Speaking as someone who was there is show was amazing & you wouldn't be disapointed in buying the DVD set as aside from the standard extras you will also get two brilliant documentaries. One of which was the much hyped 'film' made around wrestlemania 19. While the Goldberg, Lesner (Stoned Cold ref) match was let down by outside circumstances (it is still worth seeing just to see how the reality of a poorly booked match can be let down by the reality of politics). With the return of the Deadman getting the biggest pop of the night (simply breathtaking to witness - even if the match was fairly standard - who cares), and possibly the second best ever wrestlemania match of all time occuring in the form of the mainevent what more could you ask for?

I would reccommend this book to anyone who has loved the thrill that Hogan supplied to wrestling when they were kids. Its nice to know where he came from & where he feels he is today. But the writing is weak & Hogan's self-importance is evident throughout to the point that it becomes annoying. But there is no denying that he changed wrestling forever & will always be a great in my mind.

In Brief

When Canadian Air Force pilot Jack Ferriman (Harrington) recruits the salvage crew aboard the tugboat Arctic Warrior to investigate a mysterious vessel he has spotted adrift in a remote region of the Bering Sea, they discover the remains of the fabled Antonia Graza. Thought lost at sea for more than 40 years, once onboard the eerie cavernous ship, the crew discover that the decaying vessel is anything but deserted. It's home to something more deadly and horrific than anything they've encountered in all their years at sea.

Review

There is something knowing in this films charm. Yes its decidedly corny, but as it opens with 1940ï¿s period credits, one canï¿t help but think its always giving you a sly nudge and wink throughout. Unlike other horror films, this doesnï¿t rely on over the top MTV editing but rather classic jumps and scares, building a solid if what somewhat flawed 90 minutes of entertainment.

Opening with one the most original mass killings that I can recall, it is hilariously disgusting throughout. And while, the story slows briefly to introduce everyone, it picks up apace and has beautifully depicted montage to Mudvayneï¿s latest song. Captain Sean Murphy (Byrne) is a slat weathered old hand, and lends the story some weight while team leader Maureen Epps (Margulies) and First Mate Greer (Washington) engage with the basic script aplomb.

Hidden within this film, is a twist that will have you kicking yourself, and while the haunted house concept of Ghost Ship has yet to produce a classic, its filled with moments that bring it close. The premise may be unoriginal but Ghost Ship is still worth a look, if only for a chance to laugh at an ending that is as knowing as it is ridiculous.

The Verdict

Ghost Ship provides a fun night out; its not necessarily going to scare you ridged, but how many films really do that in our desensitised days? It is gruesome, making me laugh on plenty of occasions, and with the talent on display here you have to conclude that they knew what they were creating. The Sun would call it, ï¿A fun filled thrill ride,ï¿ Iï¿d call it ï¿A hilariously disgusting B movie,ï¿ either way check it out!

In Brief

When British artist Colin Ware (Firth), discovers that his fiancée Vera (Driver), the love of his life, is going to marry another man he gets on a plane for America and ends up in a tiny town called Hope. Distraught, he soon finds more than a shoulder to cry on when his innkeepers introduce him to Mandy (Graham) a beautiful nurse. But no sooner has Colin forgotten about his old flame than Vera shows up.

Review

Romantic Comedies usually have that mix of candy floss content that makes you think you can eat a whole one, as how hard can it be to eat sugar whipped in air? Yet when you attempt it you realise that while there really isn't anything to it, you cant finish as its sickly sweet and forcing yourself to throw it away you are left feeling very unsatisfied. Now while that analogy may make you cringe you'll be thankful to know that Hope Springs certainly won't. Indeed this is one of those rare hybrid films that feature an Anglo-American crossover romance and succeeds in mixing sass and irony very well so that both sides of the Atlantic may appreciate its story.

Following in the footsteps of Notting Hill and Four Weddings this slice of American apple pie sets the story in the ideally named small town of Hope, where a typically English gent (Firth) has escaped his long-term fiancée to find himself anew. Mandy (Graham) is the tonic everyman desires, and while its beginning to become a familiar story of estranged love finds new passion, both play their roles with a freshness that really lights up the screen.

Steenburgen and Collison are perfect as the comedy cupids that help steer true love on its path. While the local residents of the small town all have a part to play in both hindering and helping the pairing of Mandy & Colin. Indeed, the local mayor played by Oliver Platt is a brilliant encapsulation of the small time business man turned big time thinker, and he brings a slightly toned down but nicely timed comic turn throughout.

Like all romantic comedies the only major downside are their predictability. They all share the same fate, yet its an example of good filmmaking if the story can be remoulded as if to give the impression that its slightly original or at least engaging. Unfortunately Hope Springs is not original, but it does its job well and passes 90 minutes without temptation to make itself something far greater than it should be.

The Verdict

This is the ABC of romance, told with such a sincerity by all members of the cast that you cant help but enjoy it. Colin Firth may have moved on from the wet shirt days of Pride & Prejudice and though he may no longer be Mr. Darcy I don't believe he will disappoint. A delightful pairing with Graham works well, and Hope Springs is enough to give anyone that 90 minute dream we all need sometimes.

In Brief

Based on Paolo Lin's shattering novel Cidade de Deus, City of God traces dozens of intertwined stories of love, humour and struggle that reveal the real people inside Rio de Janerio's drug riddled neighbourhoods. The focus of the film is based around two boys growing up in this violent world and how the different paths they take couldn't have been further from each other as one becomes a photographer and the other a drug dealer.

Review

Based upon a true story the film is told from the perspective of Rocket, a poor child who is too frail and scared to become an outlaw but also too smart to be content with an underpaid job. He is the complete opposite to Lil Dice, a child of similar age who becomes Rio's most dangerous drug dealer and as the film progresses the differences between them become startlingly obvious. Set over three decades this film provides some of the hardest imagery I have had to watch in some time. Yet in no way is any of the content of the narrative or mise-en-scene gratuitous, but rather shocking in the way that it will make you feel.

There is something very strange about seeing a child with a gun, to most of us there is nothing new about this image as we have all seen children playing with toy firearms and indeed have ourselves at some point in our life. Yet to watch a child in a film who although is acting with a fake weapon, doesn't detract from the intense shock value of seeing a small boy murder and even enjoy it with an intense smile upon his face. I suppose this comparison does highlight how gang culture is bred from playing as we watch the same boys in a ball game later highjack, become drug pushers & murders with a callous carefree attitude as if it were all still a game.

While the film opens with some flashy digital editing that has already become dated since its overuse in Guy Richie's films, there is no denying that the story is the most powerful thing on display here. It is delivered through some very strong performances from the children, teenagers & adults involved but it the natural rhythm that the narrative provides that makes the daunting task of telling a 30 year story flow with such an ease that makes one want to learn the how the predetermined outcome will and has been affected by the past.

The Verdict

This is a beautiful work from a director that was recognised by Cannes in 2002. It is not for the weak of heart as the shocking reality on display here is told without many of the conventions that make a gritty film gritty. Yet the story is as clear as much of the stunning photography: a single cell or still may provide a postcard view of Rio but the narrative shows the flip side - the true side - and how much of life is a fight with fate in the City of God.

In Brief

Set in 1940's Jazz filled New York, Woody Allen stars as an ace insurance investigator named C W Briggs. A man who prides himself on his ability to crack any case finally meets his match when he himself becomes the crook under the hypnotic spell of an evil mastermind. Can he break the spell before its too late, or will the new efficiency expert (Helen Hunt) break him first - or is she under a spell too?

Review

This, like many of Allen's films are finding it harder and harder to get a distributor. The Curse of the Jade Scorpion in particular was made and released back last year and it is only now that it finally has reached our shores. So why is one of the greatest auteurs of the 20th Century being shunned? Well like any athlete in the Olympics, once you've won gold your judged on the standard of that championship win and not how well you have performed on the day, this is the same for Allen. An audience has a certain expectation about a Woody Allen picture, and unfortunately The Curse of the Jade Scorpion does not match up.

As always the wry sharp dialogue of Allen is spot on, and while the performance constructed by Aykroyd grated it fitted the persona of Briggs' shallow boss perfectly. Hunt was steamy, strong and as Allen's leading lady, you couldn't have asked for more. Yet the farcical nature of the narrative was as irritating as the music that indicated that this was a 'crazy' slamming door farcical moment. Most surprising of all was the amount of shots with the boom in view - one realises that it is the job of the projectionist to mask these but the fact that an auteur of Allen's standard allowed them to reach the final negative is shocking.

One of the greatest strengths in the film comes in the guise of the environment that has been created in making a believable 1940's New York City. The Rainbow Room party scene looks as if had been taken straight from the period. It isn't an overstated stylised forties, and this is to Allen, Santo Loquasto, and Suzanne McCabe's credit, people look normal, dressed down, simple forties style, the only glimpse of glamour coming through Charlize Theron's sassy Laura Kensington. While the jazz soundtrack had many a toe tapping in the audience, creating a beautiful sense in the mind of a dirty but sexy city. Indeed the dirty wallpaper & lighting in Briggs' apartment fascinated me as it was as brilliant statement of character as the acting itself.

The Verdict

This is essentially the work of a great man on autopilot - hopefully he will steer out of these nose dives in the future, as the novelty of Hollywood talent queuing up to work with him will wear thin. Only then we will be faced with the bare truth that there really isn't much to a film like this. It's harsh to look at something that is reasonable fair in such a manner, but judged he must be and we all know that he can do so much better.

In Brief

Shaun Brumder is a surfer dude from the sunshine state, whose outlook on life takes a U Turn following the death of a friend and the discovery of a book on the beach. Realising his desire to become a writer, he sets his board to one side and pursues acceptance at Stanford University. A straight-A student he should have been a shoe-in but a series of obstacles block his path as he sets out on a journey of personal discovery.

Review

Though the marketing department behind Orange County would like us to believe that this film is a laugh out loud riot, unfortunately it is not. This is a weird breed of filmmaking as it is essentially a feel good movie for teenagers. Now that's not to say that this film isn't funny, but the comedy gems are spread out and generally come courteously of Jack Black.

Black, for those of you who don't know, is part of the comedy genius behind Tenacious D (the satirical folk metal band) and the man who memorably stole the show in High Fidelity. Here he plays Shaun's older stoner brother to perfection, but criminally his total screen time is short and one can't help but wish he featured in the film as heavily as he does in the promotional posters and press releases.

Like Black's performance the strength of the film comes through its attention to the very small character traits or idiosyncrasies (or should that be inconsistencies) of teenage life. The ironic focus on relationships and finding ones path in life is unfortunately overshadowed by hardcore Californian mush. Remember California Dreams from 90's morning TV, well its not that bad! However if one were to lift a plot from said TV Show and add a shiny new 12A rating, thus creating more ... jokes before leaving to soak in a syrup of sentimentality, you would be closer to the quality that is Orange County.

That said, this is not a bad film, its weakness is that is not memorable, it is pleasant, and pleasant does not memorable make. While any film featuring Chevy Chase isn't hard to dislike, I can't fault Orange County on its use of classic comedy actors. Their presence, if anything, lends a thin story some comedy kudos. However one can't help but feel slightly cynical about a movie that stars the children of Tom Hanks, Sissy Spacek and Lawrence Kasdan - as you imagine that the kids wanted to make a funny film and they got mom & pa's pals to come and be in it.

Its not easy to make a good teen flick, as one can go too far either way, but viewing the movie with some perspective you can't help but feel that the creator was looking back on their life through rose tinted glasses. This is not a slacker movie to the quality that Kevin Smith has shown us and nor is it a caper along the lines of American Pie or Road Trip. Getting this one right was always going to be hard, giving the warm glow treatment to the teenage market just doesn't feel right, I'll settle for Jay and Silent Bob any day: Snoochie Boochie Noochies this ain't!

The Verdict

Orange County is worth seeing as it's a nice film, but its use of 20% plot concentrate, 20% comedy and 60% watered down feel good factor is not gonna make me want to see it more than once.

In Brief

Is America a nation of gun nuts or are they just nuts? This is the question that the press release for Bowling for Columbine asks us and Michael Moore's new film goes some way in exploring. Taking the Columbine High School shootings as its focal point, this documentary looks at the aftershock this massacre has had, paralleling it with the gun culture and increasing violence seen both within the States at a domestic level & the murderous events perpetrated by said country on a world level.

Review

Director, writer, celebrity, political activist, comedian; this is Michael Moore's first documentary film in 13 years since his debut Roger & Me, and it saw its premiere this Sunday as part of the Regus London Film Festival.
Since making his first film his political stunt style has developed through his television shows, The Awful Truth & TV Nation and his status as both celebrity and man of the people has been perpetuated through his written work: the most notable being his recent book Stupid White Men, which has been on the New York Times best seller list for over nine weeks! This was despite his publishers best efforts to make sure it never saw a bookshelf let alone made money and is a testament to the strength of his work that it is now in its 19th printing.

So while Moore is obviously a draw, especially to a disillusioned youth or general public, why does Bowling work so well? The answer is simple, it is honest film making - and his greatest tool is the truth which can be delivered in laugh out loud "its so scary you have to laugh" moments, which are equally surrounded by poignant seriously sad & intense segments that depict the awful state of affairs the States has found itself in.

From satirising American history through a farcical cartoon, that ironically makes sense, to looking at the FBI checklist of what is a potential teenage time bomb: Are you a depressed teenager? Do you wear black, feel alienated, use inappropriate humour, abuse drugs or alcohol? Any of that fit - maybe you could make some headlines next! His humour is pure genius, and this is an entertaining film that doesn't feel dry and wont leave you looking at your watch!

This however is not a film that will purely get a ripple of laughter and fill some seats in a cinema, it forces its audience to question itself. Indeed, it works well outside of the States as it makes you ask where our own country is going and how long will it be before we reach the level of public disturbance that is witnessed in the USA here. In 1871, the KKK was made illegal, a few months later a new organisation was formed calling itself the National Rifle Association (NRA), its purpose was to promote gun ownership to whites only. Until the 1950's the gun was used to keep so-called free blacks in their place, now it's the right of every citizen to carry arms. America was once an open prairie of wild expanse, an individual needed then to protect themselves, some say that it is still wild but now a different sort of jungle. Times change and Bowling for Columbine addresses the current 'status quo' well, but it is up to the public address what is to be done today.

The Verdict

Creating a nice narrative progression that works well in a cinema - this film does seem to have an entertaining beginning middle and even a climax. But being based in reality there is no end that can be said without being done and one man cannot do that alone. It dares to ask questions that others have yet to put to a mainstream audience but in comparison to his written work, you feel that Moore is pulling his punches in order to make this product just that little bit more commercially appealing. Nevertheless this is another fantastic film that should not be missed from the auteur that excels in exposing American absurdity.

The Plot: Lost in a foreign world & indeed their own lives, two hapless individuals' paths cross in a downtown Tokyo hotel. The two Americans: one an ageing actor, the other a young wife find a common ground, filling a void that their respective relationships share.

Standout Scene: It's an old joke, but Murray's bemusement is spot on, as sitting on the set of his latest Whiskey commercial, a torrent of foreign words pours from the Japanese director's mouth only for a less-than-able translator to pass on his wishes in a single word!

Any Good? Once again, Sophia proves that by recent comparison she is a better director than Daddy Coppola. While it gets stuck in its own story mid-way, the result is worth the attention. A genuinely funny romance is rare on screen these days as Lost in Translation proves that true love CAN exist in friendship alone: CLASSIC!

The Plot: Harvey Pekar took his dead-end life as a file clerk in the early Eighties and became a minor celebrity by basing a hit cult comic around himself. From the difficulties of being stuck in line at a supermarket through to battling Cancer, his work is brilliantly portrayed as the film uses a mix of animation, the perfectly cast Giamatti, while blending both archive footage and recent narration by the real life Pekar perfectly.

Standout Scene: As reality is suspended briefly the actors take a backseat to listen to Pekar & the supremely funny Toby Radloff take centre stage.

Any Good? Pekar once called out David Letterman's talk show as manipulative shtick and American Splendor makes no bones about giving one in the eye to the establishment too. This is a genuinely funny film from the ultimate 'anti-American-Dreamer,' and should definitely not be missed.