This film is a vision while managing to be a significant hitter in the quality genre of cowboy flicks that de-mythologise the west – The Assassination of Jesse James by the Coward Robert Ford is one of the best films you’ll ever lay your undeserving eyes upon.
Armageddon, aka as the film in which nothing works as it is supposed to, is summed up by Peter Stormare’s cosmonaut when he says, “Components. American components, Russian Components, ALL MADE IN TAIWAN!”
When I say the funniest moment in Old School is when a fat dude ties a brick to his wang and then throws said brick of a large building he is stood atop, you get the idea.
Solid but average, there is little more to be said, most of it is underwhelming and screen time for individuals is at a premium, something that causes The Dark Knight to suffer in the engaging an audience stakes – also Nolan lays a way too heavy hand on certain scenes, just in case we’re stupid – and, what the fuck is up with Bale’s Batman voice?
Action with an 18 certificate, thank fuck – Rambo does what film’s haven’t done for a long time, it gives you gang rape bad guys that you can really hate, and I mean really fucking hate and puts them at the mercy of a hero who kills them in glorious gore without batting a blood caked eyelash as he separates them from their organs, flesh and bones with no subtlety in front of a never flinching camera – live for nothing or die for something…
Winterbottom does understated frenetic chaos and does it well in A Mighty Heart despite the jarring presence of Angelina Jolie, who despite acting like a pro, especially in her moment of bereaved wailing widow, is woefully miscast.
Fargo-esque (which is no bad thing), the Coen’s transcend ordinariness by creating from the source work of Cormac McCarthy a seventh circle of hell in the American west of 1980, which features one of the best visualisations of the character of Death seen on screen – No Country For Old Men is a narrative rule breaker and an example to all in the art of tension creation – plus, there is some exemplary shotgun action.
George A. Romero’s Martin is funky, mixing into a joyful concoction of alternative rendering the world of vampires, 1977 reality and razorblades.