Now is Good | DVD Review

Based on the novel Before I Die by Jenny Downham, Now is Good is the latest, excuse the label, 'cancer drama' that hits us square in the gut, paralleling that of Jodi Picoult's My Sister's Keeper, though British-based with an young American actress at its core.

Tessa wants to live her life to the full, even more so now she's diagnosed with cancer and has, for a number of years, had to live with the consequences and the harsh treatments. Preferring a short life lived to the full rather than a prolonged life under intense treatment, Tessa declines the next stages of chemo and instead decides to do the things she feels every teenager must do before they die, thus goes by a list she concocts against her father's wishes.

What she doesn't count on, however, are the little things, the things she doesn't think she'll miss or achieve in such a short time, but instead finds herself completely in the wrong. With the help of the new boy next door, Adam, she finds new meaning in her remaining time.

The outcome is inevitable, yet we refuse it to ourselves over and over again. And so, Now is Good is a determined watch, one that defies all sense of the human emotion. You may even find yourself inconsolable -- i'm not owning up to anything. And saying that, does that mean Now is Good gets it right? Is it truly a faithful adaptation of a novel i've never heard of yet can guarantee is just like the rest of its kind?

First and foremost is Dakota Fanning; the typical American teenager with acting chops to boot, seen most recently in the closing chapter of the Twilight Saga or in Sundance with Elizabeth Olsen. What she does get expertly, however, is something that parallels a chameleon. She's superb with characters, and not only adapts but owns the role. Here, she's a British teenager. Clothing, attitude and all, she nails it right on the head. A careless attitude is exuded by Tessa as she weaves through understandably horrid circumstances, all the while attempting to survive sex, first loves, family drama, friends, pregnancies, drugs, shop lifting and of course the cancer itself. It's a rush for her, and whilst time is limited, the writing never loses plot of what Tessa, or any regular teenager, would deem an important ritual into teenage life.

War Horse's Jeremy Irvine enters and Tessa immediately catches his eye. Foremost hesitant falls down to the knees when an honest, intensely likeable relationship strikes between the two stars, both relatable and real, and all the more heartbreaking. Paddy Considine and Olivia Williams are the bickersome parentals who're on two separate paths; one too caring and considerate of everything to do with the sickness, the other barely manages a trip to the hospital. Considine, a firm favourite of the Brits, is an outstanding and brutally emotional addition to a supporting cast that ranges from the inconspicuous to the important.

Ol Parker respectfully balances between a blatant emotional core that creates a heartbreaking backbone that Now is Good stands firm on. What induces this further is a performance that Fanning should be proud of, a story that, while been done to death, feels as natural as the real thing, and come the end leaves you lip-quivering and battered, almost to the point where you can easily wonder if this was one of your family members, what the hell would you actually do?

Verdict: Amidst an outstanding core performance, Now is Good will shatter every remnant of your soul, heart and every being. It's wonderfully written and undeniably uplifting, but at the forefront poignance is its game.

DVD Review: Sinbad and the Minotaur

Sinbad and the Minotaur

Starring: Manu Bennett, Steven Grives, Holly Brisley

Directed by: Karl Zwicky

Plot: The legendary sailor Sinbad takes on yet another adventure, battling evil sorcerer Al-Jibar for the map that will hopefully lead his crew to the ancient labyrinth that holds a priceless gold statue. Sadly, the mythical beast that guards said temple proves incredibly difficult, as do the psychotic island-dwellers.

Verdict: A truly pitiful, lazy and excruciatingly painful ninety minutes that displays a script written by some inept adventurist whose admirations towards Indiana Jones proves too apparent. Poorly acted, severely dodgy effects and a villain that's so OTT that Austin Powers' villain Dr. Evil is a substantial amount more terrifying. Avoid at all costs.

Read my full review here!

DVD Review: F

Starring: David Schofield, Eliza Bennett, Ruth Gemmell, Juliet Aubrey

Directed by: Johannes Roberts

Plot: The staff of a community college have their after hours disturbed by a group of distinctly threatening hooded figures.

In my most unobtainable vision of my idealistic horror film, there would contain a plot that would somewhat parallel 'F' in the way that it maintains a grounded, almost sub-standard story in regards to the audience being able to place themselves in the characters' shoes, and a setting which would most ideally transcend from the mind of Roberts himself. The deeply unnerving idea of having to stay behind at school after closing is chilling enough, but turn out the lights and add an ominous group of clearly unsettled, most probably angry at their parental figure, delinquents equipped with an array of sharp household objects and you have a decently constructed thriller. So, why was Johannes Roberts' 'F' so far from what i had so dearly hoped for?

British veteran actor Schofield is Robert Anderson, a doted father and husband whose life turns troublesome once an unfortunate incident with his student lands him an estranged, down-trodden man with alcoholic tendencies. With the Headmistress of his work place clearly against him, Anderson is a joke to most, including his daughter. It's an unarguable but disappointing fact that all signs of a leader point to Schofield, yet such a statement is preposterous when dealing with such a cack-handed and severely annoying, almost pitiful excuse, of a character. Instantly unlikeable, Roberts' fictional creation is a weak unfortunate depiction that is weighed down further by Schofield's unadventurous role taking. Grunting and groaning whilst resembling that bum on the street corner doesn't stand strong in my eyes, yet when paired with daugter Eliza Bennett (Inkheart), he's surprisingly the opposite. A caring and misjudged father, their relationship is one of the film's highlights. Through squabbling or, well, squabbling, their few scenes prove realistic enough to hold attentions.

With the supporting characters getting bumped off quicker than you can spot that hoodie in the dark, zero development is on offer, which, if dealt with a little more care, could have inspired remorse for those characters whose names i can barely recall. A possible love interest could have been on the board but immediately, 'F' feels incredibly, often carelessly, rushed.

There's little to actually judge when considering 'F'. Running at a mere 70 minutes, there's little room for decent writing, any spark of originality or any true threat. Don't get me wrong, the brief interactions with the hooded foes are often intense and full of dread, but with every scene they're featured in ends in a cutaway edit and slam, the creepiness that was successfully racked up in those few seconds is spoiled by a whimpering Schofield or a cutesy, but gorgeous, young Sarah Michelle Gellar look-a-like Bennett.

Promising, but ultimately, 'F' failed on most levels. Brilliantly atmospheric and a few unexpected, but cheap, jump-in-your-seat moments are sadly overlooked by the rest of Roberts' fault-ridden British horror. With an ending that appears particularly unfinished, don't expect, if you bother picking the film up, to remember it an hour down the line. Sad, but true.

2/5

DVD Review: Hatchet II

Starring: Danielle Harris, Tony Todd, Kane Hodder

Directed by: Adam Green

Plot: After escaping the clutches of deformed swamp dweller Victor Crowley, Marybeth (Harris) enlists the help of voodoo man Reverend Zombie (Todd) and a group of unsuspecting croc hunters to rid the wasteland of the rampant murderer.

Horror fans all over the globe have come to know writer/director Adam Green as the man that was to thank for bringing old school American horror back to our screens in the form of the viciously blood-thirsty super-villain Victor Crowley. Reuniting with Hodder (the man behind the deformed mask), Green returns four years later with Hatchet II, picking up the second the original ended with Marybeth, a quiet but hot tempered girl in search for her family, at the clutches of the beast.

Harris (known, most probably, as Michael Myer's niece in Halloween 4 and 5) takes over the role from previous heroine Tamara Feldman, but with the script at a predictably lesser advantage than the first the character lets slip all sense of vulnerability and issues an overwhelmingly annoying and unconvincing relay of moans and whining tones. Still, while Feldman bagged certain aspects, she's nothing against Harris' sharp, brutal screams and enthusiasm towards the more physically demanding scenes -- the last scene springs instantly to mind. Other than Harris, the only true stand-out cast member is of course Hodder. Working previously on a few Friday the 13th films, his brawn-like stance is built for villains of Crowley's stature, forcefully positioning helpless victims into scenarios where an uncountable amount of limbs are destined to be viciously torn off, accompanied by the comedic and outlandishly perfect shot of what i can only assume is a gallon of 'blood' being thrown against an almost idyllically arranged tree.

Much like the first, the script is amusingly brainless, but Green knows this. His tongue-in-cheek nature towards Victor Crowley's carnage is what lights the screen, mixing humour -- albeit cheap shots at a formulaic joke -- with his horrendously brilliant, unsurpassably extravagant array of jaw-dropping, laugh-out-loud deaths. I mean, only Adam Green could write in a chainsaw seesaw and make it as cringe-inducing but so over-the-top that it sparks an applause. For doing so, it's hard not to praise him.

His B-grade charms may fall second best due to a lackluster script and odd editing, but his talents don't go unappreciated, especially by those who admired the original. A ferociously entertaining, excessively gory slasher featuring, if i'm correct, 17 on-screen death scenes. Well, to make it in the horror bizz, you've got to up your game. Hatchet II doesn't redefine the slasher genre, but it's one hell of a fun ride. Long live Victor Crowley, your handy hatchet and that damn impressive ten-foot chainsaw!

3/5

DVD Review: The Reef

Starring: Damian Walshe-Howling, Zoe Naylor, Gyton Grantley, Adrienne Pickering

Directed by: Andrew Traucki

Plot: With their sailboat capsized along the Great Barrier Reef, the crew attempt to swim to a nearby island. Unbeknownst to them, a 15-foot great white shark is stalking them.

Those who've seen Traucki's previous creature feature Black Water will know exactly what they're in for. Bold enough to evade CG and animatronics and use the real thing -- crocodiles for Black Water and now sharks for The Reef -- proves most profitable, with intensity levels cranked sky high and the believability factor laying within the reactions of those stranded in the ocean.

Starring a cast of fairly unknown actors, it's an unmissable fact how simplistic the script is, consisting of solely whimpers, cries of help and moaning about how pissed off they are and whose fault it was -- much like the 2003's indie thriller Open Water. Thankfully, where The Reef sets itself apart from Open Water is with the characters themselves. These are characters you can truly level with, despite little to almost no background story. They're faced with a life-or-death situation, and we're hurtled along on the risky adventure with them. Once realisation of a mysterious entity following them sets in, all hell breaks loose when said entity shows its ominous fin, triggering a trail of panicked splashes followed by blood.

As intense as the third act is, it never truly beats how deeply unnerving the first two are. Swimming to what they hope is safety, the countless shots of the deep unknown are chilling. Casting shots on the never-ending surface in hope of some sign of where our hopeful survivors lay, yet the only reassurance they can rest upon is, at first, splashes in the distance.

A simply pieced together thriller that contains real bite, with enough live-action stock footage of great white sharks doing what they do best, all successfully frightening enough to thwart any person who plans on swimming along the Great Barrier Reef any time soon. The 'based on a true story' aspect surely is enough to send chills...

3/5

DVD Review: Altitude

Starring: Jessica Lowndes, Julianna Guill, Ryan Donowho

Directed by: Kaare Andrews

Plot: After a minor malfunction on a small plane sends Sara , a rookie pilot, and her friends climbing out of control, they're faced with the unusual challenge of finding a way to descent to the ground, all while defeating the supernatural entity floating around them.

Your initial reaction after the trailer is an understandable 'cool, that could be interesting', a nod in the direction of the classic Twilight Zone series, but modernized in a way that it fits with today's audience. Sitting for a full ninety minutes with 90210's Jessica Lowndes and her dimwitted and frankly irritating group of plebs is one thing, watching them squabble incessantly is another, and the floating octopus flailing it's greasy tentacles throughout the troublesome clouds is the breaking point that leaves you admittedly baffled as to how you thought such a plot could work. Well, it may not pull it off as smoothly as those fantastically absorbing episodes of the 60's, but i can't grudge how surprisingly involved i found myself.

The set-up is traditional, pulling five teens together from all backgrounds that we're hilariously meant to believe all get on. Quickly, the predictability gets the best of it, with each member getting even more infuriated with the next but thankfully, the plentiful supply of high octane, out-of-plane challenges on display to send those with aviaphobia into a fit of inescapable terror, the rest of us will merely be entertained with how director Andrews managed to pull off said stunts with such a limited budget.

The acting may be wooden and the script even more painful to abide by, but an enthusiastic cast of characters and a strange, yet somewhat refreshing, turn of events does indeed set Altitude apart from the rest of this year's thrillers. The climax may piss some off, with the 'twist' opting for an easy escape but really, how can a film like this end logically? It well and truly can't. Sit back and enjoy the absurdity of it all.

2.5/5

DVD Review: The Loved Ones

Starring: Xavier Samuel, Robin McLeavy, Victoria Thaine, John Brumpton

Directed by: Sean Byrne

Plot: When Brent (Samuel) turns down Lola's (McLeavy) invitation to the school dance, he spirals into a horrific nightmare where Lola and her father rule and her is merely an object. Abducted and pit against the horrors in the Stone family home, Daddy (Brumpton) will do anything to make his Princess happy.

Aussie director Sean Byrne brings us the new face of terror; Lola Stone. A seemingly innocent high school student whose attitude towards her crushes is the stuff of nightmares. Brent (Twilight Saga: Eclipse star Xavier Samuel) is kidnapped, tied with rope, slashed and stabbed. A truly unforgettable situation that equals the depravity that was featured in Tobe Hooper's original Texas Chainsaw Massacre. A night that would in fact compete with the infamous dinner scene, with Lola first handedly taking over from the chainsaw wielding maniac.

Samuel's horrific portrayal of a suffering teen greenlights his path as being a true breakout star. Excruciatingly painful to watch yet unable to fully look away. McLeavy's maniacal presence is the films true highlight, with her inescapable, psychotic state electrifying the screen and working tremendously with 'Daddy', her on-screen father and mentor to the horrors they've inflicted.

A steadily paced, cleverly unwinding first feature from an extremely promising director that will unarguably become a cult classic in the near future for having enough balls to never truly hold back. Maintaining the shock 'n' awe factor throughout and carrying enough blood-curdling, body piercing screams than any other horror released this year, Byrne's Loved Ones cracks a heavy punch and is a determined feature to place Lola in the Greatest Villains catagory.

4.5/5

DVD Review: Night of the Demons (2009)

Starring: Monica Keener, Shannon Elizabeth, Edward Furlong, Diora Baird, Michael Copon

Directed by: Adam Gierasch

Plot: Angela's extravagant Halloween bash at the mysterious Broussard Mansion is the talk of the town inviting teens from all over to take part in the festivities. Once the Police break the party up, Maddie (Kenner) and a group of others are coincidentally locked inside where a group of ancient demons are keen on taking over and wreaking bloody mayhem.

Gierasch's close-knit remake on the 80's horror is one of many remakes thrown on the direct-to-video shelf, but is Demons worthy of your time this coming Halloween? A question the director and his team of handy workers most probably decided to dodge.

Appearing like a deer caught in the headlights, Monica Kenner's single expression throughout the film provides seamless entertainment as our eyes divert from the gruesome creatures to her stiff, plasticated mouth. Furlong hardly strays from reality as a lonesome, depressed loser while Baird and Laid to Rest actress Bobbie Sue Luther promise the goods. Much like the original, it all screams trashy fun. Sadly, with the distinctly uninteresting, sloppy script and pitiful excuse of talent on show, the film leans more towards plain ol' trash.

While it never particularly oozes originality or, well, anything genuinely good, Night of the Demons is an 93 minute time waster that is loud, wild and full of latex gore featured in enough nauseatingly incoherent scenes that will entertain those desperate for a quick shock on Halloween. Nothing more, nothing less.

2/5

DVD Review: Frozen

Starring: Emma Bell, Shawn Ashmore, Kevin Zegers

Directed by: Adam Green

Plot: Three friends find themselves trapped upon a chairlift at a renowned ski resort. With everybody unaware of their whereabouts and the ski resort closed until the following week, the three must chose to either stay put and inevitably freeze to death, or make potentially life-threatening decisions and find a way off.

Featured at multiple horrorfests around the globe, Adam Green (breaking his way into the limelight in 2006 with the horror homage Hatchet) writes and directs his latest, Frozen. With a magnitude of followers after his breakout feature, he makes a swift turn from full blown horror to something a little more chilled.

Opening the feature with an introduction to our trio of characters, Green stabilizes their friendship with hammy dialogue and forced acting, hardly setting the scene for a film that attempts to surpass his previous. While quirky in places, their quarrelesome attitudes are simply charmless. Thankfully, once stranded over the mountains, Green's pace and idealistic behaviour towards the perfect set-up falls into place.

The two settings in which all characters' attitudes seem to be placed on - bickering and whining - are understandable under the obvious circumstances, with Green's writing exuding sheer professionalism when it's focused on elements gearing towards terror. Racketing the tension in by the buckets, scenes upon the chairlift are instantly nail-biting, successfully building up each unfortunate move with a concentrated, and agonizing, intensity.

The claustrophobic and incredibly harsh, frosty setting works tremendously with the film Green has written, but everything would have undoubtedly fallen into shit creak without the likes of the film's stars. Putting aside familiar faces Kevin Zegers and X-Men's Shawn Ashmore, the true talent is partial newcomer Emma Bell - whose fame will undoubtedly come in the next Final Destination installment. At first, predictably written, but somewhat grows due to the tragedy her character is succumbed to. Distressing and at times horrendous, a balance is made with the ill-fated getaway and the grim, relentless surroundings itself, with the warmth between the remaining characters proving some of the most memorable scenes.

Similarities can be made with shark flick Open Water, a fellow horror that looked more docu-dreadful than docu-horror. Delightfully straying from its faults, Frozen tends to thrive as a character-driven thriller, with Bell's especially becoming all the more relatable.

Despite failing to surpass his previous entry, Green's attempt won't go unnoticed. An unrelenting, chilling and ferociously terrifying survival horror that essentially works as a sadistic sister act to Hatchet.

4/5

Frozen is released theatrically in the UK September 24th, and on DVD/Blu-ray in the US September 28th.

DVD Review: Burning Bright

Starring: Briana Evigan, Charlie Tahan, Garret Dillahunt, Meat Loaf

Directed by: Carlos Brooks

Plot: After the death of her mother, Kelly (Sorority Row's Briana Evigan) must care for her autistic brother (Tahan), but their loathsome stepfather (Last House on the Left's Garret Dillahunt) is making it awfully hard for Kelly to leave home. Attempting to cut his loses, he releases a ravenous tiger in the boarded up house during a hurricane.

Out of the vast majority of home invasion flicks released in the past ten years, we've seen hooded figures, rapists and robbers, so credit can be given to Brooks for sparking a sense of originality in the worn genre. A tiger released in a secluded house during a hurricane; farfetched and somewhat comedic, but it's an undeniable change.

With the straight to the point plot placed on the tables, surely "Damn, they're screwed!" is circling throughout your mind. In any other case, most probably. That is unless Step Up 2 babe Briana Evigan (also seen kicking ass in horror remake Sorority Row) is cast as the leading lady, then you have an actress willing to give as much charisma and physicality to a role as possible. Attempting to care for her brother whilst maintaining their distance from the starved tiger proves irresistibly entertaining.

Unarguably carrying the film, Evigan's strong female lead overpowers all co-stars, with Tahan (seen previously in this year's Charlie St. Cloud) performing merely passable and Dillahunt's villainous stepfather figure proving once again how he was truly born to play such hideous characters.

Capturing a dozen successfully intense scenes, it's obvious Brooks tries his hardest to also keep his distance from the need to use computer graphics. As the film progresses and the tiger becomes all too aware of his potential prey, the need for CG comes into focus. Thankfully, it's never over-used, with Brooks sticking, mostly, to the real-life feline available.

Burning Bright is far from perfect, but with the straight-to-DVD fate, it's simply an entertaining, fiercely intense thriller, with Evigan proving she can do more than just dance and scream her way into the limelight.

3/5

DVD Review: The Runaways

Picture this: the 70's; rock 'n' roll; an all girl band. Chaos! Females should never be flaunting their bits on stage whilst singing, and potentially screaming, to loud, ball-busting songs featuring hardcore, explicit lyrics. Well, The Runaways defied all rules and, while it lasted, were successful.

Leaving The Twilight Saga behind for a short time, Dakota Fanning and Kristen Stewart team to form the two prominent band members of The Runaways, an all girl rock band whose influential presence and catchy tunes spun worldwide success, but sadly only lasted between 1975-1979.

Music video director Floria Sigismondi helms the coming-of-age biopic, but does her lack of direction of feature films weigh the film down? Unfortunately, it shows. Fortunately, the story of The Runaways outweighs the faults which Sigismondo casts. A raw insight into the music industry is given but, much like the porn industry featured in Boogie Nights, isn't as smooth sailing as most would think.

Deceived by their unusual manager Kim Fowley (played exceptionally by Michael Shannon), the typical lies and promises force Joan Jett (Stewart), the hard-edged guitarist, and Cherie Currie (Fanning), a dysfunctional young girl/vocalist, reeling from a multitude of false pretenses, with their success and all-round fame plummeting before they had a chance to fully enjoy the limelight.

The now grown-up child star Dakota Fanning makes an absolutely jaw-dropping turn as Currie, a somewhat isolated individual whose style is a partial reminiscent of Brigitte Bardot. Washing away her innocent presence she's fallen to over the years, the coke-sniffing, drunk, foul-mouthed Fanning is an unarguably refreshing turn which will undeniably do wonders on her resumé, and completely overshadows Stewart. While still performing admirably, Stewart's distinct need to pout and act with her predictably monotonous tone rears it's ugly head. Still, despite her flaws, her acting is genuine and, like Fanning, Jett is a character which is unfamiliar territory. Jett is an almost perfect antidote to the broody, soft Bella that she is mostly known for playing. Both performances are invigorating and surprisingly deep.

Classic tracks such as "Cherrybomb" are re-vamped with lyrics by Fanning and Stewart which are a sheer delight, despite their short screen appearance. Catchy and downright enthusiastic, they stand firm as one of the film's highlights.

Disregarding the film's abrupt ending and partially false conclusion, The Runaways is a perfectly enjoyable biopic, full of zealous performances and a punk-infused storyline that will provide enough nostalgia to all those familiar with the 70's and the peculiar fads it contained.

3/5

The Runaways is now available on DVD/Blu-ray in the US, and receives a general release in the UK on August 27th.

DVD Review: Dying Breed

With the recent uproar in Australian horrors, the overwhelming feeling of sheer success is apparent. Greg McLean proving a pivotal point, bringing both Wolf Creek and Rogue - two horrors of which have greatly stood out within the countless array of mind-numbingly incoherent crap. The mind-set is almost perfect, staging some of the most brutally intense scenes which have the ability to consume the audience in a fit of absolute terror. Dying Breed, initially released in 2008, is the latest Aussie flick, but is it worth a mention amongst the superior?

Loosely based upon Alexander "The Pieman" Pearce, the Irish convict who became notorious for cannibalising his fellow escapees upon their flee through the West Coast of Tasmania, Dying Breed focuses on the fictional descendants of Pearce residing in a desolate camp, surrounded by miles of forest. A group, led by Nina, attempt to discover the supposedly extinct Tasmanian tiger, but inadvertently become embroiled in a plot far more sinister.

The story of two iconic legends interweaved is undoubtedly fascinating. A cannibalistic convict and an elusive, but highly dangerous, tiger provide the fore-ground for which the film is based. Opening with an intriguing written narration, the curse of the "based on true events" aspect of a horror film become painfully apparent, but never fully plays out. Writer/director Jody Dwyer goes all-out with the horror by incorporating the chilling story of Pearce, but sadly ditches the sub-plot of the tiger. Still, up until the last act, the film is somewhat solid.

Our female lead (Mirrah Foulkes) and her rag-tag group of nondescript characters (Saw writer/star Leigh Whannell, Wolf Creek star Nathan Phillips and Melanie Vallejo) play well both individually and together. Nina (Foulkes), lead by the evidence supplied by her sister (who was found dead in the lakes of the Tasmanian jungle), searches for her ticket for career-acknowledgment, but can't help unravel the mystery behind her sister's death. Once encompassed by the harsh, and rather atmospheric, terrain, the scenes become forceful. Remaining slow-paced, they're aided entirely by the ominous presence following them and the equally-as-enveloping score.

Transcending into pure madness, the death toll slowly, but surely, rises, with clear imprints of horrors such as Cannibal Holocaust and The Hills Have Eyes. Intensity builds up with certain scenes, one involving an underground passageway filled with bear traps, which winds a tight grip. Sadly, said grip is loosened a substantial amount during the third act, down-spiraling into something which appears disastrously rushed. A series of cut scenes and we have our finale, a possible deleted scene which merely seems stapled on to the upsettingly below-average climax. The overall message of having to stay hidden to survive is noticeable, but often seems like a tentative copy of similar films such as Wrong Turn.

One factor remains consistent, thankfully. Whether it's the grim surroundings or the grotesquely over-the-top deaths, the film oozes brutality. Faces are gnawed, legs are chewed, bodies are strung; this is horror. Where Dwyer's plotting lacks in originality, it thrives on its gore. Relentless and oftenly nauseating, it's a sure-fire hit with fans of copious amounts of blood and flailing, dismembered body parts.

By no means is Dying Breed terrible. Dwyer energetically attempts to fight her way to the surface by joining two legends. One, however, remains fairly unrepresented as the other merely entertains but descends into pure fantasy. A flawed piece of work, but entertains enough to refrain from falling in the bargain bucket.

3/5

A Miramax Films Release, Part 3: Shall We Dance?

Peter Chelsom (the director of the recently reviewed Serendipity) sticks with what he knows best for the quasi-remake of the Japanese romantic comedy Shall we dansu, boasting a rather updated script with an impressive, albeit predictably suited, cast.

Shall We Dance could be considered a film solely based around dance. Sadly, that demeans the entire film. Proved by teen fares such as Step Up, Make It Happen and the most recent Streetdance (upping the ante in three dimensions), it's hard to involve a credible, fully-fleshed out storyline whilst mesmerizing the audience with the hopefully invigorating choreographed dance sequences. Luckily, Shall We Dance falls with the most memorable, creating a story both fused with heart and enough sensuality to truly make the classier dancing spring to life.

John Clark (Richard Gere) is a happily married but overworked Estate lawyer. He wishes to liven up his life, but how? Dance instructor Paulina catches his eye in the window of a quaint dance studio, therefore John takes the opportunity to try something new. This, however, leaves his wife (Susan Sarandon) paranoid, sending her on a quest to unveil her husband's dirty secret.

We follow Gere's character as he potentially attempts to discover more of himself - despite being happy with his wife and children - which allows for a certain relatability about himself which also transcends off-screen easily. Becoming tedious with everyday life is a natural occurence, and Gere acts as the film's way of maintaining the underlying message of personal discomfort and the lack of self-satisfaction. He performs, once again, with his acclaimed charm and wit but hardly strays from the characters he has made a career out of (Pretty Woman and An Officer and a Gentlemen, specifically). It's an unarguable fact that he's a successful male lead.

The film itself works wonders due to the pitch-perfect cast, with co-stars equalling how enjoyable it's main stars are. Sarandon's concerned wife provides the heart which, in the end, is just as relatable, and Oscar nominee Stanley Tucci plays John's work colleague and fellow fan of dance whose faux life is drawn astray once John shows him it's okay to be yourself. However, it's Jennifer Lopez who shines throughout. Known for her rather monotonous choice of films (bar the brilliantly entertaining creature-feature Anaconda), Lopez has been heavily criticised throughout her career. While her character of Paulina sticks with her usual routine, she couldn't be more fitting for the role.

Amidst the characters' storylines come the wonderfully varied dances. Captivating and unique in style, the enthusiastically up-tempo to the downright erotic are consistently dazzling, providing an escapism from the rest of the feature which, at times, is weighed down by the melodramatic tone.

Still, Shall We Dance is a perfectly adequate romance. Gere and Sarandon share few scenes, but the chemistry is clearly visible. A scene, especially, featuring an undoubtable homage to the significant scene in An Officer and a Gentleman. A cutesy, often moving, romance which plows through the undeniably predictable story with zealous, likable characters.

4/5

A Miramax Films Release, Part 2: Serendipity

Ever fallen in love? Well, thanks to almost every Hollywood romance, i'm fairly certain you've fallen for the idea of love - and why not? With the perfect display of swoon-worthy affection on-screen, it makes the whole thing seem effortless, finding your soul mate with a mere single attraction. That's not reality. But alas; this is a fictional romance. It's not meant to be fleshed out with incoherent, and frankly boring, facts that we have to deal with in our everyday relationships. Serendipity falls with the former. Predictably sappy, but that's what we love.

Our story starts in New York City. Bloomingdales, one of the busiest shops on a mere three days before Christmas, yet Jonathan (John Cusack) and Sara (Kate Beckinsale) unexpectedly meet. Despite their instant attraction, they part one another leaving their relationship entirely up to fate.

Seven years later and they're both engaged, but can't seem to shake off the idea of one another and their one magical night they spent together. Vowing to meet again, they both head out on a search to hopefully find each other - despite time, distance and the obstacles conspiring against them.

It's an incontrovertible fact that Cusack and Beckinsale fit - so much in fact that i wish to combine their names Branjelina-style. The sparks projecting off of them during the opening scenes are instantly noticeable, making for a sincerely sweet 'meet' of our main characters and sets the tone for the rest of the film. Beckinsale performs elegantly, while Cusack allures greatly, performing idealistically together. They are the infinite, destined Hollywood couple that we all wish to be, almost forcing us to quiver at the knees with their cheesy, but doubtlessly effective, dialogue. Romances such as this advertently fuel the minds of those who are swayed over easily.

Providing the comedic elements which lighten up the whole Holmes-like adventure are co-stars Eugene Levy, Molly Shannon and Jeremy Piven. Supplying structure to the main duo, the quirkiness of Shannon stands out primarily, bumbling and giggling her way through her short but increasingly enjoyable lines.

The plot is a cut above the rest of its genre, displaying - what could be - a perfectly relevant, and somewhat realistic, relationship between people. That, however, is shot down during moments in the film when 'fate' has its time, calculating in a series of scenes bordering on pure fantasy. Still, despite the obvious flaws, the film is guaranteed to entertain, leaving you with a gargantuan smile.

The quaint characters and heartwarming story all combine for a worthwhile romance, with the final few scenes standing as a culmination of their efforts of finding each other, ending, unsurprisingly, on the highest of notes situated on one of New York's most beautiful land sights.

3.5/5

Look out for A Miramax Films Release, Part 3 coming soon!

A Miramax Films Release, Part 1: Chocolat

Let me explain. Wednesday, the 26th of May saw a vast amount of money being transferred into my bank account - something which most people call 'payday', but i like to call a simple, but extravagant, treat. Therefore, i, once again, succumbed to my insatiable urge of buying DVDs, buying three titles included in the "A Miramax Films Release: The Collection". Over the next coming days, i will be submitting my own, albeit short, reviews of these three titles.

Oscar nominated director Lasse Hallstrom brought us the mouth-wateringly pleasing romantic drama Chocolat in 2000.

Accompanied by a forceful wind, the mysterious Vianne (Juliette Binoche) and her daughter Anouk (Victoire Thivisol) pull-up in a quaint, old-fashioned French town. Renting out the abandoned patisserie and the flat above, they cause controversy within the town folk, spreading gossip faster than a bad rash - which isn't helped by the obnoxious Mayor, Comte de Reynaud (Alfred Molina). Diligently attempting to make friends with certain members of the town, Vianne fits in unsteadily, but surely makes a lasting impact with her choice of business; a chocolatier. Astounding the towns folk with her luscious chocolates, Vianne must deal with Comte de Reynaud, disapproving villagers, a visit to the town by 'water rats', all-the-while keeping her business afloat.

Compassionate director Hallstrom is no newcomer to drama. The Oscar-nominated The Cidar House Rules certifies that, and last year's Hachi: A Dog's Tale further extends the proof that he can handle a storyline infused greatly with heart. While not as heartfelt as it could have been, Chocolat remains to be one of his best films.

Juliette Binoch carries the film beautifully. With elegance and poise, her character blossoms throughout the film from an instantly likable to a flawed, but relatable woman as we uncover more of the character's inability to stick her feet firmly to the ground, allowing a stable life for her and her daughter in a town where they feel both welcome and at home.

The varied cast of brilliantly acted characters all aid in how triumphant the film is, from Lena Olin's insecure housewife to Alfred Molina's dastardly, conniving Mayor - playing, undoubtedly, the part of the film's villain. Of course, the film would be unfinished without a potential love interest for Binoche's character, and that comes in the form of the upsettingly handsome Johnny Depp as Roux, the captain upon the vessels holding, as the town folk like to call, copious amounts of 'water rats'.

The chemistry between Binoche and Depp transcends well on-screen, but isn't as flawless as her chemistry with her on-screen daughter Thivosol. Unexpectedly unhappy with her mother's constant traveling, the relationship between the two provides enough poignancy to fulfill the crack which is left unfilled by the rest of the characters.

The entire experience of Chocolat leaves a lasting impression. The delicate, rich writing, to the whimsical characters are all so wonderfully enjoyable and emphasise the almost fairytale-like storyline (our main characters are swept in with an uncontrollable wind?). An unusually quirky, sumptuous and profoundly moving tale of a familiar story - which contains enough gorgeously-looking chocolates to work as porn for every chocolate lover out there!

4/5

Look out for A Miramax Films Release, Part 2 soon!

Looking Back: Identity

Released in 2003, James Mangold, the director of the critically-acclaimed Walk the Line and up-and-coming action-romantic-comedy Knight and Day, brought us the psychological horror/thriller, Identity.

When eleven seemingly innocent strangers find themselves, all under different circumstances, stranded at an isolated motel during a storm, not all is right. Elsewhere, a murderer's execution is halted due to a last minute hearing, led by his psychologist Alfred Molina.

As the night progresses, each of the eleven strangers are mysteriously, and brutally, murdered. What they originally thought were a string of unintentionally-planned murders turns rather sinister as they realise their fellow-strandees are systematically dying.

Lead by ex-cop John Cusack, the cast of characters range from the bewilderingly inept to the resourceful. Whilst the lesser-known actors aimlessly flail themselves into a fortuitous death, the stronger, more capable, characters - Cusack, Amanda Peet, Ray Liotta - remain standing, solving the riddle as it progresses, all-the-while dealing with the curious happenings at the motel.

Clearly inspired by Hitchcock's Psycho, the motel retains a similar negative vibe. Aided entirely by the storm ravaging it's surroundings, the motel stands - like Psycho - as a partial character, as well as the main attraction in the plot involving the strangers.

Shrouded in mystery, the film never particularly strays far enough for your attention to be withdrawn from the characters and the undeniably odd situation they find themselves in. Providing enough suspense and thrills to hold the attention span of a three year old, the film grips as it twists and turns, throwing you in the deep end with the arguably shocking ending.

The ending, like many films of its kind, will split the audience right down the middle. The vast majority, i like to think, are like myself; overly ecstatic that the obvious 'hero' didn't disgracefully 'discover' him/her/itself as the psychotic, mystery murderer we've attempted to desperately uncover since the opening few minutes. Luckily, what we're given is something incredibly original - back in 2003, anyway - and genuinely well-made. Upon first viewing, i have no doubts that slight hesitation will be apparent. Psychological-favourite Michael Cooney, the writer of Identity, should be praised on his efforts of the 'shock and awe' tactic that is sadly so obscured and poorly executed in most films that it may as well be without.

While the film doesn't exactly contain the same effect as it does upon first viewing, it remains a perfectly entertaining psychological thriller, with the thrills and chills still as satisfying as it was the day i sat down as an unsuspecting, and slightly bewildered, 10 year old.

3.5/5

DVD Review: Last Chance Harvey

Amidst the countless romantic comedies released within the year, one of the vastly underrated flicks of 2009 - Last Chance Harvey - was thrown into an almost entirely unpublicised theatrical release. Bombing at the Box Office, it received a partially better response on DVD/Blu-ray, but still not enough to fully compensate how enjoyable the film is.

New Yorker Harvey Shine (Academy Award winner Dustin Hoffman), an estranged father and divorcee, travels to London to attend his daughter's wedding. Whilst there, he meets lonely Kate Walker, a preserved down-on-her-luck Londoner who spends her days either working or taking care of her mother (Eileen Atkins).

Upon discovering his daughter's plans of allowing her stepfather to walk her down the aisle, Harvey decides to head back to New York prematurely. Unfortunately for him his plane is cancelled, but luckily for us, he meets Kate.

Entranced by one another, the pair talk and wander around the idyllic setting of London.

Clearly uninspiring but for Last Chance Harvey, the much-loved leads carry the film entirely with their uniquely enthusiastic and lovable-selves. Charismatic and enjoyable to watch as a pair, both characters set out, ultimately, on a case of self-discovery, all-the-while re-igniting their passion to become entwined with another person. Almost identical to two, love-struck teenagers, both characters spend the film flirting; Kate precariously whilst Harvey takes her in his stride, forceful but not enough to frighten the woman.

Aided by the beautifully perfect Summer-setting of London, the romance between the pair gradually, but surely, becomes stronger as the film progresses.

Convincing Harvey to return to his daughter's wedding reception, he enlists the help of Kate - cue the wardrobe-change montage - to accompany him. There, reunited with his daughter, spouts a speech undoubtedly contrived, but manages to retain some sort of heartfelt, compassionate message most will quiver at the knees from.

Co-stars Kathy Baker, Eileen Atkins and James Brolin are severely underused, but clearly hold as simply the blocks behind the main stars' foundation. However, the chemistry between Harvey and his daughter (Liane Balaban) holds strong in their few scenes together, providing an entirely relatable father-child relationship which is heartwarming.

While the film isn't all that challenging, it's elegantly written by London-born writer/director Joel Hopkins. Based in the city the film is set, Hopkins' clear knowledge of Britain's capital is noticeable, and his countless shots of the surrounding area clearly aids as a partial advertisement for London itself - which, in my eyes, isn't a bad thing.

A significantly simple love story, starring two immensely enjoyable actors with chemistry so explosive that i feel i must re-watch Stranger Than Fiction to see their very few scenes together once again. The film proves, first-handedly, that you can find love at any age.

4/5