An alright sequel.
It's a more watered down story regarding Ming-Na Wen's character, with more focus put on lovey-dovey stuff as opposed to a fight of some kind. Therefore, things are naturally less enjoyable than in the original film. To me, everything's just a little slow and predictable so I can't rate it higher.
Away from Wen, the supporting cast is weaker with the absence of Eddie Murphy as Mushu. Mark Moseley actually comes in with an OK performance, yet it's not a jot on Murphy's. There are some notable newcomers though, with Lucy Liu (Mei) and Sandra Oh (Ting-Ting) appearing.
The music is average, as is the animation. It's simply a weaker production all in all, as you would probably predict. 'Mulan II' is, at least, still better than a number of other Disney animated sequels; e.g. 'Cinderella II: Dreams Come True' or 'Belle’s Magical World', among others.

I tend to be an easy grader for romantic comedies. As long as the script isn’t too dull or insult my intelligence, with witty dialogue and good chemistry between the lead characters, I will overlook minor silliness or predictability in the name of entertainment. Let’s face it, most genre films are predictable to some extent, since they stay within the genre.
Of course, I know Anna Faris from her later starring role in the excellent long-running comedy series Mom. Her performance here is quirky enough to keep it interesting, but sweet at times so that I rooted for her. This is not groundbreaking stuff here, or top ten quality filmmaking, but I enjoyed it enough to stick with it, and that is what counts with rom-coms.

Really good watch, would watch again, and can recommend.
A good sex / romance based humor from the feminine perspective, almost like "Bad Moms" without kids, but one single lady.
To set a low bar of expectations, imagine most of the comedians you don't want to picture having sex, and Chris Pratt in a fat suit, and that's most of the dirty humor in the movie. It's surprisingly charming with Anna Faris and Chris Evans (Captain America, but really, Johnny Storm) helping each other with their conspiracies, and instead better there lives.
Yes, its the cheesy crap that rom-coms get made fun of for doing (even in this movie, I think), but it does it pretty well, it's funny, and deals with a concept that looks like an extension of the sequence in "Just My Luck" where she has to hunt down and kiss some dancers.
It's a stupid concept but it's fun and maybe I just like Anna Faris, but she carries the movie and when something is done well, I typically enjoy it.

This is quite a joyous little Christmas film with an interesting twist at the end and a gentle reminder for us to consider those less fortunate at this time of year. Emilia Clarke carries off her role as a slightly self-destructive elf quite charismatically - though the script is a touch wordy at times. Emma Thompson and Michelle Yeoh steal their scenes and the Wham/George Michael soundtrack adds a soupçon of nostalgia to the proceedings. The hero is, however, a bit of a drip. Easy on the eye, but he is still a bit of a wet blanket. That said, they all look like they had fun making this, and that does come across. At any other time of year, I probably wouldn't recommend this at a cinema, but it does put a smile on your face so go on, give it a go!

I will freely admit to being a fairly easy grader when it comes to sci-if movies and romantic comedies. If the dialogue is realistic and sharp and the plot doesn’t insult my intelligence, I am in.
I enjoyed Last Christmas on that basis and because of what I saw as a good group of actors. The script was co-written by Emma Thompson and her spouse, Greg Wise (Willoughby in Sense and Sensibility, also written by Thompson. Hmm.) I found Kate’s character development from being a rather selfish slacker to a decent person fairly believable as it was tackled gradually and partly based on events happening all around her, not just on her developing feelings for bike-riding Tom.
The Yugoslav family history and cultural influences felt odd and somehow not related to the plot until the midpoint or so of the movie, where it gradually began to feel like a relevant side plot to the story. I must say that I saw the climactic plot twist revelation coming a mile away, but I do write novels in my spare time, so I tend to wonder about where a story is going rather than merely enjoying having it wash over me like I should.
This movie may not become annual holiday viewing for me, but I will definitely watch it again next Christmas and give it at least a shot of becoming a seasonal viewing ritual.

Some nice moments and I did like the cast as Emilia Clarke and Henry Golding had some nice chemistry. The twist felt forced but I guess I should expect it from a sappy Christmas movie. IDK, I enjoyed parts of this mostly for the core cast though doubt I'd have much desire to watch again (also feels odd watching a Christmas movie like this in February). **3.25/5**

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I'm not the biggest fan of straight-up romantic comedies (rom-coms). I don't think I absolutely love a film from this genre, and if I do, it probably doesn't solely belong to the rom-com's list (they could also be musicals, dramas, etc). Most of the times, I appreciate them enough to feel fulfilled. Very rarely, I feel totally disappointed or with a hate feeling towards one. Paul Feig delivered a couple of great comedies during his career (Bridesmaids, Spy), and the underrated/overlooked A Simple Favor, which I enjoyed very much. With Emma Thompson (Adelia) as both supporting actress and screenwriter, Emilia Clarke and Henry Golding as protagonists, Last Christmas grew on me in the week of its premiere, making me genuinely excited for its session.
This Christmas' movie sort of falls in the middle. I don't exactly "like" it that much, but I still left the theater happy and reasonably entertained. It actually possesses a dramatic tone deep within, but it never fully explores it, maintaining the lighthearted and festive vibe throughout most of its runtime. Clarke and Golding share amazing chemistry, and their scenes are very romantic, sweet, and emotional. However, it's more of the same. Last Christmas doesn't bring anything new since it follows the same cliches every other rom-com does.
Its only bold and different take on the story is a plot twist that raises too many logical questions. Instead of carrying an emotionally powerful impact, it merely delivers an initial shock that goes away once people start to really think about it. Nevertheless, I praise this storytelling choice. It's never easy to pull off a twist, but the truth is that if Emma Thompson and Bryony Kimmings didn't take this missed shot, I wouldn't have spent the whole trip back home thinking about the film. I would have probably forgotten it as soon as I got into the car. So, congrats on trying something different, even if it didn't quite work for me.
Thompson ultimately shines as Kate's mom, though. No missteps here. She's hilarious, and she has some of the funniest lines of the whole thing. Michelle Yeoh (Santa) also has a couple of fun moments, but her subplot feels a bit strained. Emilia Clarke incorporates the clumsiness and awkwardness of her character seamlessly. If you're familiar with Clarke's interviews and public persona, then you know that Kate is basically the over-the-top reflection of Clarke. Despite her lack of luck, she's still charming and a good person that went through a traumatic event that changed her life (duh). Golding is glamorous and perfect as expected, especially since his character needed precisely these attributes.
Their relationship grows in a not-so-realistic way, and while this might be justified by the last act's twist, other plot points are not. My main issue with the movie is really those last 20 minutes. In addition to the twist, every single subplot is closed like nothing happened. From a particular family situation regarding sexual orientation to Yeoh's entire side story, all are either solved off-screen or way too easily. It's a rollercoaster of good and bad writing decisions. It has a couple of exciting downwards slopes and tight turns, but most of it is a slow ride with nothing truly thrilling or astonishing.
Last Christmas tries to be "the next big thing" concerning Christmas classics, but it falls short of its goal. Boasting a fantastic cast, with two charming, compelling leads in Emilia Clarke and Henry Golding, Paul Feig delivers a lighthearted, festive film, but stuffed with cliches and a twist that doesn't quite work. Emma Thompson shines as a supporting character but has some missteps in co-writing the story with Bryony Kimmings, showing significant struggles in tying up the loose threads left by the side stories. Despite its storytelling issues, it's a flick I recommend to anyone who loves seasonal movies with a beautiful message, some fun moments, and a score packed with our favorite George Michael's songs.
Rating: C+

A little all over the place and largely nonsensical, but 'Storks' is suitably enjoyable; especially, I imagine, for the younger audience.
It's not as heartfelt as it intends to be, bar the odd moment at the end, but there are a couple of amusing gags here and there. The animation is pretty nice, too.
Cast-wise it's passable, Andy Samberg (Junior) and Katie Crown (Tulip) work together solidly, as Kelsey Grammer makes for a decent enough villain. Keegan-Michael Key (Alpha) and Jordan Peele (Beta) aren't as funny as I've seen from the duo elsewhere, while Jennifer Aniston (Sarah) is underused.
Nevertheless, a satisfactory animated film from Warner Bros.

**To realise their actual line of work.**
I usually anticipate the animation films, but I was not interested in this. I saw it mainly because of how much I liked 'The Lego Movie'. This is not as good as that one, but cute little adorable animation. The film is exclusively for the kids and the families, but anybody can have a good time if they are not expecting according to their age, gender and other things. So if you are yet to watch, leave behind those in order to enjoy it.
It is nothing to do with the 2009 short film 'Partly Cloudy'. But those who wanted a feature film on the similar theme would enjoy it. It is a little different though. The storks who switched their business to another, 18 years later a chain of events makes them realise what they should be doing. So in an adventure, soon to be the boss, a bird named Junior struggles to fix his mistake. In the process, he unleashes some secrets which brings the final act where the narration decides which way to end.
Not a bad story, which is a road adventure like many animation films. The comedies were good and the characters are well developed in the short span. Some parts seem very silly, but enjoyable. Particularly the wolf-pack and their weird approach to deal with things. The animation too was very smooth and overall film was short, so swiftly narrated tale. This is not the year's best animation, though watching it for entertainment would work. Animation fans should not miss it, and must see for little children.
_7/10_

With aunt "Lucy" about to celebrate her 100th birthday, "Paddington" has been taking odd-jobs so he can earn enough money to get her a gift. He alights on a special pop-up book from an antique shop but when it gets stolen, he finds himself in court accused of it's theft! It's the evidence of local Thespian "Phoenix Buchanan" (Hugh Grant) that sends him to prison. He's not exactly an instant hit when he arrives - a red sock in the laundry turns all the uniforms pink! His life becomes even more perilous when he takes on the cook "Knuckles McGinty" (Brendan Gleeson) over his mediocre, tasteless food... Deep intakes of breath all round, but he is saved by the taste of his marmalade! Now he has a protector and must get out of jail and find out who framed him for this most heinous of crimes and hopefully still get the book in time for a birthday present. There are some great characterisations here as the bear's friends gather round to help him thwart the plans of the thief. Dames Eileen Atkins and Julie Walters both contribute well as do the assembled "Brown" family who never lose faith in their recent family addition. The writing is amiable and quickly paced and the animation is impressively natural - especially as the denouement between speeding trains brings things to a fun, almost music-hall, conclusion. This is just as good possibly better than the original (2014) and well worth a gander.

I was really surprised by how much I enjoyed the first _Paddington_ and almost as surprised again by how much this one lived up to it as a sequel.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

**Possibly better than its predecessor, which is no small feat.**
Charming and hilarious, with more than enough jokes for the young and the old to enjoy. Hugh Grant is an excellent and highly comical villain, and the rest of the cast is jam packed with cameos from British notables. A very worthy sequel
8/10

**About an aspiring DJ and his friends circle.**
I've never seen any actor worse than Zac, yet he keeps making films. That's not it, so far he had failed to take the right project to work with. His films are either having no story or a silly concept and his roles among the worst. I could have liked this film if it was done by some other young actor. It looked a decent storyline on how an aspiring DJ is fighting to make progress. Living with his friends, then suddenly an opportunity knocks and followed by some issues surround it that should be solved to see the success in his passion in the music. So the remaining is to reveal how the things go on for him.
Too slow narration, and it is being a music genre, a little soulless. Yeah, there's no rhythm. All we have seen a DJ while performing, but what his life would be like is what this film was focused on. Directional debute for a documentary filmmaker and he should make a couple of things right for his next film, including casting right actors and preparing an engaging screenplay. Some people might like the film, but not for me. This is completely an ignorable film.
_4/10_

This mundane vehicle for Dwayne Johnson seems more intent on shining a light on seemingly rather arbitrary US federal narcotics legislation than breaking any ground as a drama. He is successful businessman “Matthews” whose son “Jason” (Rafi Gavron) finds himself embroiled in some drug trafficking for which he seems destined to spend ten years in jail. Dad and lad aren’t exactly close, but there’s no way he is going to allow him to grow old in prison so “Matthews” does a deal with the shrewd and politically ambitious DA “Keeghan” (Susan Sarandon) to infiltrate a ruthless cartel and deliver their leader and his stash of cash to her. In return, she will cut the boy some slack on sentencing. Despite the scepticism of the veteran DEA agent “Cooper” (Barry Pepper) but with the assistance of reformed character “Daniel” (Jon Bernthal) he finds himself immersed in a brutal scenario where one wrong move is going to see him feeding the fishes. What now follows is entirely procedural stuff with the usual shoot ‘em ups, car chases and fifth columnists to keep the pace moving along energetically if not exactly originally. Sarandon doesn’t appear enough to make much difference and it does seem uncertain as to how it wants to end, so drags that out into an overlong truck chase that looks like it was filmed on a very quiet Sunday morning and that can really only end one way. It’s watchable but entirely forgettable stuff.

**The next generation!**
This is a great concept, I don't know why Disney did not turn it into a theatrical film. As per the television standards, this film succeeds from all the aspects. The casting was good, but the focus was not distributed equally. May be they kept it for the sequels, in each to tell everyone's tale as the centre. So this is about the descendants of the greatest villains of Disney's fairy tales. They all got admitted to the Auradon Prep located near to their banished land. A chance to follow their own path, particularly to cut off bad influences of their parents. But would they accept the offer and make it work or there any agenda to avenge for the past are the remaining parts.
It's a musical like any fairytale. But average tracks. The performances were good, even the graphics are very acceptable. So colourful and visually appealing. I think this kind of trend began with the recent success of 'Maleficent'. So you must not expect the moral values, particularly I'm saying it for the parents. Because, this is about the villains and their children, so the majority of the film leans on the negative factors. But as usual, all ends well, if you consider that a message or learning point for your children.
Directed by 'Hocus Pocus' filmmaker. I was looking forward to watch it since it came out. Finally, I saw it and enjoyed it, but not the great film. The children's would love it, especially those who are familiar with the characters and its origin. Surely lot to expect, but I advise to keep your expectation low to benefit maximum. I have heard, they are already making the second film, which is due later this year. So I hope this time I watch it on the time.
_6/10_

I'm not a big fan of the loser-hero, boy-centric themes in this one, however the animation and sound is high quality and worth the watch.

> SpongeBob's return to the big screen in a grand scale.
It's been a decade since the first film, definitely a long wait for the fans. That film was a hit, but I don't know why it took so long for the second. Honestly, I loved this one too, albeit I'm not a diehard fan, just a supporter. One of the beautiful cartoon universe with unique characters that can entertain all ages. The new addition, especially for this film only, the Antonio Banderas did his part wonderfully. Never seen before stunts in SpongeBob world that comes in the final battle.
Whenever I review an animation movie, I usually bring 2D and 3D animation topics to denote how the technology has transformed. 'Asterix' from France, 'Doraemon' from Japan, and recently America's own 'Mister Peabody' remodelled in 3D and saw tremendous success. So why not SpongeBob, but only for a small portion they have tried and it was awesome. Most importantly the story blended well with the twist in the character reformation.
This movie is in a second batch queue for the Oscar race, that mean a slim chance to get a nominee, but I don't think it will make. That does not mean the movie is bad, it was very good, so entertaining and super funny. Simply not an Oscar material, that's all. If anyone hasn't seen it yet, I absolutely suggest to try it out. I hope it won't take another 10 years for the next movie in the series.
8/10

Woefully underrated drama too often passed off as a "boy's night" action film.
_Final rating:★★★★½ - Ridiculously strong appeal. I can’t stop thinking about it._

Hard to understand what is going on in this movie. There's a lot of whispering so it's hard to understand them even with the volume up. I had to watch this movie about 5 times to really understand the movie. It's dumb, but the creatures were pretty sweet looking though.

It would not be fair to describe a "Ronin" as a rogue; more a mercenary without loyalty to any one particular person or cause. So, Natasha McElhone "Deirdre" hires a few of these to relieve a man of a suitcase that is bound for the Russians. What follows is as internecine a thriller as you will ever see. It's full of scheming and double-scheming with "Sam" (Robert De Niro) and "Vincent" (Jean Reno) never quite sure who is or is not on their team as the suitcase changes hands more times that the wonderfully elegant Katarina Witt changes her skates. Stellan Skarsgård; Sean Bean; Jonathan Pryce and Michael Lonsdale all help to keep them, and us, guessing pretty much right to the end. It does suffer a little from a preponderance of shoot outs that couldn't hit a barn door with a shovel; and the car chases do begin to get wearisome after a while, but over all John Frankenheimer manages to keep the quality of the action to a high enough standard to compensate. The dialogue is a bit basic, as are the characterisations - this has no depth nor underlying political agenda/statements - not the I could discern, anyway - it is just a good old fashioned thriller with a first rate cast who are unchallenged by their tasks - and therefore are perfectly plausible.

**A little boring with a great car chase scene.**
Even though Ronin had shootouts, great chase sequences, and classic actors, I was bored and on my phone throughout the whole thing. Nothing was particularly bad about this film. There were actually great parts! But somehow, the sum of all its parts just equaled a movie that left me wanting. Releasing four years after Leon: The Professional, this could have been much better.

I'm not into politics. I'm into survival.
The Running Man is directed by Paul Michael Glaser and adapted from the Stephen King (as Richard Bachman) story by Steven E. de Souza. It stars Arnold Schwarzenegger, Maria Conchita Alonso, Richard Dawson, Yaphet Kotto, Jim Brown, Jesse Ventura, Erland van Lidth, Marvin J. McIntyre, Gus Rethwisch, Professor Toru Tanaka and Mick Fleetwood. Music is by Harold Faltermeyer and cinematography by Thomas Del Ruth.
It may be packed with cheese and is as nutty as a squirrel's sandwich, but this is one astutely entertaining futuristic slice of sci-fi pie. Schwarzenegger becomes a reluctant contestant in the most popular TV show of the time, The Running Man. It's a sadistic show where convicts are thrust into a zonal world and have to avoid an array of stalking killers. Cue lots of outrageous violence, equally outrageous costumes, and of course with Arnold in the lead there's plenty of dialogue zingers. The caustic observation of how television programmes have evolved is potently portentous, and it's all played out to an industrial 80s score from Faltermeyer.
It helps if you know what you are going to get from it, since it's a typical Schwarzenegger movie from the fruity chaotic popcorn era in the 80s. So with that in mind, for A.S. fans this is one to gorge on with glee - for others it may not have the charm offensive required to strike a chord. 7/10

It Comes at Night is very realistic interpretation of a post-apocalyptic world which follows a family trying balance survival with their own morality.
I found almost every aspect of the story to be incredibly grounded; from the way the house is set up to the interactions between our main two families. The whole entire film the families are walking on eggshells trying not to disturb the peace that has settled for our main characters. No matter how long these two families have been in each other's company, they cannot truly trust each other in these desperate times. It creates a significant amount of tension as the audience is nervously waiting for the ultimate end to their harmony.
The cinematography and sound design are excellent in this film. The shots from inside the house feel incredibly claustrophobic and maze like, especially in the night scenes. The audio creates some truly terrifying moments as the muffled sounds of banging and rummaging echo through the halls.
Our performances are all excellent. The extremely raw, pragmatic, and emotional mannerisms our characters display work so well with the dark and gritty reality of their world. Kelvin Harrison Jr. was a standout, his empathetic nature mixed with dark foreboding undertones was a very complex role that I think he nailed. Joel Edgerton was also great as always.
Overall, It Comes at Night is a great film and interpretation of what a real apocalyptic event would be due to the world and humanity that I really enjoyed despite its limited action.
Score: 81%
Verdict: Great

**The marketing made me expect something this movie was not and ultimately dissatisfied me with what I got.**
Marketed as a horror creature movie, It Comes at Night disappoints due to the severe lack of creature horror. Instead, the film follows a family surviving an apocalyptic virus that has all but wiped humanity off the face of the earth. Paranoia saturates every moment of the movie, with characters constantly fearing how others might attack or infect those they care about. The film's scariest moments are the weird dreams the son keeps having. The twists at the end most likely are meant to shock but left me deflated. While It Comes at Night might be beloved by cinema fanatics, I couldn't get past the deceptive marketing. I wanted monsters and got family drama and paranoia.

**It's always family first in the apocalyptic world!**
It was not what I was expecting, enjoyed it though. The trailer, the posters hints something else. So I thought it could be a horror, but it was even a terror or a thriller flick. Well, there were a few occasions where it was edgy, though in the most of the film nothing really happened. Slow but not boring. A simple storyline, limited cast and a apocalyptic theme. Surely you would have seen hundreds of this kind, so when you watch it, you won't find anything new out of it. Then remains the question, is it any worth!
I liked a simple take. Just like the film 'The Survivalist'. A small family living in an isolated place, but very precautious about any outside threat. The world is infected with an unknown disease and people are dying everywhere. Recently they had buried one of their family members. So they are not taking any chances with anyone. But now after a terrifying encounter, another family joins them and how things go on from there are the rest of the tale to tell us with a small twist.
Well, you won't see Joel Edgerton doing a solo film often. But this was a different, because of a small budget and the kind of narration. He did good and so the rest his co-stars. Firstly, it was not a horror film. Then there were a few intentional scenes to scare the viewers, but it wasn't anywhere near to scary. I've watched the whole film and I still don't know what comes at night. Dreams? Nightmares? Looks that's what it implies. Other than that it is a drama film with a little thrill. It can be watched nothing more than once.
**6/10**

I don't need happy endings in my movies. A downer ending is often what makes a movie great. But I do like satisfactory ones. _It Comes at Night_ did not give that to me. Mystery is often its own reward, and I do believe that's what writer/director Trey Edward Shults was going for here, but it didn't wind up hit that resonant for me. This particular movie felt like it wasn't about the journey, it was about the destination, and we essentially didn't get one.
Joel Edgerton is fantastic of course, but any one of the other actors could have been as well, we'll never know because they were never given that opportunity. Which really says it all with _It Comes at Night_. There seemed like there was something very worthwhile just on the other side of the veil, but we'll never know, because we never got to see it. And with cinema, if we didn't see it, does it really count?
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

**Action with some humor and a dose of exaggeration.**
The best thing about an action movie is that it's usually easy entertainment and doesn't make you think too much. The film that brings me here today is reasonably enjoyable for that reason, and for being honest in what it does, that is, it is not one of those films that deceives the public by saying it is one thing and being another. The film is exactly what it says it is, and delivers what it promises.
The script isn't particularly smart, and the story has enough improbable points to make us really doubt it. However, it serves the purposes of the film perfectly, even having some moments of humor. The film is far from being good, but it has a cast of good actors: Sylvester Stallone is good at acting, but he was never good at playing characters, and that doesn't change in this film. Even so, he's good enough to handle the role and have the lead. John Lithgow also does a satisfying job, but the rest of the cast is average. The villains are… likable, to be honest.
Technically, the film takes advantage of the generous budget for very good and well-executed action scenes, with great physical demand from the stuntmen and great commitment from the special effects, visual and sound sectors. There's an exaggeration that makes everything feel sensational, kitschy and a little silly, and the dialogues are absolute clichés, but they add fun and some more witty moments to the film. Of course, there's plenty of pyrotechnics, judging by the amount of stuff that gets blown up.

When a rescue atop a mountain goes wrong, a girl is killed and her boyfriend "Tucker" (Michael Rooker) blames his partner "Walker" (Sylvester Stallone) for the tragedy. A year goes by and the two must reunite to find any survivors from an high altitude plane crash. What they don't know is that plane carried "Qualen" (John Lithgow) and his associates who have just carried out a daring mid-air robbery and they are now looking for their $30m in the snowy wilderness. Apprehending their would be saviours, the gang use tracking technology to hunt their missing suitcases, but of course we just know things are not going to go smoothly. This has the scenario to be exciting: the cold and rather beautiful wintry scenery sets a scene nicely but the acting is very poor. Lithgow is hopeless, no other word for it, and Stallone just goes through the motions as the tortured soul trying to reconcile with ex girlfriend "Jessie" (Janine Turner), his friend and his conscience. Rex Linn's "Travers" - a duplicitous FBI man is no better and after about half an hour you are certain just what is going to happen - it's now all about pyrotechnics, helicopters and avalanches. It was nice to see "Pa Walton" (Ralph Waite) on screen again but Craig Fairbrass? No, sorry. This is just well photographed mush up a mountain.

Superb actioner from Sly and the gang.
Gabe Walker (Sylvester Stallone) is an expert climber, but after a tragic incident leaves a girl dead, he leaves the mountains to get his head together. After his self imposed break he returns in the hope of rekindling a relationship with Jessie (Janine Turner). Whilst at the rescue centre he is called to help a group who are stranded in the mountains, he agrees to help out this one last time, unaware that the group in the mountains are heavily armed murderous thieves and they need help of another kind...
Directed by Renny Harlin, this is one of those films that shows that Stallone once had box office clout as big as his bodily frame. It's a delightful no brain action film that delivers royally to those with a bent for the action genre. What really lifts Clifhanger above average is the wonderful use of suspenseful situations. The film opens with a quite breath taking sequence and then kicks on to literally have us hanging on by our fingernails. The bad guys are deliciously over the top, none more so than the bullishly nasty John Lithgow as Eric Qualen, whilst Sly gets beefcake support from the ever reliable Michael Rooker. Cinematography by Alex Thomson is gorgeous as he brings to life the Cortina d'Ampezzo area of the Dolomites in Italy. Score is by Trevor Jones, who keeps it orchestral as he lifts from his own work for Last of the Mohicans, which in turn is mixed with what sounds like the lead theme of Alan Silvestri's work on Predator.
Slam bang action, tense fraught moments, and a script written with knowing tongue in cheek persuasion, Cliffhanger literally does ROCK. 7.5/10

**Great opening but left me wanting more **
I waited years to see this movie and was excited as could be and the opening set it up as a great fast paced and emotional adventurer. What I got was fast paced but not a true sequel to one of my favorite zombie movies. If you’re a fan of action and zombie movies maybe this is for you but this is not what I and I believe many others wanted in a sequel.