Sigh Another Way.
Die Another Day is directed by Lee Tamahori and written by Neil Purvis and Robert Wade. It stars Pierce Brosnan, Halle Berry, Toby Stephens, Rick Yune, Rosamund Pike, John Cleese, Judi Dench and Michael Madsen. Music is scored by David Arnold and cinematography by David Tattersall.
Bond 20 and 007 is captured and tortured by the North Koreans after being betrayed by an MI6 mole. After being exchanged for a deadly enemy operative, Bond has his 007 status revoked and is forced to go rogue to find who the mole is.
As the Bond franchise celebrated 40 years of being, the film to mark the occasion, ironically, forgot the subtle ingredients that make up the best Bond movies. What we get is a chaotic movie, excess is the order of the day, with Eon allowing Tamahori to stack up scene after scene of video game standard ideas. There is no lack of effort here, the heart is full of good intentions, but some big cheese in a suit should have reined the director in. It's also a sad day in the Bond universe when a Bond film uses homage's to homage itself, only for that idea to tire itself out as well. There is barely any time for reflective silences, for a show of character depth, on the odd occasion the film slows down, gasping for air, Tamahori rushes into the next bit of noise annoys. While the action is often as laughable as the dialogue. This may have made a pot load of cash, but few serious Bond fans would have returned to see this again at the cinema. It's Bond for the non Bond fans, a lazy popcorn no brain for the gamers who just want crash, bang and wallop with no substance. Ssshh, did someone say Batman & Robin?
As the film unfolds in a blur of sledgehammer editing and lack of restraint, not to forget CGI that is shameful, the cast struggle to keep the good ship Bond afloat. Brosnan is on smug auto-pilot, this film proving to be a sad farewell for him from a role he had previously graced with some distinction. Berry is gorgeous but looks awkward with the action scenes and can't carry off the chirpy aspects of the script, though in her defence she's not done any favours by the writers and Tamahori is more concerned with showcasing her twin assets. Pike is OK, sexy and feisty, if a little difficult to accept as a MI6 agent. Stephens, who went on to do very good acting work later in his career, hams it up for all he is worth. Meant to be a shadow characterisation of Bond, Stephens plays Gustav Graves as some posh cartoon character from a Brit sit-com, a world away from the much needed dastard villain opposing Bond. His motives unclear and a victim of one of the film's more berserker twists. Yune is fun with his diamond studded face and old pros Cleese and Dench at least come out of it with reputations still intact. While Madsen is criminally underused.
Elsewhere on a technical front there's also not much to shout about. Madonna's title song, the worst in the series by far, is only beaten in awfulness by her cameo in the film. Tattersall's photography barely registers above the ordinary, with sub-standard location filming not helping either, and Arnold's score is about as far removed from Bond flavours as it can get. There are some good scenes within, a machismo pumped sword fight between Bond and Graves and a laser beam (hello Goldfinger my old friend) dodging fist fight stand tall above the messy quagmire, but the memory of the good sequences are quickly vanquished once the "invisible car" is put to field duty use! And with that there really is no more to say about the "quality" of Die Another Day. For Bond fans it's about a 5/10 movie, for casual blockbuster fans after a cheap thrill it will no doubt score higher.

Most definitely the worst 'official' James Bond film I have ever seen (haven't seen 'The World Is Not Enough', 'Quantum of Solace' or 'Spectre' yet) but still has its moments, and like The Rolling Stones or Pink Floyd, even the bad stuff is better than 80% of the other stuff out there. Still I wish it wasn't Brosnan's last one--and though Craig was truly a refreshing change in his realistic tone that hearkened back to the great days of Connery, that too got old, even for the actor himself.

I'm not the biggest fan of Daniel Craig but here is one of his more charismatic performances as "Joe". Incarcerated, he is roped into helping brothers "Jimmy" (Channing Tatum) and "Clyde" (Adam Driver) into planning and executing a daring heist at the famous Coca-Cola 600 NASCAR race. First things first, though, they have to work out a plan to get "Clyde" into jail, then to get him and "Joe" out for long enough to carry out their robbery, then get themselves back inside just in time to provide for a cast iron alibi before they are released to spend their ill-gotten millions. This is what Steven Soderbergh does well: a well written action adventure with some humour, strong characterisations and a decently paced storyline that really does pass two hours enjoyably. Tatum ditches his muscle-bound look, Driver has some fun with (and without) his war-earned prosthetics and the blonde-shorn Craig rules the roost with his most engaging role to date. It looks like it took a bit of inspiration from "11 Harrowhouse" (1974) with a soupçon of "Robin Hood" and "the Dukes of Hazard" thrown in too, making for an enjoyably lighthearted outing for all concerned.

Soderbergh is no neophyte when it comes to Heist films, and _Logan Lucky_ is arguably the best of the bunch, but it still feels lacking. Not enough to make it a bad movie, not at all, but still to the point of minor aggravation.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

The third time this pair had come together for a movie and it does not look good at all. The movie can be enjoyed for its comedy, not for anyone's performance. The location (South Africa) was good, but not exposed well, instead make fun out of it which was expected.
In earlier days I used laugh out loud for Sandler's jokes, he's not the same guy anymore, I barely smile now. And for Barrymore, she was one of my actresses (I believe still she's), but her recent movies are disappointing, or barely in entertainment business. Kind of attractive Bella Thorne in a tomboyish getup, hope to see her in many future projects.
I heard that Dale Steyn does a cameo for a Hollywood and I did not know it was this movie until I saw him. He's a rock-star on the pitch, but when Sandler made fun out of him that irked me and then let it go as it just a silly movie. Like the old days' animation shorts for the TV, this film had collective pieces of comedic scenes. Individually very entertaining, but as a movie fails to assemble. Not for everyone, but manageable.
6/10

Another silly Adam Sandler movie. Once again, Drew Barrymore and Adam Sandler pulled off a great comedy due to their awesome comedic chemistry. Mr. Sandler uses some of the same jokes from previous movies of course but they didn't feel worn in this movie. I actually enjoyed it. Several hilarious moments throughout the movie.

Two years after the first CGI turtle-fest, we have reassembled just about everyone for a return match with the "Shredder". It's whilst he is on a prison transfer that he is to break out from captivity and take up his quest for global domination once again. Luckily, the determined reporter "April" (Megan Fox) gets wind of this plan and alerts our intrepid heroes, but it's too late to prevent his escape. Not only that but the wily scientist "Baxter" (Tyler Perry) has managed to develop a teleport device that is going to empower "Shredder". When that malfunctions and introduces him to the powerful "Krang" from another dimension, he becomes imbued with surely some unstoppable technology - as well as giving him two genetically modified hoodlums - "Rock Steady" and "Bepop". Yeah, I know - by this point I was beginning to lose the will, but I think this might be marginally better than the 2014 outing. There's more of a story here as the heroes take on their nemesis, and deal with mutating mutants whilst also raising some philosophical issues around their own "humanity". This latter development causes a little friction amongst our otherwise loyal friends and reminds them that honesty is always the best policy! There's plenty of action and though it ends up very similar to the last in this franchise, I found it a passable effort. Not that I'd ever bother watching it again.

Kinda better than the first film, though by the end it basically levels out as a draw between the two. Too mundane once more.
'Teenage Mutant Ninja Turtles: Out of the Shadows' does improve a few things, one being the score - not that it's great or anything, but it's more pleasant than Brian Tyler's attempt. Overall it's a little more watchable, but what affects this most is the messy ending - especially with the CGI, which looks like a video game.
Cast-wise it's largely the same, though Johnny Knoxville is dropped - not that I noticed until the credits, mind. Can't say I'll remember any of the cast's performances, just like in the 2014 production.
I guess it's a positive that this didn't completely crap the bed, as sequels sometimes do - especially ones that follow poor originals. Still, this isn't good at all - and, unsurprisingly, killed the would-be franchise early on.

*** This review may contain spoilers ***
I was indifferent to the first TMNT movie. It was okay; it could have been better. It could have also been far worse.
So, there was some apprehension going into TMNT: Out of the Shadows, because, traditionally, sequels were worse than their parent films.
Well, Turtles wasn't. The second film is actually much better than the first. It still has hard- to-digest action sequences right out of Michael Bay's wet dreams, but this one also had some heart. It had a theme.
Being a teenager is difficult enough without, one, having to shoulder the burden of saving the city from an evil ninja, and, two, being forced to hide from the very society they are protecting. The TMNT concept practically begs to touch on things like teen angst, and the feeling of being an outcast that almost all teens feel at some point. But, because they're mutant turtles, this would of course be magnified 10 times.
But the franchise, in its various incarnations, hardly addresses this. But the new Turtle film does. It appeals to the sensibilities of people who recall the awkwardness of being a teenager. This movie actually says something.
There are some flaws, however. Shredder and Krang meet for the first time, Krang proposes an alliance, Shredder accepts. At no point does Shredder flip out while a talking brain rambles on about his plans for world domination. At no point does Shredder question Krang. He is a banished evil warlord. Why would Shredder trust him?
Megan Fox, unfortunately, is still a thing.
Would have been nice to have Casey Jones truer to his original character.
But where the film works is in the script, and, particularly, the scenes with the Turtles, sans their human friends.
And then there's Rocksteady and Bebop. We 80's kids have been waiting 26 years to have them on screen, and, when it finally happens, it doesn't disappoint. There's an interesting dynamic at play with them: While the Turtles yearn for acceptance and to be human, Rocksteady and Bebop, former humans, are happy to be monsters.
I guess the ooze is always on greener on the other side.
But a pretty good Turtle movie overall, and a lot of fun.

I cannot say that I had high hopes for this movie. It was a must buy for my collection since I had the first movie already and the kids wanted to see it anyway so yesterday when the kids where at my place we sat down to watch it.
It is definitely a movie for the younger audience. My two youngest kids had quite a few laughs while watching it and there was one ore two that entertained even me.
Otherwise this movie is a rather messy concoction of loads and loads of CGI, action, stunts, cheesy comments and silly acting. It borders on being a slapstick movie. It is rather unbelievable but Megan Fox was the one of the main actors that did the most serious performance in the movie.
The enjoyment of this movie is pretty much the CGI action, ludicrous stunts, primarily by the turtles, plenty of explosions and gadgets. The turtles garbage truck was rather fun for example. Silly but fun.
As an adult be prepared to leave you brain in idle and try to enjoy the cinematic magic that went into this movie. Then you might find it slightly enjoyable or at least not a total waste of time.

**They are back with even more stimulated to fight the crime.**
Another great addition to the franchise, I completely enjoyed. The first thing is the pace, it was so fast, from opening to the end, non-stop actions and comedies. I regret that I was not able to watch this in digital 3D, other than that, this is a wonderful film for TMNT fans. I know, some people downgrading it, but don't believe them, it is just a fine film if not an awesome as I'm praising, particularly keeping in my mind the common people. So watch this for entertainment and it will deliver for sure.
There are some flaws, but I did not care about them, because it was not a documentary film or even a sci-fi film, it's just a fun-action film. So everything was aimed to bring laughs and it did successfully. If you go with science, then this is a nonsense film. Anyway, the vfx was very impressive, the CGI characters looked even better than the previous one. Don't compare it with the DC or Marvel's films, it is setting up its own trend. Like those new additions, Rhino and Warthog characters were seems more like reading a comic book, straight outta from the sketches.
Excellent follow-up and expecting another sequel in the next two years. The director of 'Earth to Echo' did a great job, and also all the actors. Little disappointed was the villain. I expected some strong confrontation between the heroes and the bad guys which was a let down. Though, all the stunt sequences were well designed. Those clichés like a mad scientist, alien invasion, hole in the sky et cetera, did not stop me from having a good time. Surely I would watch it one more time, just for entertainment, that's what this film is good at. I suggest you as well to watch it if you're seeking the same.
_8/10_

I like the "trapped inside a movie/tv show" concept. I've seen it done better elsewhere, but it's still pretty good here. And I very much enjoyed the way it plays out at the end. Actually I think the last time I was this warm on a romcom, it was _When We First Met_. Another Netflix original that I liked for virtually identical reasons...
_Isn't it Romantic_ still isn't my sort of film. I just don't gravitate towards this genre. But It's **better**. Almost makes it feel like we're collectively going in the right direction as an industry. I'm sure we're not, but it's nice to live in that delusion.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._

**Two strangers in an unusual circumstance take a weirdest journey.**
My initial thought was this is a new version of 'Weekend at Bernie's', but very soon I realised it is not. This film is a bit disgusting. Watching alone makes okay or with the close buddies, but not good for beyond that. I totally appreciate the effort and obviously the fresh idea for a film from the Hollywood, but the film is not a masterpiece or entertaining. Because a plot like this is not worth for a 90 minute stretch. It should have been a short film or the story should have developed to a better one.
There are lots of questions regarding the film. The film did not detail everything it showed, so that's the first negative about it. It opened with a young man stranded on a tiny island who tries to commit suicide, but abandons the plan and takes a weirdest ride in the sea seeking land to get rescued by its people. Though he's not alone, a strange young man accompanies him. So it's like theirs journey of self-discovery, but how it all ends is the crucial final segment.
Both the young actors were good in theirs very challenging roles, particularly Daniel Radcliffe. The directors too to be praised for managing to pull it off so well. But it was the screenplay that did not deliver as I anticipated. The film was different, but nothing impressive at all, so I think it is good for watching at once. Maybe if I understand or get the answers for my doubts, I might change might stance. For now this is an average film.
_5/10_

Unstoppable is an intense, high-energy thriller that keeps you on edge from start to finish. The premise is simple but packed with tension, and the performances by Denzel Washington and Chris Pine elevate the film. Their chemistry makes the stakes feel real, and you genuinely connect with their characters. The movie does a great job of building suspense, and the pacing never lets up, making it an easy and engaging watch.
That being said, the script didn’t fully hold up for me. While I understand the need for character-building moments, some of the dialogue felt excessive and took away from the urgency of the story. The film could have focused more on developing the plot instead of lingering on conversations that didn’t add much. I also had issues with the cinematography, especially the constant swirling camera movements. It felt like an attempt to create a sense of motion and energy, but instead, it became distracting and even frustrating at times.
Despite its flaws, Unstoppable delivers where it counts. The action sequences are well-executed, the intensity is gripping, and the climax is satisfying even if expected. It may not have the strongest script, but the solid performances and non-stop momentum make it an entertaining ride. If you’re looking for a fast-paced thriller with strong leads and adrenaline-pumping moments, it’s worth a watch.

Tony and Denzel get back on track.
Unstoppable is directed by Tony Scott and written by Mark Bomback. It stars Denzel Washington, Chris Pine, Rosario Dawson, Ethan Suplee & Kevin Dunn. Cinematographer is Ben Seresin and the music is scored by Harry Gregson-Williams. Plot finds Washington and Pine as Pennsylvania rail yard workers at the opposite ends of their working careers. Whilst working on their first job together, and not exactly hitting it off, the two men are thrust into a frantic pursuit of a runaway train. The runaway (coaster) is pulling tankers containing highly explosive material, and hurtling along at 70mph it has to be stopped before it hits civilisation.
Almost as if to atone for the misfire that was The Taking of Pelham 1 2 3, Scott and Washington jump on board another type of train movie and literally let it rip. The film is as simple as its plot synopsis suggests, it's a disaster movie on the railway, but with Scott cranking it up as much as he can, it's as much fun as you can hope to have with a modern day popcorner. Carrying all the trade mark licks of its director; roving camera, scattergun editing and ear splitting sound mix, it's also nice to report that unlike Pelham, the pace never sags. Even as the principal characters hang ups and back stories are unfolded in the narrative, Unstoppable literally doesn't pause for breath. Sure the "Bromance" development is signposted at the first stop, and yes, are we ever in doubt about where this will end up? But if you are going into Unstoppable for wry social commentary or an expose on the political shenanigans involved in today's rail yards? Well you deserve all the disappointment you will undoubtedly get.
A runaway train pursued by Captain Kirk and Malcolm X, directed by the man who brought us Top Gun. Yeah baby, it's a thrill ride for sure. 8/10

**To whom 'Bon Appetit' is a sin!**
Another writer, producer turned director. It was her first feature film and she was not bad. The Netflix producing lots of formats like shows, stand-ups, but I'm more interested in in films which they haven't tapped that greatly, yet. I've seen almost all of their films, and I'm quite happy, but in a few occasions, disappointed. This is surely not a disappointment, yet a slight let down.
No doubt that it is a wonderful story with a wonderful cast. But did they narrated it properly! I think somewhere, something's not right. One of thing were the sentiments, that made me like it. Otherwise, I would have considered it a below average.
A girl with anorexia is further failing to see any success. Her family is so worried, particularly her half sister and stepmother. Could be the family history that affected her to she end up like that. So it explored all sides, giving reasons. With a new programme beginning, a new hope was expected and how this time she ends were revealed with an emotional conclusion.
A film with a story like this should have been an Oscar product, especially to see Lily Collins getting the best actress nod. Because her dedication was awesome. But sad to see it got wasted, I mean not being awards' favourite flick. She said it was a very personal film for her. But I thing for me as well for the same reason of hers.
A good title, a good poster. Everybody performed well, besides Collins. I know still majority would love it or already loved it, but there are a few like me not that satisfied. Though I won't say it is completely a bad film. That does not stop me from suggesting it to others. Forget the guys like me, as the days to come, I hope it gets its due. Even I to change my stance!
_6/10_

Not the vampires we wanted but the vampires we needed.
Say whatever about Taika Waititi, but he is a capable screen writer, director and comedian.
It is story about a bunch of vampires in a reality show and their interaction with the modern world, that made Waititi a famous director.

'What We Do In The Shadows' is an hilarious mockumentary film by the makers of 'Flight of the Conchords'. The movie is filed with brilliant homages and references to vampire films such as 'The Lost Boys', 'Twilight' and 'Let The Right One In'.
The directorial style is very similar to the hit TV show 'The Office' as it is able to create humour in the realism and personal interviews and monologues. This method also allows it to be genuinely scary at times such as when we meet the housemate inspired by 'Nosferatu'. The extreme and realistic gore also comes across as very brutal and juxtaposes the silly gags.
The actors are all very good. Dead pan. Great delivery.
★★★★

> The video document of the life of the vampires.
A documentary style horror comedy based on the short film of the same name by the same directors. I would say it is an interview with the vampires in the Kiwi style. The film follows a group of vampires living in an old mansion and their everyday routine, including how they manage to get blood and confrontation with other mutants are documented.
Definitely a wonderful comedy, but feels like a mix of 'Dark Shadows' and 'Addams Family'. The title implies the nightlife of these creatures, especially adapting the modern way of lifestyle. So their exploration begins here for their video document. Being different is how much struggle is what the film focused. Threats from various quarters and getting over from every disastrous event is revealed.
Quite an interesting vampire film with the awesome characters and of course the entire film was shot in the dark time. It is not a cliché, but just a spoof of the typical vampire theme. Cleverly written screenplay and direction with the well supported performances. Looks like many people had loved it, I'm slightly on the different side that I enjoyed watching it but did not like much. Because I have seen better film in the similar concept. So I still recommend it because it is worth a watch.
6/10

Dramatic and adventurous
The Planet of the Apes (1968) is a fantastic movie that delivers a real experience to the viewer. There is no excuse for anyone not to enjoy this movie. Taylor and his friends land in the spaceship in a land ruled by damn dirty apes. If you haven’t seen this, it’s shameful. 9-10.

It seems that this film is almost as famous for the folks who didn't take part - Marlon Brando, Edward G. Robinson, Steve McQueen and even Ingrid Bergman, as for it's achievements as a thought provoking piece of cinema. I have always found that Charlton Heston's delivery tended a touch to theatrical monologue; but it really does work in this existential sci-fi story. Returning from a space voyage to Earth several thousand years after they left, the crew discover a planet (they are not even sure which one) ruled over by apes with their own sophisticated, hierarchical, though still agrarian, society. Heston is soon captured but luckily falls under the protection of two curiously-minded scientists "Zira" (Kim Hunter) and "Cornelius" (Roddy McDowell) who suspect that there is much more to their societal beginnings than are oft quoted in the sacred scriptures by "Dr. Zaius" (Maurice Evans). The juxtapositioning of ape and man make for some quite funny scenarios and over 50 years later it still poses some relevant questions about man's assumptions and behaviour towards the rest of life on our world.

Having seen all three films from the rebooted series, I came into watching the original series expecting something relatively similar. To my pleasant surprise, it's a very different story.
It's a fascinating dynamic that is set up in this version, which I in fact prefer compared to the films from the 2010s - as entertaining as they are in their own right. It's nicely paced and features good cinematography.
The cast of 1968's 'Planet of the Apes' are very good. Charlton Heston, as you might expect, sticks out the most, but Roddy McDowall, Kim Hunter and Maurice Evans are good too. Everyone else is solid, as well.
The effects haven't aged amazingly, for example the ape make-up/costumes are dated and clunky - particularly when the characters are speaking. That's all forgivable of course, given the release year. It's all still effective, either way.
8/10 - very close to being 9/10 in truth.

The writers turned a not very good novel into an allegory on race and religion.
It also takes an nuclear stance which makes an impact in its finale.
Charlton Heston is Taylor. An astronaut, part of a crew of four on a long term space mission.
They crash landed in what looks like a deserted planet. Soon they encounter some hunter/gatherer human beings who do not speak. Then he finds apes on horseback who speak English.
The apes treat the humans like animals. Taylor is injured by the apes and is unable to speak at first.
A female ape who is a zoologist is shocked when Taylor speaks. The other apes see him as a threat. Taylor being able to talk and think is against what the apes have been taught. The answer lies in the forbidden zone as to what happened to the humans.
The movie raises issues regarding race relations, the treatment of animals and adherence to holy texts.
This is a powerful film famous for its twist ending.

A sci-fi film so groundbreaking (in too many ways to list here) let's suffice it to say that everything that came after it owes the film a debt as large as Kubrick's 2001, also made in '68. Anyone who enjoyed the recent reboot trilogy needs to seek this one out.

I'm a seeker, too. But my dreams aren't like yours. I can't help thinking that somewhere in the universe there has to be something better than man. Has to be.
Planet of the Apes is directed by Franklin J. Schaffner and adapted to screenplay by Michael Wilson and Rod Serling from the 1963 Pierre Boulle novel La planete des singes. It stars Charlton Heston, Roddy McDowall, Kim Hunter, Maurice Evans, James Whitmore, James Daly and Linda Harrison. Music is scored by Jerry Goldsmith and Leon Shamroy is the cinematographer.
3978 A.D. and a spaceship and its crew crash down on a distant planet. Three astronauts survive the crash, they appear to be on a planet not unlike their own, Earth. But soon they come to learn that this planet is ruled by intelligent apes, the human being is the lesser species, mute and of basic intelligence..
It was a tough sell to studios back in the 1960s, not only was the premise that formed Pierre Boulle's novel a tricky one, but the technical aspects, cost and quality of, also had the men in suits backing away from producer Arthur P. Jacobs and beefcake actor Charlton Heston. Eventually Dick Zanuck over at Fox nervously agreed to make it as long as significant tests ensured that farce would not follow. Stumping up $50,000 for John Chambers to develop the ape make up and masks, and a successful test run acted out by Edward G. Robinson as Dr Zaius opposite Heston, Planet of the Apes was given the green light. The script went through a number of changes as Serling and Wilson tossed around ideas to improve on Boulle's page turner, while Heston himself felt that the novel as written was unfilmable. Elsewhere, when director Schaffner came on board, he himself went for a more primitive ape world as opposed to the one under consideration that featured futuristic high rises and super advanced technology. What came out at the end of it all thankfully is one of the greatest sci-fi movies of all time.
What would follow the success of the film is well known, a number of inferior sequels, a TV series, a remake and even a prequel in 2011. Then of course there was the toys, models, comics, cartoons and T shirts - it at times felt in the 70s that there really was a Planet of the Apes, only this one was driven by commerce. The aftermath of the original film has not done it any favours, the lines have become blurred, with so much muck and tack about, it often gets forgotten just how clinically great Schaffner's movie is. If ever there was a film that deserves to be a standalone, this is the one. Follow Heston's brawny Taylor from the pitiful planting of the stars and stripes at the beginning, to that monumental ending, and then leave it at that, do not pass go, do not venture further into any sort of monkey business. No sequel necessary, for Planet of the Apes to truly hit you with maximum impact, it all needs to end right there on that shoreline. As the great Rod Serling intended in fact.
Thematically the picture is acknowledged as being caustically strong, a sociological allegory, with pinches of racial animus just for flavouring. It might be under the guise of a sci-fi movie, but the makers aren't trying to hide it. Whilst the narrative twitches with comment, whoosh was that an aside to the Scopes trial? Film is also full of visceral thrills, pop-culture references and unnerving (alienation like) photographic beauty. The former comes with the hunt sequence, where we first meet gorilla's on horses, with guns and attitude, the latter with Shamroy's Panavision/De Luxe colour lensing of the California and Arizona locations. All enhanced by Goldsmith's aural pinging percussive led score. And while we continue to remember some of those famous bits of dialogue, we also pick up on each revisit to the film those little slices of humour slotted into the story - human see, human do indeed and the visual cheek of hear no evil, see no evil, speak no evil...
Film of course hinges on Heston's central human performance, of which he delivers athletic guts and subtle nuances in equal measure. Taylor's character arc demands repeat viewings to fully appreciate what Heston brings to the role. Take in the cynical Taylor who wanders through the Forbidden Zone in the first quarter, then marry it up to the Taylor fighting for his life in the middle, and finally to the Taylor at the denouement, it's a three pronged acting turn of some undervalued distinction. Not all muscular "presence" actors are/were able to be credible, Heston was. Around him in the monkey suits are true professionals, Hunter, McDowall, Evans (coming in for Robinson who feared for is health in the suit) and Whitmore, while Harrison in the non speaking human role of Nova does her job of looking gorgeous! All that's left to say is that Schaffner, who would win the Academy Award for Best Director two years later for Patton, pulls it all together neatly. 10/10

*SPOILERS BELOW*
I frst saw this film on its first run on CBS. I was in junior high and a hard core sci-fi fan. I was hooked from the first scene. Written by the late great Rod Serling based on the novel by Pierre Boulle, the story is very engaging. After we are introduced to an ANSA Mission Commander named Colonel Taylor, we are treated to a roller-coaster type sequence as we see the re-entry and crash of Taylor's ship subjectively; as if we were aboard her. The abandon ship scenes are still impressive even by today's standards. It's very easy to believe we are seeing a real spacecraft crashed in the water. The next sequence basically establishes Taylor's personality. To be blunt, he is an arrogant jerk. He mentions hoping to find something better than Man. In a literal casr of "Be careful what you wish for", he spends the rest of the film trying to prove the opposite. After he and his two crew members encounter a tribe of wild, mute humans, the sci-fi element takes on a horror flavor as a terrifying horn sounds. We are then introduced to the higher lifeforms of the planet which happen to be apes. The hunting sequences are both exciting and disturbing. As we are familiarized with the film's antagonists, we get a bit of comedy relief as we hear Julius, the zoo-keeper say "Human see, human do" The simian characters are all wonderfully written and acted.
I had heard many times about the ending, but actually seeing Miss Liberty half buried and weathered like that was still a shock. CBS edited Heston's agonized reaction to merely "DAMN YOU!!". I didn't hear the uncut version until I rented it on VHS about 2 decades later when I got my first VCR. The new Apes films are well made but I will always prefer this one. I highly recommend it if you haven't seen it.

‘Sleepers’ uses a disturbing and unnecessary narration to tell its controversial revenge story, but the rich characters and great actors easily make up for that.
8/10

***Justifiable execution and justifiable lying***
“Sleepers” (1991) starts out as a coming-of-age film about four boys in 1966-1967 from Hell’s Kitchen, Manhattan, and then morphs into a juvenile prison picture, which covers the first hour. The rest of the movie is a crime tragedy turned courtroom drama, taking place 13 years later in the early 80s. Jason Patric plays the adult version of Shakes, the main protagonist and narrator, while Brad Pitt plays his attorney friend, Michael. When their other two buds, John and Tommy, are taken into custody for murder they hatch a plan to get them off for understandable reasons. Robert De Niro plays their Catholic pastor and father-figure while Dustin Hoffman appears as the dubious defense attorney. Kevin Bacon is on hand as a perverse guard at the boys’ reformatory.
In an eye-rolling knee-jerk response, liberal critics have dissed the film as “homophobic” when this isn’t the case at all. For verification, if the victims at the reformatory were girls the baseless criticism wouldn’t even be mentioned. It is not about gender; it is about children and the monstrous abuse of authority for selfish purposes. The film NEVER criticizes what two adults CHOOSE to do behind closed doors.
In tone and theme, “Sleepers” is similar to the heralded “Mystic River” (2003), but more episodic in nature and therefore not as dramatically compelling. Yet it’s a poignant crime drama. Some have panned the movie on the grounds that it justifies revenge murder, but it more clearly supports the idea of just execution when legal authorities have failed and allowed gross corruption to continue.
Another moral issue revolves around lying. Is it ever right to lie for the sake of justice? In other words, is lying ever justifiable? Of course it is; at least on rare occasions. For instance, in the bible the midwives lied to Pharaoh in order to save Hebrew infants and are commended for fearing God (Exodus 1:15-21). Rahab also lied to save the two Hebrew spies in Jericho and her actions are hailed in Hebrews 11, the Hall of Faith chapter. During WW2, if Nazi authorities came to your door looking for hidden Jews, would you say “Yes, I cannot lie; they are hiding in the attic”? Of course you wouldn’t.
The script by director Barry Levinson was based on a book by Lorenzo Carcaterra, which is supposedly a true story. Although New York authorities have denied its authenticity, they have good reason to do so. Whether or not every jot & tittle is accurate is irrelevant; stories LIKE IT have happened.
The film runs 2 hours, 27 minutes and was shot in New York City & surrounding areas (Brooklyn, Manhattan, Yonkers, Hoboken) and Fairfield Hills Hospital, Newtown, Connecticut (Wilkinson School for Boys). ADDITIONAL CAST: Minnie Driver plays the guys’ friend from their youth while Vittorio Gassman is on hand as a nonchalant mob leader in Hell’s Kitchen.
GRADE: B

Critics have labeled this movie as rotten, but I find their justification questionable. There are countless classic films that are considered phenomenal and amazing, yet they are criticized harshly. This movie, in particular, is eye-opening as it sheds light on the chain of command involved in sending rescue missions.
Despite Hillary Clinton being blamed for the deaths of individuals in the film, it is evident that the power lies with Congress. The movie highlights this, yet she continues to be the target of blame.
Setting aside the controversies, this film is intense, action-packed, and emotionally gripping. I strongly believe it is worth watching and should not be dismissed as rotten.

"13 Hours: The Secret Soldiers of Benghazi" is a 2016 war film directed by Michael Bay and based on the non-fiction book "13 Hours" by Mitchell Zuckoff. The film recounts the true events of the attack on the American diplomatic compound in Benghazi, Libya, on September 11, 2012. Starring John Krasinski, James Badge Dale, and Dominic Fumusa, the movie focuses on the six members of a security team who valiantly defended the compound against overwhelming odds.
Michael Bay is known for his expertise in crafting intense and visually striking action sequences, and "13 Hours" is no exception. The firefight scenes are visceral, chaotic, and capture the intensity of the real-life events they depict. The use of practical effects and minimal CGI enhances the realism.
The film features impressive cinematography by Dion Beebe, who captures the harsh, war-torn landscape of Benghazi with gritty realism. The use of handheld cameras during action sequences adds to the immersive and chaotic feel of the combat.
The cast delivers solid performances, with John Krasinski, known for his comedic roles, convincingly portraying a seasoned and determined military contractor. James Badge Dale and Dominic Fumusa also shine in their respective roles, bringing authenticity to their characters.
The film successfully conveys a sense of camaraderie and brotherhood among the security team members. It emphasizes the dedication and sacrifices made by individuals in service to their country, fostering a strong sense of patriotism.
While the movie focuses on the immediate events surrounding the Benghazi attack, it largely avoids delving into the broader political context that led to the situation. Some viewers may find the lack of a comprehensive geopolitical background unsatisfying.
The characters, while based on real individuals, are at times simplified and stereotyped. This can lead to a lack of emotional depth, making it challenging for the audience to connect with them on a personal level.
With a runtime of over two hours, the film may feel lengthy to some viewers. The pacing, especially in the first half, can be slow as the narrative establishes the characters and setting. This may test the patience of those expecting a faster-paced action thriller.
"13 Hours: The Secret Soldiers of Benghazi" is a compelling and intense portrayal of a tragic real-life event. While it excels in its action sequences and captures the heroism of the individuals involved, it falls short in providing a nuanced exploration of the political complexities surrounding the Benghazi attack. The film, however, serves as a tribute to the bravery of the men who fought against overwhelming odds. Rating: 7/10
Written and Reviewed by RSOliveira