can't get over how daft and formulaic the plot is, and the 'Boy George' lookalike baddy is quite ludicrous. I quite liked the progressive rock soundtrack and it has some quite appealing settings. Not outstanding then, but not abysmal either.

There are two ways of looking at this film. Personally I'm inclined to see it as an interesting and complex though confronting examination of the ancient paradox between men's idealisation of women's bodies as arousing and their stigmatisation of women's anatomy in order to assert their dominance over them. The woman in this film succeeds in confronting the man with this - I'd say to point out a central flaw in the male persona from a feminist perspective and fair enough too. It is a tough film to watch, and certainly not pornographic, though not without its caustic erotic moments. I think it's successful but I am not sure I'd want to see it again in a hurry. Perhaps because as a man it made me feel quite guilty? Of course the other way of looking at it is as many conservative reviewers did - as a piece of arcane psycho-babble relying on shock value to make an impact. I think this version of events maligns the serious and valid intent. Worth a view if you are not easily offended and are prepared to invest the effort to think about it a bit.

What a thing of beauty is Amelie! Jeunet distills all we love about the French into this movie through the charming character of Amelie and a singular visual take on Paris that the real city struggles to live up to. Witty, unpredictable and with a unique view on life, it's a charming journey, with unexpected twists and delightful observations from start to finish. Audrey Tatou became an instant Gallic icon with this and it's hard not to be totally seduced by her persona....all dark eyes, gamine bob and whacky coyness. In short...a gem.

Well, the experience of crawling on one's knees through this turgid exercise in personal reflection was pretty painful. Towards the end I was yelling at the DVD player "finish damn you!", it was so agonisingly drawn out. But there's usually an up side and I have thought about the movie a fair bit since seeing it and that's usually a good sign there was something to it, even if I'm not quite sure what. A charming naturalistic quality, some amusing observation and keen ironies made the exercise not wholly wasted, but gosh it was terribly, indeed excruciatingly slow. There was also frustration from the lack of development of the characters - this was tantalising and irritating, as several had some potential.In essence - probably not enough nuggets of pleasure to make the painful journey through all two hours and eight minutes worth the agony.

I saw this when it came out in '86 and just thought it was the greatest movie then. It has stood the test of time pretty well, mainly because of the performances, as the story is simple (and of course not resolved in this movie alone) - Auteil, Depardieu and Montand all magnificant but the real star is the Massif Central country in which the story is set. Legendary score used in many a Stella Artois beer commercial also makes the atmosphere. Still a classic

Very stylish and involving movie - all that you watch French Cinema for in fact. Worth a few viewings to pick up all the nuances of the plot; the conflicting subtleties of the characters as the director manipulates your sympathies for them throughout. One flaw is the somewhat abrupt and unconvincing ending, which disappoints somewhat.

Depending on the kind of comedy you like this is a pretty funny film. It's almost like an old Ealing comedy in some ways. Snappy and with some style, it goes off the rails a bit towards the end but has some great laughs in the first hour. Both Reno and Depardieu are excellent. I have to go to Montargis next time I'm in France....

I must be the last person on earth to see this. He's a great film maker and it is very good. Dance scene disappointed. Could have been twenty minutes shorter . He got better at editing by Kill Bill (1&2) both of which move along with better rhythm and more pace. But tremendous nonetheless.

I have been meaning to see this movie for some time and it was worth the wait. I watched it several times and its pleasures benefit form several viewings. Wistful and beautifully shot to bring out the superb characterisations, it lives in the memory most for the haunting theme and the charm of the characters.