"I would like to make an announcement to those who can't stay till the end... the butler did it"- Alfred Hitchcock

I studied Graphic Design/Multimedia at Charles Sturt University and am now back at uni doing my Dip Ed to become a secondary school teacher in the areas of Visual Arts and Film and Media. I love film and have always been interested in all aspects of it for as long as I can remember.

My family has influenced me with a large video collection consisting of many classic films and introducing me to a wide array of films from the silent era through Hollywood's musical golden age, to classic Hollywood horror films and 80's cult classics.

I enjoy all types of films, however I LOVE the classics!

These reviews are my thoughts and opinions on the films as well as information I have learnt from my studies.

Pay no attention to the posting dates. I have changed the dates to get the movies in chronological order.

Em

"Logic will not change an emotion, but action will."

The much anticipated film adaption of the loved Australian teen novel by John Marsden, Tomorrow When The War Began (Stuart Beattie, 2010), will have you on the edge of your seat with action packed scenes and get you reminiscing about the books and their loved characters.

The Tomorrow series is one of the most popular Australian series, even taught in schools. As usual it is a risk when adapting such a well known and loved book into a film however Beattie succeeds in bringing us the much loved characters and storyline of the book as well as a successful Australian action film. All the familiar characters and actions adapt all too well to the screen, bringing back memories of the popular books. The action component is well balanced with the drama, touching on issues of justice, ethics, belief and faith as well as friendships and emotions.

Each lover of the book will inevitably have different views of how they see the characters and may take a while to get used to the chosen cast, however overall the casting and performances are noteworthy. The character of Robyn, played by Ashleigh Cummings, is possibly the exception. Her character seems a little weak and young, however like the rest of the casting she does grow on you letting the audience feel a connection with her. Due to the somewhat inexperienced actors and perhaps the uncommon Australian accents, at times the acting may seem laughably imperfect but doesn't detract from the intriguing story-line, action or character development, which is commendable.

A great Australian film to show off our talent and leave you wanting a sequel or to revisit the books. Followers of the book won’t be let down.

Nothing Escapes Him

A captivating film in true great Guy Richie style, Sherlock Holmes (2009) holds up to be a great film depicting the well known books better than previously attempted. Stylised flashbacks, narration and slow motion replays are all interesting film techniques Richie employs making the film highly entertaining.

The character of Holmes is not dissimilar to characters Johnny Depp has been known to play and Depp may have been able to carry the character well. However, Robert Downey Jr plays the character of Holmes almost flawlessly, capturing the drug addicted, depressed, cunning and witty misfit perfectly. Downey Jr and Law make a great team as Holmes and Watson complementing each other and opening a few chances for witty humourous lines. Although Rachel McAdams may not have delivered the strong villainous character able to outwit Holmes, Irene Adler, she pulls off the attractive love interest, her speciality.

For what looks like an action packed male-targeted film, Richie has given a artistic and clever style to the film, which makes it appealing to all ages and gender. The twists in the storyline alone will have the audience on the edge of their seats, not to mention the anticipating action scenes and very open ending making it obviously easy for a sequel.

"Narrative is linear, but action has breadth and depth as well as height and is solid."-Thomas Carlyle

The anticipation of Alice in Wonderland (Tim Burton, 2010) through the media and advertising was effective, however, may have been it's downfall setting the expectations of the film too high. In true Burton style the audience is hit with extreme visuals fulfilling the advertising hype, however, the story-line is far from successful. It seems when trying to produce a sequel for the long time classic story of Alice in Wonderland the the story-line was written for the sole purpose of producing a sequel. It lacks cleverness, meaning and, apart from the characters, familiarity. It would have been a lot more effective if they had simply remade the well known story of Alice in Wonderland.

On the other hand the CGI, characters and set are magnificent. The whole film is undoubtedly in Tim Burton style; dark, bizarre, detailed and textured. The feel of the film depicted by Burton's sets, characters and costumes is fantastic, eerie yet intriguing and attractive. The different costumes are creative and imaginative and blend well with the sense of the film. The familiar characters are comforting to see and are portrayed excellently in the films style carried by so some great acting. Of course Johnny Depp delivers Burton's adaption of the Mad Hatter exceptionally, as does Helena Bonham Carter as the Red Queen. The casting is pleasantly surprising having Crispin Glover as the Knave of Hearts, an unusual character for Glover, however fulfilling the role well. Stephen Fry as the voice of the Caterpillar also deserves praise. Conversely, Mia Wasikowska in her lead role as Alice doesn't excel and is merely sufficient. The audience doesn't have a chance to feel affection or passion for her character.

The CGI is spectacular leading the audience in feeling these are real characters in this bizarre world. Todays graphics and special effects keep exceeding and with the new aspect of 3D introduced continues to amaze. The aesthetics of the film, including special effects, character development, set and costume, are it's strongest points, however not strong enough to carry the weak and dull story-line that seems to be written to show case the rest.

"I wouldn't change one second of our life together." -Clare Abshire

Robert Schwentke has done a superb job in directing and adapting Audrey Niffenegger's novel of the same name. From the opening scene, The Time Traveller's wife (2009), hooks the audience revealing to them what a great movie it will be.

The story-line carries the movie. Being an adaption of Niffenegger's great novel it is sure to have a strong story-line. Adapting a novel is always tricky business, especially to please fans of the book. When attempting to fit a whole novel into 2 hours there is always going to be parts removed. The Time Traveller's wife keeps in the major events only erasing unneeded details without ruining the original story. Any alterations made work well and advantage the film. The film runs smoothly, like a story written for the screen and not an adaption, which sometimes seem long from trying to squeeze all details in. Although the story jumps through time, it is not hard to follow and flows with ease.

Rachel McAdams does a perfect job at depicting the character of Clare. She is perfectly cast in the role. The audience is led to really believe the turmoil and anguish she is living. Both McAdams and Eric Bana's performances are true, heart-breaking and believable. A great pair.

Physiological and social issues are touched on that the audience can relate to even with time travel being the problem. The notion of being in love, not having enough time, knowing someone your whole life (or feeling so), waiting for your one and only love and living for someone even after they are gone are some points raised. A heart felt story and excellent adaption with a strong cast The Time Traveler's Wife is one to see.

Before You Can Fly You Have To Be Free

The book, Li Cunxin's memoirs, Mao's Last Dancer, is well worth the praise it has received and beyond. It hooks the reader, gives insight into the life of a peasant in communist China and is a powerful story of hope, love and determination. The film Mao's Last Dancer (Bruce Beresford, 2009) tells Li's story well, however, does not go into the details of the book. This is bound to happen with a book to movie adaption when trying to fit everything into a two hour feature length film but may be disappointing for lovers of the book. The film may also seem confusing without reading the book and knowing the whole story as these details are missing.

On the other hand the casting is brilliant. Chi Cao is perfectly cast as Li Cunxin. People who know Li's character from the book won't be disappointed as Cao portrays Li perfectly and believably. Cao's limited acting skills don't spoil the story. On the contrary, coming from a similar background as Li, he seems to strengthen the character. As for his dancing Cao is superb, leading the audience to fully accept him as Li, the sensational dancer he is portraying. His family and friends were also cast helping to tell the story.

The reproduction of Li's early life settings are splendid. Once again lovers of the book won't be disappointed as, for example, Li's house, school and dance school are reproduced accurately as if straight from the readers mind.

The film stands alone as an enjoyable movie, however may be a little disappointing for fans of the book.

"When somebody asks me a question, I tell them the answer."-Jamal Malik

Slumdog Millionaire (Danny Boyle, 2008) is a film which makes the audience leave with a smile on there faces. It's original storyline moves along well keeping the audience fully engaged all through the film. Combining a realistic portrayal of life in India and the slums with a love story, Slum Dog Millionaire is romantic, culturally insightful and cheerful. This takes the audience through different emotions such as hate and anger, shock, happiness and touches on themes of destiny, love, hope, betrayal and poverty.

Slumdog Millionaire shows the reality of living in the slums, however does so without dwelling on the detrimental, such as the horrific Muslim raid, by also showing the happiness of the children's lives and using comic escapism. Having half the film spoken in the native language and the on location shots help with portraying this realism in the film. The placement of the subtitles is also an original and interesting aspect of the film worth noting.

The cinematography is breathtaking right from the opening scenes and well deserves it's Best Cinemetography Academy Award. The on location shots are superb and insightful. The music also deserves it's praise and supports the film well. The casting is brilliant, especially in portraying the characters as different ages. The actors are so well chosen for their roles, the seamless change of actors keep the story flowing.

Overall Slumdog Millionaire is entertaining as an insight into the slums of India and a happy love story and life adventure in an unconventional setting. Told in an intriguing way, using flashbacks, the film leaves you with joy and hope. It is nice to have a happy film win the Academy Award for once.

"Religion is flawed because man is flawed." -Cardinal Strauss

Ron Howard adapted the popular Dan Brown book, Angels and Demons (2009), into a true Hollywood film. It works as a film alone not having to have read the book to understand the plot. All the classic Hollywood film "rules" are used, including a car chase, making it a fast-paced thriller. However is also frustrating for a lover of the book with it's omissions and changes to the story-line. It is like reading the book and skipping pages to get to the action parts. The film seems to rush along in an action-pace without any time for character development and relationships. Understandably there isn't enough time to go into as much depth when adapting a book such as Angels and Demons into a film. This is what could upset the fans of the book, however also motivate the audience to read the book to get the explanations and historical information. At times the dialogue was a little cliched lowering the films credibility. This seems due to being an adaption and fitting the books story-line into a film.

The cinematography shows Rome and it's many great landmarks, statues and churches beautifully being shot on location, except St. Peter's Basilica and square in which scale models were used. Seeing the actual landmarks come to life after reading the book is wondrous.

Tom Hanks portrays the intelligent Harvard professor, Robert Langdon, again with affect, perhaps even better than he portrayed the character in The Da Vinci Code. Ewan McGregor cast as the carmelengo works well in winning the audience early in the film allowing the twist to succeed. Armin Mueller-Stahl, as Cardinal Strauss, was superb in his role believably playing the Catholic cardinal and easily transformed from a possible villain to a good guy. Ayelet Zurer character, Vittoria Vetra, doesn't seem to stand strong and is almost unnecessary leaving out many important character developments present in the book as well as Langdon and Vetra's love interest. Following in the footsteps of the impressive Audrey Tautou, Zurer steps short. Her accent in particular being a distraction.

For fans of the book, the film Angels and Demons could be disappointing yet works as a movie, is easy to follow and keeps the audience interested following a typical Hollywood set of "rules" and leaving the audience satisfied.

"I'll teach you to laugh at something that's funny!" -Homer Simpson

The long awaited Simpsons Movie (David Silverman, 2007) is here at last. It is always risky making a movie from a popular TV show, and making a feature length film of the Simpsons, a TV show that has been going for nearly two decades, won many Emmy awards for outstanding animated program and become a household name, was always going to be a challenge. To even match some of the wit and satirical humor of the popular TV series and capture it into a feature length film was an ambitious project, however, the large group of writers working on the film have succeeded in producing an entertaining and comical feature, which feels like an extended episode of the beloved TV series. Some of the best laughs have been saved for the movie, however doesn’t return to the original humor of the earlier episodes.


For many hundred episodes the Simpsons have impacted our lives and had an influence on most of society. Many have grown up around “Aye carumba” and “eat my shorts”. As always the Simpsons Movie delivers a believable yet hilarious and exaggerated depiction of the American family satirising recent events and ridiculing anyone and everyone.

The movie follows one main storyline with not many subplots being more like a movie plot, however still follows a structure similar to the TV series such as using a resolved circular plot, giving the impression of a long TV episode.

The Simpsons Movie comments on many issues, similar to the way the TV series does. Issues of protecting environment, corruption in government, families, communities and religion are touched on in a traditional Simpson comical way. The importance of love and family is a strong message throughout the film with Homer (Dan Castellaneta) realising this importance and what really matters in life through a few heart touching scenes between Homer and his family. Homer is clearly the star of the show with this realisation and some of the best lines coming from him, however it may be too focused on Homer. Several favourite characters from the TV series aren’t featured much or at all, however many are given hilarious one-liners which connect with their character from the series. The voices of the regulars are, like always, superb with a few cameos thrown in as usual.


Seeing the Simpsons in wide-screen format is an experience. The animation is of higher quality than the TV series. The rendering of the scenes is magnificent with a wider colour palette being used giving the backgrounds, in particular, a new appearance outstanding from the TV series. The elements of 3D also give it admiration and the shadows on the characters giving more depth.

A must see film for Simpson fans, animation fans and anyone looking for a good laugh.

"Religion is the everlasting dialogue between humanity and God. Art is its soliloquy." -Franz Werfel

The Da Vinci Code (Ron Howard, 2006), the movie, has adapted a book successfully. With the big hype among society Dan Brown's book has produced, the court cases, questions about the Catholic church and much merchandise available, The Da Vinci Code has made a perfect marketing scheme for itself. However, ignoring the popularity of the book, the movie is in it's self quite pleasing and intriguing. The story-line keeps the audience enthralled, wondering and excited. The actors have done an amazing job with there characters. Audrey Tautou's performance as a pretty French cryptographer was thrilling and rather striking. Tom Hanks, however different to what I was expecting from the book, expressed a dedicated, intelligent religious symbolist affectively, which I grew to connect with. Ian McKellan, as usual produced a superb job as the passionate researcher and Paul Bettany with his portrayal of a dark, proud murderer being worthy of mention. The art and architecture and scenery throughout the movie connects the audience with reality which makes the audience get cought up in the story and makes it believable. With it's intriguing story-line, questions it raises, art and religious information, great acting and exciting recognisable sets, The Da Vinci Code is a great film with or without the book, however has adapted the book extraordinarily.

"Talent does what it can; genius does what it must."- Edward George Bulwer Lytton

Apart from the CG special effects in X-Men 3: The Last Stand (Brett Ratner, 2006) there isn't much more positive aspects within the film. Another action sci-fi with a purpose to show special effects. The CG special effects are considerably outstanding merging real and CG remarkably well. However the story-line and characters don't have much interest. Each character’s unique ability has been created successfully, however actual character isn't always pushed to it's best. The acting is not what is disappointing just the story-line and actions limiting the actors abilities. The cast is quite strong with the return of Hugh Jackman, Halle Berry and Ian Mckellen. Some aspects within the story-line seem unreasonable and unnecessary. There seems to be too much killing and death, while trying to bring in personal emotions between the characters. Ratner hasn't mixed the two well enough, not allowing any character development, perhaps aiming to attract male fans. Questions of humanity are weakly raised, however could have been explored deeper. X-men 3 isn't bad enough to walk out of but not one worth much fuss.

"We don't know who we are until we see what we can do." -Martha Grimes

When watching King Kong (Peter Jackson, 2005) one can not help but compare it to the original 1933 film. Jackson's representation of the story is remarkably impressive. The almost simple storyline is carried by the outstanding special effects. Jackson has lengthened the original by making it twice as long which allows him to build the characters and show off the special effects. At times the effects are a little overwhelming, none the less impressive and awe-inspiring. Jackson's amendments to the storyline, for example, the longer beginning helps to give a background to the characters, especially Ann. Ann's character is given more credit, which therefore makes her seem a stronger woman who would speak what she feels and not just a naive pretty blonde or damsel in distress. However, the relationship between Kong and Ann is a little hard to believe. The way Ann feels towards Kong doesn’t give justice to the story. Her feelings are too strong for the beast making her strong character not thinking sensibly. The original film portrayed this relationship with more belief. Ann didn't have any feelings for the beast. In Jackson's version, however, the character of Ann becomes stupid by risking herself to stop the planes when there isn’t anything she can do. The character of Kong is developed expertly. The CG of the beast movements and expressions are highly believable. The audience can really connect with the beast. The way he doesn't really want to hurt anyone he just wants beautiful Ann. Jackson portrayed this character and emotion in the beast more than the original did, where Kong was merely a scary beast. There is some really great cinematography in the film, namely on the island and on the Empire State Building. All in all a long but impressive film.

"The government solution to a problem is usually as bad as the problem."-Milton Friedman

V for Vendetta (James McTeigue,2005) explores themes which may seem over done although with the portrayal of the characters make it different from other films. Themes of a dystopian futuristic world, fighting against society, control of the government etc. The expressionistic lighting of the fight scenes in the dark, deserted streets of V For Vendetta portray a dim, tense futuristic world. The people in power are also lit in an expressionistic way by using under lighting. This creates an evil impression and sense to the characters and the film in general. The directors once again is in absolute control over how they want their audience to respond. For example, the under lighting of the council in V For Vendetta is created deliberately to inform the audience that these people are important, in control and evil. The believable futuristic world created by the director, by using expressionist techniques, gives the director control over the audiences response towards certain characters, scenarios and the movie in general.The audience can connect with the characters pride, love and thoughts. The audience actually cares about the characters. Hugo Weaving does a great job as the character V, being another different role for him. The fact that you don't see his face ever is better than if he was unmasked as to keep that mystery. The way he speaks in prose a lot is an excellent twist connecting with the past. Natalie Portman's performance should be commended. She makes the audience feel for her as they follow her through her strengthening process. If interested in the theme of a "what if" style futuristic action film along with love, drama pride and strength then a great movie.

"The best way to predict the future is to invent it."-Alan Kay

The special effects of Aeon Flux (Karyn Kasama, 2005) are worthy of praise. The CG aspects of the film blend well with the set producing a believable futuristic set. The actors have portrayed their futuristic characters well together with the costumes, make-up and hair which coincide perfectly with the setting producing the mood and atmosphere of this doomed futuristic world. The film contains expressionist features, as it is disconnected from reality by setting it out of context and into the unknown future. Their futuristic, stylised settings cause them to contain expressionist qualities. The ultramodern, clean, remote sets and use of lighting of Aeon Flux portray a drab future. The director is in absolute control over how they want their audience to respond. The audience watching this film can still find themselves caught up in the story because a believable world has been created however their response and how they feel about certain characters, scenes and the overall movie is all controlled by using expressionist techniques. A movie to see for the projection of one "what if" of the future, the look of the film (sets, costumes, characters etc.), and some alright choreographed fight scenes. However Aeon Flux is still a Sci-fi action film therefore maybe not the type of film for some.

"Music is the space between the notes."- Claude Debussy

Walk the Line (James Mangold, 2005), being a biography of Johnny Cash’s life and its realistic elements makes the film very realistic. The smooth editing and directing makes the audience feel they are truly getting an insight into Johnny Cash’s life. It uses classic Hollywood styles and techniques such as the three act narrative structure, known lead actors, and invisible editing. The actors have done a great job with portraying the people in the film. Both Joaquin Phoenix and Reese Witherspoon's performances are exceptional. Phoenix sounding much like Johnny Cash. Walk the Line is a feel good movie with the Rock and Roll music track, while at the same time exploring the themes of love, drugs and stardom. Even if not a fan of Johnny Cash a great film to see the acting and music.

"Sometimes the heart sees what is invisible to the eye"-Jackson Brown

Brokeback Mountain (Ang Lee, 2005) has raised many questions among society because of the theme of homosexuals in the film. It is not the first time this theme has been addressed, however one of the first to come directly to mainstream cinema. The controversy that Brokeback Mountain has caused has just made the marketing stronger. Aside from the social uproar Brokeback Mountain is a sad, love story (it just happens to be between to men which to some is wrong). Heath Ledger and Jake Gyllenhaal's acting is quite good letting the audience feel their frustration, love and sadness. Michelle Williams also needs a mention for her acting skills. The cinematography has had much praise and deserves it showing beautiful Texas mountain scenery. Brokeback Mountain, because of the uncomplicated editing and narrative structure it is easy for the audience to get caught up in the movie and its realism, however at times can be quite slow. The dramatic silences can seem drawn-out at times loosing the audiences attention. Being 2hrs and 14mins is not overly long but can seem longer to people with a short attention span. Brokeback Mountain is a film to see if for one want to make your own opinion up about the homosexual theme, to see the cinematography or watch the great work of the actors.

"Violence commands both literature and life, and violence is always crude and distorted."- Ellen Glasgow

Frank Miller has adapted a comic book onto screen very successfully with his film Sin City (2005). The editing is amazing and gives a perfect feel to the comic movie using the style of both expressionist and film noir techniques. Techniques such as long shadows, under-lighting, selection, high contrast, non-linear story-telling and narration. The use of high contrast black and white with small splashes of colour for emphasis, such as red blood, blue eyes etc, is unlike most films therefore giving it an individual and different look and atmosphere perfect for the adaption. Although it is quite a violent movie these scenes are done artistically leaving the audience to imagine the details. The audience sees the reaction, blood splattered across a face in either red or silhouetted white. Also using a rotoscope silhouette style leaving a white outline of the action. However this technique may make it more graphic as people often have wide imaginations. The cast is quite impressive with no obvious main characters. Sin City story-line is told out of order (in film noir style) by different characters narration's which eventually piece together to form the story. Even if not interested in comics or violent movies Sin City is a great movie to watch for the unusual and artistic editing style.

"In peace, as a wise man, he should make suitable preparation for war."- Horace

Appleseed (Shinji Aramaki, 2004). This action-packed, science fiction, 3D Anime animation needs plenty of praise for it's spectacularly rendered scenes. The impressive backgrounds and characters make each scene visually fantastic. Each frame is beautifully created. The techno soundtrack underscores the fight scenes well. The plot comments on humanity in Bladerunner style. Will robots out number humans? Would the world be a better place without emotions? Is war the only answer? Will we destroy ourselves in the fight to be in control? Even if you aren't an anime fan you can still enjoy the films creativity in it’s aesthetics.

“Live as though Christ died yesterday, rose from the grave today, and is coming back tomorrow.”- Theodore Epps

The Passion Of The Christ (Mel Gibbson, 2004) is unlike any film before it. One of, if not, the most violent, gruesome and graphic movie of all time. The violent themes expressed in the film are very graphic as every detail is shown leaving hardly anything to the imagination. After a few seconds of the violence the audience has had enough, however another 10 or so minutes is shown making the movie more dramatic. The amount of violence shown, makes the audience feel for Christ. The violence is not horror like most films today. It shows the view of this major historical event showing detail in the brute violence. Mel Gibson has shown the audience what he thought happened and to give people a visual to this event from his opinion. The cinematography and language of The Passion Of The Christ make it seem very realistic, which ads to the shock reaction from the audience. The use of flashbacks are used to give context to the plot helping the audience understand. The long violent scenes do drag out the film making it seem long and tedious to some and even overwhelming and sickly, however Mel Gibson has successfully shown the violent treatment of Christ and portrayed a realistic and heartbreaking view of the crucifixion of Christ.

"Success in any endeavor requires single-minded attention to detail and total concentration."-Willie Sutton

The Hulk (Ang Lee, 2003) is mainly interesting to see for the editing style. That is the only interesting aspect to the film, and even that could have been better. The story line consist, of course, of a science experiment gone wrong. The story line could have been expressed a lot better. It just didn't doesn't hold attention. The beginning is too long and some parts seemed unnecessary or too much time was spent on the unnecessary and uninteresting. It takes a long time before the Hulk even appears and then he seems a little bit disappointing probably because the audience has had to wait so long. Maybe Lee was trying to build character in the Hulk but it just isn't intriguing. The idea of the editing is excellent. In a comic book style with different dissolves and split screens. Although even the editing could have been stronger. Nothing had depth or strength. It seemed too much was being fit into the film therefore nothing got the attention it could have to make the film work. Mike Szymanski's review sums up the Hulk perfectly.

"It's too long for kids, it's too slow for teens, it's too light for adults. It's too deep for those who don't like to think about their movies, it's too on-the-nose for those who do, and it's completely lacking in memorable action moments for those who are just coming for the special effects."

Comparing Sin City to The Hulk, may be difficult, but they are both adaptations from comics which influenced the artistic style of both films. Sin City works well, because the black and white visuals were taken to the extreme while The Hulk had a great idea giving the film a comic book feel but could have been taken further. Unlike other Ang Lee films and adaptation, The Hulk lacks energy and intelligence. The Hulk could have been done a lot better, with more strength and depth to the story and concentrating on the editing and artistic visuals.

When you follow your dream, there's no telling what you'll become.

Connie and Carla (Michael Lembeck, 2004) explores an unoriginal comedic theme that is always interesting to portray and guaranteed to get laughs. The girl-dressed-as-boy-dressed-as-girl theme seen in films such as Victor Victoria (1982) and a similar style of comedy as Some Like it Hot (1959). It's predictable storyline is scattered with a few comical jokes making it light entertainment.

Full of song favourites, over the top drag costumes and wigs, and fun dance numbers, you could almost call it a musical. Fans of cabaret would enjoy it purely for the costumes and song and dance numbers.

Nia Vardalos and Toni Collette as Connie and Carla respectively seem to have had fun making the film. Although Vardalos' womenly curves make the story seem unbelievable, Collette does a great job at pulling off the drag queen look. Adding another genre and different character to her acting career ensemble.

A light, easy movie to watch, but nothing to write home about.

"To Infinity and Beyond"-Buzz

Toy Story (John Lasseter, 1995) is what Snow White was to animation 62 years earlier. Toy Story, being the first 3D computer animated feature length blockbuster from Pixar, has influenced many animations since and revolutionised animation. Toy Story is a smooth, realistic and impressive 3D animation with a great storyline of a fun "what-if" scenario touching on friendship and acceptance. The toy characters are animated and voiced magnificently. Woody (Tom Hanks) and Buzz (Tim Allen) have real character, which the audience can relate to. Hanks and Allen portray this well along with the different animated character of each toy..Buzz being a stiff, confident action figure and Woody a floppy cowboy doll. Toy Story started a new era of 3D animation, being one of the best and influencing many more great 3D feature animations Toy Story is a classic that will be remembered in animation history.

Fear can hold you prisoner. Hope can set you free

The plot, based on Stephen King's short story, of Shawshank Redemption (Frank Darabont, 1994) is superb. The many subplots are given heavy detail making the audience wonder where the story is going, intriguing the audience. At times, because of it's unpredictability, the story could seem drawn out and long to some. On the other hand, however, it's unpredictability, along with the unexpected twists, is what captivates the audience. As Desson Thomson writes (Washington Post), "it wanders down subplots at every opportunity and ignores an abundance of narrative exit points before settling on its finale."

A part form being an insight into prison life, the film explores many themes through the developing friendship of the two lead characters, Red (Morgan Freeman) and Andy (Tim Robbins), as well as the other inmates. The power of friendship, hope and above all freedom.

In what may be Freeman's greatest role, along with Robbins, the greatness of the story is supported by these terrific acting performances. The supporting roles in the film should not go unmentioned, namely the legendary James Whitmore as Brooks. Whitmore's character lets the audience feel for the old inmate who has been in the prison so long he finds himself so attached he wants to commit crime just to keep the only routine he has known. It is the believable acting performances that carry the intrigue of the plot and each subplot.

The film moves it's audience leaving an unexpected good feeling of hope after watching the prison film. The initial writing by Stephen King, the cinematography and direction by Darabont and the skillful acting has made Shawshank Redemption a talked about remarkable film. It's no wonder it is used as a high school English text.

Every woman is a mystery to be solved

Don Juan DeMarco (Jeremy Leven, 1995) is a fun, light hearted film about reality and fantasy, love and romance and creativity. It makes you stop and think about life and love. Johnny Depp is superbly cast as Don Juan and does an equally good job at playing him. His attractive features and sexy accented voice reinforce his heart throb image.

Marlon Brando may not be the sexy "wild one" he once was but he hasn't lost his old charm and delivers a believable performance of rekindled love along side Faye Dunaway.

The flashbacks in the film may be confusing at times, however the sets, costumes and music add to the romantic storyline. Bryan Adams' theme song for the movie, "Have You Ever Really Loved A Woman?", is more than appropriate underlining the mood of the film.

All in all a great love story carried by a fantastic and well suited cast, namely Depp, and intelligent themes expressed for the audience to ponder.

Hakuna Matata

The Disney classic, The Lion King (Roger Allens, Rob Minkoff, 1994), shows a mix of traditional Disney animation mixed with computer generated animation to produce a magnificent film which will be remembered for years to come. The realistic portrayal of African animals is impressive giving the film an appeal to adults and children. Even though the storyline contains serious and sad aspects, with the death of Mufassa and coming of age of Simba, in traditional Disney style the audience is relieved by the action and adventure, characters and wonderful songs. Elton John's score is memorable and catchy with an African theme by use of traditional African drums. Such songs as "Circle of Life", "Can't Wait To Be King" and "Hakuna Matata" have become renowned. The colourful animation underscoring the music makes the film visually stunning. The voices and characters of the characters such as Zazu (Rowan Atkinson), Timon (Nathan Lane) and Pumba (Ernie Sabella) give a comedic aspect to the otherwise serious storyline. The Lion King is a well known favourite Disney classic and highest-grossing traditionally animated film which has a solid storyline and enjoyable music and characters. A must see for people of all ages.

A Life lived in fear is a life half lived

Baz Luhrman's classic film, Strictly Ballroom (1992), is such a great fun loving, energetic, mood lifting film carried by the music. Luhrman captures the magic of love, passion, comedy and power through the exhilarating music. The editing, in true Luhrman style, is fast paced, stylised, clever and mind grabbing. The audience is held absorbed throughout the whole movie with each well thought out scene showing Luhrman's artistry. The over the top characters and acting along with the bright costumes and sets, once again a Luhrman trademark, captivate and humor the audience from start to finish. At times it can be too over the top but that is what makes the movie so exceptional and more enjoyable and what makes Luhrman's abundance. Strictly Ballroom touches on themes of love, passion, being yourself, breaking the rules and ugly duckling transformation. A great Australian Luhrman film taking him into international fame. An uplifting, fun film with great stylised direction and extravagant characters making Strictly Ballroom a must see film for lovers of music and exaggerated, fast paced direction.

'Before eating, always take a little time to thank the food."-American Indian Proverb

What makes Tampopo (Juzo Itami, 1985) different and interesting is the way the audience is led by the visuals. One minute the audience is following one story then the camera side tracks and the audience is led into another story. Each story is connected by the theme of food. The loose structure and mix of genres makes the film similar to French New Wave cinema. Tampopo combines comedy with a gangster or even Truckie genre while referencing many visuals from previous films only noticeable to the audience with a wide education in film. All in all a light and interesting film to see mainly for the loose editing and different story line.

"A little advice about feelings kiddo; don't expect it always to tickle" -Dr. Berger

Leaving out the horrific accident, suicide attempt and Conrad's stay in hospital Ordinary People (Robert Redford, 1980) knows when to start leaving much to the audiences imagination and concentrating on the families struggle to deal with these incidents.

The acting lets the audience connect with the characters, letting you understand their feelings, whether they are liked or not. Mary Tyler Moore, in a different role from her light comedies, and Donald Sutherland's (playing Conrad's parents) performances really influence the audiences feelings on their characters. You can't help but despise Moore's character and feel Sutherland's pain. Timothy Hutton (Conrad) in his Academy Award winning role, is excellent in portraying a depressed teenager. His emotions, anger, guilt, frustration are clearly shown through his acting and the audience can connect with how he feels. For example, his uneasiness of contacting Dr Berger and talking with him initially is clearly shown through his body language and expressions.

Exploring many deep themes of teenage depression, death, getting in touch with owns feelings, truth, social appearance the film is quite heavy but intriguing to watch one families struggles to overcome these issues supported by great acting.

Sex, Drugs and Rock 'n' roll

Bette Midler's first main role, and a different one than what she later became known for in the 1980's, with her run of comedy's, The Rose (Mark Rydell, 1979), is a great showcase for Midler's talents as a singer and actress. Loosely based on Janis Joplins life of sex, drugs and rock 'n' roll, Midler plays a successful rock star who has been driven to breakdown and pushes all that try to help her away until she has no one. Her performance is outstanding, keeping you holding on wanting to help but knowing she can't be helped. Her singing voice is amazing and with some great songs, including the hit "The Rose", an outstanding number being sung by Bette Midler rather than her character, Mary Rose Foster, who sings the other great rock songs. I can't help but see similarities between Midler and her performance and Barbara Streisand's A Star is Born role, both great singers and portraying the rough side of stardom.

The dark lit scenes directed by Mark Rydell (later did the classic On Golden Pond), reflects the character of Rose's pain and dark suffering. The film is carried by the star, Midler, a risky thing to put an unknown in the lead, however paid off more than well.

The film comments on issues still present in our society today, drugs, homosexuality, violence and profanity, which must have been quite controversial in it's day, as it still is today. These issues, however, didn't stop the film from becoming a hit with four Academy Award nominations including best actress for Midler. Some say The Rose is forgotten, all in all it is a cultural classic hit, rising a fantastic star with an excellent musical score.

"I would like, if I may, to take you on a strange journey." -The Criminologist

The first time The Rocky Horror Picture Show (Jim Sharman, 1975) is seen, audience's may feel a bit confused or shocked, however Rocky Horror for a lot of people is a cult classic. The music, dialogue and costumes are exciting, humorous and fun making Rocky Horror unlike any other film. The bright, sexy costumes have inspired a lot of fancy dress themes. The music is also fun and memorable with popular favourites such as "Time Warp", "Sweet Transvestite" and "Science Fiction/Double Feature". Although the film was not a hit on release, it has inspired regular viewings since which has made it a cult classic and something more than the movie. A different than mainstream film but all in all a fun classic.

"Only the wisest and stupidest of men never change." -Confucius

Bonnie and Clyde (Arthur Penn, 1967) mixes genres in a French New Wave style incorporating gangster, comedy, love, sex and violence in a what became know as "new Hollywood" first seen in the 1960's and 70's. Censorship was loosened in this era enabling more sex and violence to be in films, Bonnie and Clyde being one of the first successful films to show graphic detail in violence. The last scene is well done with it's slow motion shooting helping the audience feel for the characters horror. Even though Bonnie and Clyde were bank robbers the audience feels upset with their death. The movie is shot realistically on location which helps the audience connect with the characters. The banjo music helps to portray comedy and light-heartedness. Bonnie and Clyde is full of action and violence but is balanced by sex, romance and comedy in a fun, though serious film which has influenced other films of the "new Hollywood" era and more.

"Today, if you are not confused, you are just not thinking clearly."-U. Peter

One of the best known non-hollywood cinema directors is Swedish Ingmar Berman. His film
Persona (1966) is if not anything else confusing. As Bergman says his film is "a poem in images". The opening sequence proves this visual poem showing cuts of almost random and disturbing images. The shots of film reels to tell the audience they are about to watch a film. The movie certainly sits between dreams and reality. The seemingly stonger of the two women (nurse Alma) starts to break down through he mute patient (Elisabet). Almas persona is stripped and the two women get mixed up and lost within each other. A very confusing film which could be interpreted many ways. However doesn't have to be understood to be appreciated. It comments on what is reality and different characters we present ourselves with. The camera work in Persona is quite interesting. Bergman uses extreme close-ups, not much camera movement, single shots with the camera and interesting camera frames at times.

"The question is not whether we will die, but how we will live."- Joan Borysenko

Another Francois Truffaut French New Wave classic Jules and Jim (1962) tells a strong story about life, love war, loss, regret and frustration. Once again the first priority of the film is to be visually artistic breaking the tradition of ordinary cinema. The editing techniques are interesting. In the New Wave style using freeze-frames, hand held shots, dissolves and fast pans. The powerful emotive themes expressed in Jules and Jim through different artistic forms make the film interesting to watch. Another good film of Truffaut and the French New Wave.

"The trouble with censors is that they worry if a girl has a cleavage; they ought to worry if she hasn’t any." -Marilyn Monroe

It was a daring step for Stanley Kubrick in making the provocative novel Lolita into a film. However his film, Lolita (1962), is one of his masterpieces in true Kubrick taste. Kubricks trademark dark comedy carries the multi layered story of a middle-aged man infatuated with a teenage girl. He captures the complex story with intriguing camera moves, angles and lighting to create tension. His timing is done to compliment this, holding the camera onto the characters just long enough to give it that apprehension.

The holdings of censorship of the time obviously impacted on the deliverance of the story, however gives the story's taboo subject an intelligent subtleness. Kubrick gets around this censorship with the use of subtle symbolism and suggestive details of the more erotic and taboo subjects leaving these aspects up to the viewer's imagination. It is surprising in modern day cinema to believe Lolita was given a heavy rating originally and was still received as controversial in it's time. However this shows just how restricted film makers were with regards to censorship in the 1960's despite the loosening of censorship during this decade.

The acting is notable with each character challenging the actor often giving them multiple personalities. In the case of James Mason as Prof. Humbert, Mason captures both the obsessed, tormented middle aged man and the naive victim letting the audience feel his pain. While Sue Lyon's representation of Lolita is credible as the attractive and manipulative young teenager. Shelley Winters (Charlotte Haze) gives a remarkable performance letting the audience feel a variety of sensitivities towards her; humour, dislike, sympathy. Of course Peter Sellars' character, Clare Quilty, with it's multiple roles shows a typical Sellars showing off his ability to portray a variety of characters and accents which became known as his trademark comedic style.

All in all Lolita is a fantastic film to see for an example of Kubrick's and Sellars' work as well as the uncontroversial aspects to todays standards and Kubrick's job of avoiding the censorship with subtle suggestions.

"One's mind, once stretched by a new idea, never regains its original dimensions."- Oliver Wendell Holmes

Francois Truffaut is one of the well known directors of the French New Wave. The French New Wave was a term given to young French directors of the 1950's and 60's who rejected traditional cinema. Truffaut's film,Shoot The Pianist (1960) rejects traditional film making by mixing genres such as gangster, film noir, thriller, comedy and romance. Truffaut commented on his technique saying "I wanted to break with linear narrative.. and make a film where all the scenes would please me. I shot without any other criteria." Because of the low budget of these films of the time, many techniques where forced, however became influential and stereotyped. Techniques such as, improvisation, natural locations, lighting, sound, jump cuts etc. Truffaut's random approach to filming Shoot The Pianst, gives an edgy feel top the film. The mix of genre in Shoot The Pianist works well showing an example of the style of The French New Wave.

"Why do people have to love people anyway?"-Fran

The Apartment (Billy Wilder, 1960) is a showcase of Wilder's best script and direction. Laughable yet realistic, commenting on ethics and American life carried by the excellent cast. Jack Lemmon and Shirley MacLaine in there early days. Lemmon demonstrates his exceptional comedian skills as the clumsy, used insurance clerk, while MacLaine is adorable as the cute sort after elevator girl.
The Apartment seems ahead of it's time, defying Hollywood movie customs, in the way The Seven Year Itch was five years earlier, both a social critique with humorous sense. The Apartment makes you laugh as well as think and contemplate ethics, commenting on capitalism, work, sex and corporate conventions.
This Best Picture winner is a light hearted romantic comedy with deeper ethical issues, overall an enjoyable film.

"Bad table manners, my dear Gigi, have broken up more housholds than infidelity." -Aunt Alicia

A classic, Gigi (Vincente Minnelli, 1958), is great for so many reasons. The great cast, direction, costumes, set and music, it's no wonder it won nine Academy Awards, including best picture. Leslie Caron plays the funloving, enchanting girl who we see transform into a lady well, we connect with her character and want to become her friend. Louis Jourdan plays the handsome playboy, getting some great songs, including the title track which won an Academy Award.

Maurice Chevalier seems to enjoy himself with some great songs including "Thank Heaven for Little Girls", "I'm Glad I'm Not Young Anymore" and the classic, fun number, "I Remember It Well", performed with Hermione Gingold. They capture the mood and the audience through the number making it a fun and memberable performance.

Cecil Beaton's set and costume are fabulous, winning an Academy Award for the set. Caron, Jourdan and Chevalier give the Paris setting aunthenticity, highlighting Beaton's great Parisian sets. The costumes have the same flair of those in My Fair Lady(George Cukor, 1964) Beaton designs six years later for the screen version of the story. Yes there are similarities between Gigi and My Fair Lady with the storyline, costumes and music. Some of the songs have the same feel, both being written by Alan Jay Lerner and composed by Frederick Loewe, proving a great team, also taking home the Academy Award for Best Music and Original Song ("Gigi"). Although it is easy to assimilate the two great films, it really is unfair to the earlier film to compare it to the wonders of My Fair Lady. Still a classic film with a great cast and crew behind it.

"I know, I know. I have acrophobia, which gives me vertigo, and I get dizzy." -Scottie

From the opening tiles by the infamous Soul Bass to the dramatic final scene Vertigo (Alfred Hitchcock, 1958) has you on the edge of your seat and pondering possible explanations. The complex plot is full of Hitchcock's usual twists and tension. Bernard Hermann's music and long drawn out silences underscore the suspense of the film letting the audience easily get caught up in the complicated plot. Scotty's (James Stewart) growing obsession with Kim Novak's character is shown through the suspenseful music and his expressions. The story's lack of dialogue does seem to make the film move a little slowly at times yet still holds the audience's attention and curiosity. After the first half of the film the plot thickens as it seems all is over, when really it is only the beginning.

James Stewart's performance is nothing more than classic. Vertigo shows one aspect of Stewart's styles, the "innocent man finding himself in a dramatic and complex story" in classic Hitchcock style. Kim Novak, one of Hitchcock's girls, plays her double character exquisitely. Novak wasn't the first choice for the role, however, took on the role perfectly leaving the audience unable to see anyone else playing the character. Her beauty is perfectly appropriate for the story and it's themes. Barbara Bel Geddes' character can seem meaningless yet is crucial as a supporting role to act as an insight into Stewart's character and also to strengthen the theme of unattainable love. Her performance in portraying the sadness, loss and desperation is superb.

Under the plot, themes of love, obsession and manipulation are explored. Once the complexity of the story is solved the audience may need to watch the film again to appreciate these themes which are supported by the casts performances, dramatic music and drawn out story line. The somewhat disappointing ending can seem like an anti-climax, however feeds the theme of hopelessness and obsession.

"There is no terror in the bang, only in the anticipation of it." -Alfred Hitchcock

Dial M for Murder (Alfred Hitchcock, 1954) succeeds on so many levels. A true Hitchcock suspense masterpiece. The clever storyline is perfectly adapted from stage to screen. Although it was obviously written for the stage, being shot in one room, the audience never feels claustrophobic with Hitchcocks artful direction. Where other directors may have used flashbacks, Hitchcock lets the actor's engaging dialog tell the story, simply shooting the play. The use of colours, music, framing, camera angles and intriguing dialog keep it from becoming boring. Hitchcock's mix of long shots, over head shots and well thought out framing give the film it's clever feel in his true style. The witty and captivating storyline, underlined by serous issues of adultery and murder, contains skillful and suspenseful twists that keep the audience engrossed in the film.

Ray Milland portrays his sly, emotionless and self-confident character realistically, making the audience almost take his side and want the murder to work out. Grace Kelly who became the perfect Hitchcock blonde with frequent collaborations with the director, plays her stereotypical character well. Again the audience feels sympathy for her despite her cheating on her husband and also for her boyfriend played by Robert Cummings. John Williams, another Hitchcock regular, also deserves praise for his genius acting in an almost typecast role.

With a clever story of a perfect murder, excellent acting and characters and artful photography and production design, Dial M for Muder is the Master of Suspense at his best and must see for suspense or Hitchcock fans.

"We've become a race of Peeping Toms."-Stella

Being one of Hitchcocks best thrillers, Rear Window (Alfred Hitchcock, 1954), brings all of his fascinations and trademarks into the one film. The clever concept of the film touches on themes of obsession and voyeurism along with romance and murder. Watching the film from the view of one character, Jefferies (James Stewart), confined to a wheelchair and therefore shot in one room, strengthens the message of curious voyeurism. The viewer watches Jefferies watching others through his rear window, creating the viewers consciousness of their own voyeurism and the pleasurable voyeuristic nature of motion pictures.

The many subplots presented through Jefferies' viewings of his neighbours lives present the theme of love, which could be mirrored in his own life and relationship with Lisa (Grace Kelly). Kelly's performance is captivating as the perfectly beautiful fashion model. Alongside Stewart's performance as the obsessed wheelchair-bound photojournalist. Mention must also go to Thelma Ritter's performance as Jefferies' honest and grounded nurse.

Although the film is shot in one room, as with Dial M for Murder, the viewer is freed from the feeling of claustrophobia through the Hitchcock's skillful direction. The viewer is able to escape through Jefferies' eyes using his binoculars for close-ups and pans to see what Jefferies sees through apartment windows and small openings between the buildings giving the viewer just enough to create suspense.

The set is magnificent. An actual multistory apartment building to allow the many subplots and different lives to develop. Being shot from one angle keeps the viewer feeling as though they are really watching the scene take place. The use of natural sounds and music add to the realism. A great Hitchcock thriller, with deeper themes of the very nature of the popularity of motion pictures in our curious society.

"I just love finding new places to wear diamonds."- Lorelei

Gentlemen Prefer Blondes (Howard Hawks, 1953) is a great comedy musical most famous for the song "Diamonds Are a Girl's Best Friend" which Marilyn Monroe has become known for (along with the skirt blowing scene in The Seven Year Itch). Marilyn plays the dumb blonde, which became her look of the 50's. The storyline touches on male and females look at love, beauty and money. With the two leads taking on different characters who look at love and marriage in two different ways. Jane Russell's down to earth character contrasts cleverly with Marilyn's dumb blonde making the comedy interesting. The songs the girls sing, "Diamond's Are A Girl's Best Friend" and "Ain't There Anyone Here For Love" strengthen their differences. The songs, costumes, dances and comedic instances make it a great film and musical from Hollywood's golden age of musicals of the 1950's. Gentlemen Prefer Blondes is a great musical to watch for the performances by Marilyn and Jane Russell, the fun songs and costumes and the comedic script. All in all it is an enjoyable broadway musical.

"If we bring a little joy into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothin'"-Lina Lamont

Singin' In The Rain (Stanley Donen, Gene Kelly, 1952) has to be one of, if not the, best and most well known musical of all time. At a time when musicals in film where thriving Singin' In The Rain stands as a fantastic example from this time in Hollywood. the songs are fun, memorable and great. "Singin' In The Rain", "Good Mornin'", and "You Are My Lucky Star" just to name a few that make the film a real classic. The "Make 'em Laugh" routine is always a favourite. Donald O'Conner is a great entertainer which this scene proves. Gene Kelly once again does a superb singing, dancing and acting job. Debbie Renolds also deserves praise for her role that made her known. The film is always in a high. There is always a song and dance number. Even so the one number that sicks out is the "Broadway Melody" sequence. It is fantastic. The sets, costumes and choreography is outstanding. The sets are bright, interesting and expressionistic which match the colourful costumes and lively song and dance. Definitely a must see classic film whether for history of musicals and film, dance, song and acting or just for the entertainment factor.

"In our lives there is a simple colour, as on an artists palatte, which provides the meaning of life and art. it is the colour of love." -Marc Chagall

An American In Paris (Vincente Minnelli, 1951) is a great film from it's time when musicals were a popular genre during the Hollywood golden age of musicals in the 1950's. The music and songs in An American In Paris are fun and memorable. It has some really intriguing and enjoyable dance sequences, with bright costumes and elaborate sets that make it bright and exciting. The end ballet sequence, although can be long, is spectacular with it's choreography, sets and music. In true Minnelli style, with a Parisian artist influence, the dance sequence is full of colour and extravagance. Gene Kelly in his prime time and Leslie Caron in her debut role, do a fantastic job full of grace and modernism, starting an awesome dance duo. Is a great movie for film lovers, music/musical lovers, Paris lovers and Kelly-Caron or Minnelli lovers.

"I don't want realism! I want magic!" -Blanche

A Streetcar Named Desire (1951, Elia Kazan), a classic film carried by the outstanding acting and intriguing storyline, is a adapted from the 1947 Tennessee Williams play, arguably his best. With Williams working on the adaption himself and director Kazan, who also directed the play on Broadway, the film stays true to the original play.

The film is certainly strongly theatrical rather than cinematic, taking three academy awards for acting roles. Carried by the exceptional performances, in particular by Vivian Leigh (Blanche DuBois) and Marlon Brando (Stanley Kowalski). The two characters conflict one another superbly. Brando's strong, violent character contrasts with Leigh's frail and poetic character completely. Brandos acting is outstanding, in what was only his second on screen role, playing the animalistic brute of a character of Stanley Kowalski, he played on stage earlier in his career. He clearly is the star of the film even though the play was originally based around Blanche, Brando takes the screen, however missing the best actor to Humphrey Bogart for his role in The African Queen (1951). Leigh, in one of her last on screen performances, playing the role she played in the London production of the play, does exceptionally well to portray the mentally broken, vulnerable Blanche receiving best actress for her role. Performances by Kim Hunter, in the role she played on Broadway and winning best supporting actress for her role, and Karl Maldon, who won best supporting actor, strengthen the films theatrical experience.

An exceptional screen adaption of the magnificent Williams play, full of intriguing, emotional and beautiful lines. A great film classic to see if not for the adaption, for the remarkable acting by some of Hollywoods best.

"If you ever have any doubt about the power of movies to affect change in the world...then study the example of neo realism" Martin Scorsese

The Bicycle Thief (1948- Vittorio De Sica) is one of the primary works of Italian neorealism, representing everyday life through reality and documentary aspects. Film in Italy after WW2, because they couldn't afford actors, script writers, sets etc, brought neorealism which consists of shooting on location, employing real people instead of actors, real story lines, natural dialogue and a documentary style. The Bicycle Thief has an interesting and emotional storyline as it is about everyday lower class aspects which isn't often seen on the screen. Because of it's realistic elements the audience can connect with the man and the boy and feel there hurt and sorrow. The beginning of the film builds the importance of the bicycle to the man by having them have to sell there own sheets to be able to afford the bike all for it to be stolen. This built up beginning helps the audience feel for the character. An important film once again in the study of history of film with a strong story touching on themes of loneliness, individualism and groups in society.

"A man doesn't tell a woman what to do. She tells herself. "-Devlin

Hitchcock's Notorious (1946), displays authentic Hitchcock style, utilising close-ups, stylised shots and perfect suspense to deliver a terrific and effective film.

In a different role for Ingrid Bergman to be playing, as the loose-living Alicia, she does an excellent portrayal of such a diverse character. From the troubled and free woman through to cunning and unscrupulous spy, powerless dying women and falling hopelessly for Cary Grant's character, Devlin. Bergman and Grant's chemistry on screen is believable and stimulating. Emphasised by the longest close-up screen kiss of the time. Claude Rains' performance is also noteworthy. Although the audience should feel hateful towards the villain, as Rains is so likable, you are left with a little pity for the character.

The daring complex story-line is controversial due to the political and sexual content, yet in true Hitchcock suspenseful style engages the audience throughout. Although arguably not his best, a great Hitchcock film with a stellar cast and intriguing story-line.

"There never was a women like Gilda"

Rita Hayworth in Gilda (Charles Vidor, 1946), presents an iconic femme fatale in this classic film noir production. She possesses glamour with a seductive ambience. The soft lighting and back lit scenes of Hayworth strengthen this sexiness, vulnerable and wanton character.

With a character who became her, a signature role of iconic 40's glamour, Hayworth makes Gilda. Hayworth is Gilda. This rings true to her famous saying "every man I knew went to bed with Gilda... and woke up with me".

Gilda presents iconic aspects of film noir such as swirling cigarette smoke, shadows and stylised shots. Along with film noir themes such as love, hate, jealousy, money, betrayal and of course the femme fatale. Other more taboo themes are explored subtly such as sexuality.

A great film showcasing a true classic hollywood glamour star and iconic 40's film noir themes. As classic as films come.

"After dark all cats are leopards."-American Indian Proverb

Double Indemnity (1944-Billy Wilder) is a prime example of a classic film noir film. A story of greed, murder, violence, betrayal and suspicion told with a voice over, complete with femme fatale keeps the audience intrigued in the crime storyline. Film noir films are often influenced by expressionism, have a dark sombre feel because of the dark atmosphere visually. Film Noir techniques are expertly shown in this film. Visual techniques such as black and white photography, night settings, low-key lighting, high contrasts, close-ups, and extreme camera angles. Although today these techniques may seem cliched as so many films since have been influenced by these film noir techniques, Double Indemnity is a great film to see if, wanting to see an example of film noir or a fan of film noir.

"A world of obsession, alienation, corruption, deceit, blurred identity, paranoia, dementia, weak men, cold- blooded femme fatales, and inevitably murder. Its style consisted of looming close ups, oblique camera angles, and crowded compositions that produced a sense of entrapment. The film's narratives were rarely straightforward; they contained frequent flashbacks and voice-overs." "Characterized by sexual insecurity, aberrant psychology, and nightmarish camera work, film noir depicted a world of threatening shadows and ambiguities." (Digital History)

"Cinematogaphy is infinite in its possibilities... much more so than music or language"- Conrad Hall

Citizen Kane (1941- Orson Welles) is definitely a must see for study of the history of cinema. It has been named "The Greatest Film of All Time" and is interesting and important for a number of reasons. It was a very innovative film for its time, as Birth Of a Nation was in it's time, because of this it is one of the most influential films inspiring many film directors even today. The cinematograhy is astonishing and unforgettable. The non-chronological storyline is captivating with its flashbacks which keep you concentrating as the pieces of Kanes life are put together proving once again that money can not buy happiness.

Orson Welles uses new and old techniques which became classical Hollywood Expressionist techniques to control the reaction of the audience. Or though other directors, such as Alfred Hitchcock, controlled their audiences Welles introduced deep focus and low key lighting to convey reality, flashbacks, montage and non-chronological order storylines, and new use of sound. Welles also has introduced formally German expressionist or horror film techniques such as back and side lighting, unusual camera angles and shots and extreme close ups into Hollywood. As Tim Dirks says it "is an acknowledged milestone in the development of cinematic technique.

"This is the stuff that dreams are made out of"

One of the master's of, and said to be first, film noir films, The Maltese Falcon (John Huston, 1941) showcases Humpfrey Bogart in his classic and well-known style along with Casablanca (1942).

Humphrey Bogart, as the tough hero, fits the role perfectly as though it was made for him. The unpredictable character always knowing what to say and producing a witty comeback. Bogart along with the rest of the cast carry this character driven and dialogue based story.

Huston's direction is carefully thought out delivering typical film noir aspects. The film encompasses many film noir techniques including stylised, high contrast and shadowy shots, a seedy setting and detective and femme fatale characters. Ending with a stereotypical film noir shadow shot of Astor, the lift shadows creating jail-like bars.

A must see for iconic Bogart, Film noir and history of film.

"A boy who won't be good, might just as well be made of wood."-The Blue Fairy

Another great Disney classic, Pinocchio (Ben Sharpsteen and Hamilton Luske, 1940) contains all the ingredients to make it an ever lasting great feature-length animation. As well as having songs and music that will live on through generations and being another step in the right direction for animation Pinocchio has a great story-line with a message to the viewers. Lying, telling the truth, following the right crowd, knowing right from wrong, avoiding temptation are all themes expressed in Pinocchio. Pinocchio has to prove himself before he is worthy of becoming a real boy, along with his conscience, Jiminy Cricket, the Blue Fairy and his father, Gepetto. Pinocchio has many scenes which would be terrifying for a young audience as he learns love, courage and honesty in his quest to becoming a real boy (his dream). The animating in Pinocchio is impressive. The portrayal of characters and song sequences, and especially the underwater sequence, which would have been a new challenge for the animating team, are impressive for the time. Inspiring animation since Pinocchio is a classic and will remain a classic for years to come.

"Hearts can never be practical until they can be made unbreakable"

A wonderful film, fabulous musical, and extraordinary tale for children and adults alike, The Wizard Of Oz (Victor Flemming,1939) still stands today as a great Hollywood classic. The music is a definite highlight, carrying well-known songs through time. The set design is fantastic, taking the audience from the dull, sepia, country Kansas into the Technicolor land of Oz with its bright flowers, hills, emerald city and the yellow brick road. The scenery and cinematography of The Wizard Of Oz is spectacular. The performances of the cast is magnificent from little timid Dorothy (Judy Garland) to the Scarecrow (Ray Bolger, Tin-man (Jack Haley), Lion (Bert Lahr), Wicked Witch (Margeret Hamilton) and wizard of oz (Frank Morgan) all deserving praise. 1939 was a year of great films in Hollywood, during the classical Hollywood era which saw many memorable and great films produced out of Hollywood, such as Wuthering Height (William Wyler) and Gone With The Wind (Victor Flemming, George Cuker), which took the Oscar for the year. Today The Wizard Of Oz still stands as a great tale for children and a great film for film lovers.

"You create your own reality."- Jane Roberts

The 1920's and 1940's brought a perfecting of classical Hollywood cinema which had been developing since Birth of A Nation. Mr Smith Goes To Washington (Frank Capra,1939) is one example of classical Hollywood cinema. Visual and Narrative techniques characterise the films of this time. These techniques are used to bring realism to the audience and make them get caught up in the story forgetting it is a film being directed. Mr Smith Goes To Washington is one movie that demonstrates this style. Narrative techniques such as use of the three act structure consisting of an existing situation that is disrupted and then resolved, nothing happening for no reason and having a lead character the audience can identify with, in this case James Stuart, and visual techniques such as 180 degree rule, realistic lighting and establishing shots, are used to convey reality. The role of a lead actor was important to help connect with the audience. Although D.W. Griffiths made the movie star system more known in cinema, with the introduction of the close-up, concentrating on certain actors, and crediting actors and actresses, classical Hollywood movies such as, Mr Smith Goes To Washingtonhad a real emphasis on known actors and actresses. Mr Smith Goes To Washington is a great movie to see as an example of classical Hollywood cinema as well as a Frank Capra film and also to see James Stuarts acting.

"Any sufficiently advanced technology is indistinguishable from magic." -Arthur C. Clarke

Snow White and the Seven Dwarves (Walt Disney, 1937) saw a turning point in cinema and animation. Being the first successful full-feature animation proved animation could be much more than the short films before it. After bringing sound to animation with Steamboat Willie (Walt Disney, 1928) and colour, Snow White made Disney a well known and important animation studio in history. The soundtrack is memorable and fun. The story-line is a fantastic fairy-tale told cleverly with depth consisting of violence, love, happiness, good and evil. Each dwarf carries a distinct personality and character with emotional depth. The human like movements within the characters are very impressive and started an era changing cinema and animation. Snow White has been an influential film in the creation of animated features even today. A great film for people of all ages which will never age.

"Where there is no imagination there is no horror." -Arthur Conan Doyle

Bride of Frankenstein (James Whale,1935) is another great horror film from the "golden age" of Hollywood horror films coming out with its traditional storyline. Being the sequel to Whale's Frankenstein, the two films could easily been one as both are short and carry on well. However differences such as the sound and changes in character make each great as individual films. Both films have been influenced by German expressionism in there sets and lighting in particular. In Bride of Frankensein the monsters character has progressed and seems more human and aware of what is going on. This is shown in his actions and now he can speak some small words. The audience once again feels for the monster as well as still holding the role of a scary monster. The audience can see his happiness in finding a friend in the blind man and his sadness when even his bride is frightened of him.

"This suspense is terrible. I hope it will last."-Oscar Wilde

Hitchcocks film The 39 Steps (Alfred Hitchcock, 1935) blends comedy and suspense with a little bit of love in a now traditional Hitchcock way. Although it is one of his earliest, it was seen as his first breakthrough leading the way for more with the same style. Hitchcock has used this theme of "an average, innocent, ordinary man who is framed by circumstantial evidence and thrust against his will into an extraordinary situation that he doesn't understand," in many more of his films making the style his signature. The spy like story-line is intriguing and suspenseful. As Hitchcock says "What I liked about The 39 Steps were the sudden switches and the jumping from one situation to another with such rapidity."

"You're going out there a youngster, but you've got to come back a star!" -Julian Marsh

An early musical which popularised the musical genre is 42nd Street (Lloyd Bacon, 1933). A great film, full of young stars, a cherishable story line, and exciting music and dance routines. Not much of a singing sensation, the cute faced Ruby Keeler does a superb job being carried by the exceptional Bebe Daniels and Dick Powell. In a role that took her to her stardom along side Dick Powell, Keeler gives us a sweet rendition of the cute new dancer searching for fame with a creditable tap scene and excellent dance scenes. A young Ginger Rogers, pre Fred Astaire days, is already flashing star quality and is great to watch in her early days.

Although a little cliched the storyline is a winner. The film begins a string of great dance choreography in popular musicals by dance director Busby Berkley. Berkley worked along with song writers Al Dubin and Harry Warren making a many of the popular songs in the film. The final dance number is worthy of mention with Keeler's tap scene and exceptional dance routines from Berkley with the memorable above shots of the dancers patterns.

"And lo, the beast looked upon the face of beauty. And it stayed its hand from killing. And from that day, it was as one dead."- Old Arabian Proverb

King Kong (Merian C. Cooper, Ernest B. Schoedsack, 1933) stands as being a very influential monster/horror film. The special effects are impressive for the time. The stop-motion scenes with the creatures are detailed which would have terrified an audience of the time and even today are quite impressive and a bit intimidating. The character of Kong shows a horrifying beast but towards the end the audience starts to feel for the monster and see his side. This is shown well through the special effects and stop motion of the creature. The story-line addresses the "Beauty and the Beast" theme as well as the contrast between city and nature. King Kong has had a large influence on filmmakers since with the use of special effects and innovations as well as the theme of sci-fi giant beast with films such as Godzilla (Roland Emmerich, 1998) and Mighty Joe Young (Ron Underwood, 1998). An enjoyable film, if not only for the transformation of technology in film, for the intriguing story-line.

"The true subject of the horror genre is the struggle for recognition of all that our civilization represses and oppresses"- Robin Wood

Frankenstein (James Whale, 1931) has to be one of, if not the, greatest and important horror films of all time. Being part of the"golden age" of Hollywood horror films, the story line follows the traditional horror film narrative consisting of a scientist playing with humans, life and death by making a monster who becomes uncontrollable and having to face him in a monster meets maker fight scene. As well as the girl who is terrorised and the angry mob of town people chasing the beast. The sound in Frankenstein really makes the movie. The lack of music adds to the tension in creating an eerie mood which also emphasises the sound effects. The film has expressionist qualities which help with the scary atmosphere. Boris Karloff portrays the creature well. We are scared and intimidated by him yet feel sympathy.

"The mediator between head and hands must be the heart"

Being the first science fiction epic and the most expensive film of the time, Metropolis (1927- Fritz Lang) is a spectacular film. The expressionist style of the sets (futuristic cityscapes and machines), story and characters (futuristic robot, crazy scientist and huge masses of clone like people) convey a strange atmosphere to the film. Metropolis has influenced many futuristic films such as Bladerunner (Ridley Scott,1982). The story touches on the fight between classes, man and machine, and politics. Being a silent movie Metroplois can be quite slow for impatient audiences of our time however looking past that it is a very artistic film mainly due to it's outstanding expressionist techniques.

“Revolution is the only lawful, equal, effectual war. It was in Russia that this war was declared and begun.”

The Battleship Potemkin (1925- Sergel Eisenstein) is based on a true story of sailors rebellion that causes a massacre. Being a slow and long political movie it may seem irritating for modern viewers. However once again, The Battleship Potemkin is a must see for people interested in the history of cinema. The style of this film is intriguing. The use of Russian montage, for example, juxtaposing contrasting images to create a third meaning and the dynamic cutting to evoke emotional and physical reactions. Eisenstein developed this style of editing giving him control over the audience. This movie is unlike classical Hollywood cinema with the use of not having a main character or hero. Everyone is just a stereotype. For example a sailor, priest, mother etc.

"A yawn is a silent shout. "- Gilbert K. Chesterton

The Phantom Of The Opera (Rupert Julian, 1925) is one classic early film of the silent era and horror genre. Unlike other silent films The Phantom of the Opera is easy to watch with plenty of action going on. Even without sound the audience feels Erik's emotions through his movements and facial expressions. The make up on Erik is very good especially for the time conveying an ugly and scary phantom. The under-lighting of him in scenes add to this eerie mood. The sets of the under ground chambers also give a cold and spooky atmosphere to the film. Once again the acting seems over the top however this is expected in a film from 1925. The story line consists of traditional horror genre techniques as well as "Beauty and the Beast" and "V for Vendetta" themes.

"Horror is beyond the reach of psychology." -Theodor Adorno

The thing that makes The Cabinet of Dr Caligari (Robert Wiere- 1919) a great film is the
expressionistic sets. Even for it's time it still holds as being very fascinating film introducing expressionism to the cinema. Expressionists are not interested in producing the outer reality, rather the ‘inner life’. The film is shot in a studio giving the director more control over the set, lighting and camera work. This new ephasise on the lighting, set and costumes gave the art director a more important role in the film making process.

Although the story is quite traditional, it is filmed in a non-traditional way. Like Melies' "Trip to the Moon" is filmed in an unrealistic way that exaggerates reality. The strange irregular painted sets, unexpected camera angles, expressionistic lighting, dark shadows and high contrasts create a eerie mood and a mad world. This all helps emphasise the story being shown through the eyes of a mad man.

Robert Wiere is thought of as the father of horror films starting the traditional Hollywood horror film genre consisting of a mad doctor, monster he creates and girl they terrorise and influencing other expressionist films such as Dracula (Tod Browning- 1931), Frankenstein (James Whale- 1931), Hitchcock films and film noir. An extremely artistic film and another classic in the history of cinema making it a must see for film historians, even if it is only watched for its non realistic, stylised component.

"Liberty and union, one and inseparable, now and forever!"

Another important film in the advancement of film techniques was DW Griffith's Birth of a Nation (1915). DW Griffith invented or popularised many film techniques still used today. For example in Birth of a Nation, closeups (for psychological impact), the flashback, cross-cutting and moving camera shots were used.
Birth of a Nation, although quite long and slow in terms of cinema today, is an important film in the history of cinema because of it's influence it had on the advancement of cinema. The acting in Birth of a Nation also shows the development of cinema. The large movements that were needed for stage acting had to be altered for the screen. The movements are still quite dramatic as the story is still being told through visuals only, however, the acting is more realistic and natural than in previous films. Like other films of the silent era, people today may look at them as naive. The story-line stands as an interesting and powerful piece of propaganda with a strong political message although is quite racist for todays standards. Although people today would expect more from a movie, in the time of Birth of a Nation it would have seemed really realistic and awe-inspiring. To watch it today it is interesting because of the historical content (events, fashion, dance etc) and the techniques that are still applied to film today. Another must see film if interested in the history and development of film.

"I believe that sometimes you have to look reality in the eye and deny it"- Garrison Keillor

Lumiere Brothers films
The Lumiere Bros shot many "moving picture" that were representations of reality as they composed each shot however the films were based on capturing movement. Each shot was literally a moving picture stemming from their photographic experience. Their films such as Workers Leaving a Factory and Arrival of a Train at a Station would have seemed very realistic and awe-inspiring for the people of the time. The Lumiere Bros film Watering the Garden is said to be the first comedy. Unlike the films before it, it had a plot. These Lumiere films fall into the category of realism. It is very interesting to see such early films as the Lumiere films and to see how cinema has progressed since then.

A Trip to the Moon (George Melies- 1902)
This early Sci-Fi film with the same idea as Jule Verne's From the Earth to the Moon, is a great film to show the advancement of film. The special effects are very impressive for the time. Melies, being a magician originally, introduced new technical and narrative developments to cinema. For example, multiple exposures, time lapse and dissolve. This film shows the revolution of the time differing from the Lumiere Bros short films capturing real life to influencing future film makers into the new fantasy film for entertainment. He showed audiences things they couldn't experience therefore putting his film in the category of Formalism. Once again is a film to watch if interested in the history of motion pictures and the development of sci-fiction and special effects.

The Great Train Robbery (Edwin Porter- 1903)
Another great film to demonstrate the development and influence of film from the age. Porter's editing showed audiences a new way to tell a story incorporating "meanwhile shots". He used both outdoors and studio sets which made the film realistic. However the editing techniques such as pans (moving the camera) and the angle of the camera, fit into formalism. Therefore The Great Train Robbery is put into the category of classicism.