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Title : Toy Story 2
Toy Story 2 genre : Animation, Comedy, Family
Toy Story 2 crew : Andrew Stanton, Andrew Stanton, Lee Unkrich, Graham Walters, David Reynolds, John Lasseter, John Lasseter, David Ian Salter, Richard Halsey, Gary Rydstrom
Toy Story 2 release date : 15 May 19 7 2
Toy Story 2 runtime : 92 Minutes
Toy Story 2 Crew : Andrew Stanton, Andrew Stanton, Lee Unkrich, Graham Walters, David Reynolds, John Lasseter, John Lasseter, David Ian Salter, Richard Halsey, Gary Rydstrom
Toy Story 2 cast :
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Andy heads off to Cowboy Camp, leaving his toys to their own devices. Things shift into high gear when an obsessive toy collector named Al McWhiggen, owner of Al's Toy Barn kidnaps Woody. Andy's toys mount a daring rescue mission, Buzz Lightyear meets his match and Woody has to decide where he and his heart truly belong. Toy Story 2 1999 review : When I was a kid, I remember thinking that _Toy Story 2_ was pretty good, but nothing on the original. Over the years, I've known many, many, many people, and seen a great number more online, who are of the opinion that this second entry is not only better than its predecessor, but that it went on to stay the best film in the (now 4 movie strong) series. I always sorta figured, that when I grew up and rewatched it, I'd reach the same conclusion, so, uh, nope. Basically. That never happened. _Toy Story 2_ is pretty good, but nothing on the original.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
One of the greatest sequels around. 'Toy Story 2', whilst marginally inferior, still manages to create the same magic that the original has - which is mightily impressive.

It, at least to me, has less humour but what it loses there it makes up for in the premise, which is arguably more interesting when compared to the 1995 film. I very much enjoy it, especially the location of the finale.

Tom Hanks is again fabulous as Woody, while Tim Allen (Buzz) & Co. remain as entertaining as before. They also introduce some cool new characters, with the standout being Jessie who is voiced astutely by Joan Cusack; Jessie's backstory is so well done. Al (Wayne Knight) and Pete (Kelsey Grammer) are good additions, too.

There are some tremendous scenes here, that one for Cusack's character and the conclusion are my favourites alongside the ultra satisfying restoration scene; the end credits are amusing, also. It's all fun.

The other two sequels are brilliant, but this is the pick of the three. I'd highly recommend, evidently.

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Title : Star Wars: Episode I - The Phantom Menace
Star Wars: Episode I - The Phantom Menace genre : Adventure, Action, Science Fiction
Star Wars: Episode I - The Phantom Menace crew : George Lucas, George Lucas, George Lucas, Rick McCallum, John Williams, Ben Burtt, Ben Burtt, Gary Rydstrom, Dennis Muren, Tom Johnson
Star Wars: Episode I - The Phantom Menace release date : 2 October 19 6 7
Star Wars: Episode I - The Phantom Menace runtime : 136 Minutes
Star Wars: Episode I - The Phantom Menace Crew : George Lucas, George Lucas, George Lucas, Rick McCallum, John Williams, Ben Burtt, Ben Burtt, Gary Rydstrom, Dennis Muren, Tom Johnson
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Anakin Skywalker, a young slave strong with the Force, is discovered on Tatooine. Meanwhile, the evil Sith have returned, enacting their plot for revenge against the Jedi. Star Wars: Episode I - The Phantom Menace 1999 review : If it were the first "Star Wars" movie, "The Phantom Menace" would be hailed as a visionary breakthrough. But this is the fourth movie of the famous series, and we think we know the territory; many of the early reviews have been blase, paying lip service to the visuals and wondering why the characters aren't better developed. How quickly do we grow accustomed to wonders. I am reminded of the Isaac Asimov story "Nightfall," about the planet where the stars were visible only once in a thousand years. So awesome was the sight that it drove men mad. We who can see the stars every night glance up casually at the cosmos and then quickly down again, searching for a Dairy Queen.

"Star Wars: Episode I--The Phantom Menace," to cite its full title, is an astonishing achievement in imaginative filmmaking. If some of the characters are less than compelling, perhaps that's inevitable: This is the first story in the chronology and has to set up characters who (we already know) will become more interesting with the passage of time. Here we first see Obi-Wan Kenobi, Anakin Skywalker, Yoda and R2-D2 and C-3PO. Anakin is only a fresh-faced kid in Episode I; in IV, V and VI, he has become Darth Vader.

At the risk of offending devotees of the Force, I will say that the stories of the "Star Wars" movies have always been space operas, and that the importance of the movies comes from their energy, their sense of fun, their colorful inventions and their state-of-the-art special effects. I do not attend with the hope of gaining insights into human behavior. Unlike many movies, these are made to be looked at more than listened to, and George Lucas and his collaborators have filled "The Phantom Menace" with wonderful visuals.

There are new places here--new kinds of places. Consider the underwater cities, floating in their transparent membranes. The Senate chamber, a vast sphere with senators arrayed along the inside walls, and speakers floating on pods in the center. And other places: the cityscape with the waterfall that has a dizzying descent through space. And the other cities: one city Venetian, with canals, another looking like a hothouse version of imperial Rome, and a third that seems to have grown out of desert sands.

Set against awesome backdrops, the characters in "The Phantom Menace" inhabit a plot that is little more complex than the stories I grew up on in science-fiction magazines. The whole series sometimes feel like a cover from Thrilling Wonder Stories, come to life. The dialogue is pretty flat and straightforward, although seasoned with a little quasi-classical formality, as if the characters had read but not retained "Julius Caesar." I wish the "Star Wars" characters spoke with more elegance and wit (as Gore Vidal's Greeks and Romans do), but dialogue isn't the point, anyway: These movies are about new things to look at.

The plot details (of embargoes and blockades) tend to diminish the size of the movie's universe--to shrink it to the scale of a 19th century trade dispute. The stars themselves are little more than pinpoints on a black curtain, and "Star Wars" has not drawn inspiration from the color photographs being captured by the Hubble Telescope. The series is essentially human mythology, set in space, but not occupying it. If Stanley Kubrick gave us man humbled by the universe, Lucas gives us the universe domesticated by man. His aliens are really just humans in odd skins. For "The Phantom Menace," he introduces Jar Jar Binks, a fully realized computer-animated alien character whose physical movements seem based on afterthoughts. And Jabba the Hutt (who presides over the Podrace) has always seemed positively Dickensian to me.

Yet within the rules he has established, Lucas tells a good story. The key development in "Phantom" is the first meeting between the Jedi Knight Qui-Gon Jinn (Liam Neeson) and the young Anakin Skywalker (Jake Lloyd)--who is, the Jedi immediately senses, fated for great things. Qui-Gon meets Anakin in a store where he's seeking replacement parts for his crippled ship. Qui-Gon soon finds himself backing the young slave in a high-speed Podrace--betting his ship itself against the cost of the replacement parts. The race is one of the film's high points, as the entrants zoom between high cliff walls in a refinement of a similar race through metal canyons on a spaceship in "Star Wars." Why is Qui-Gon so confident that Anakin can win? Because he senses an unusual concentration of the Force--and perhaps because, like John the Baptist, he instinctively recognizes the one whose way he is destined to prepare. The film's shakiness on the psychological level is evident, however, in the scene where young Anakin is told he must leave his mother (Pernilla August) and follow this tall Jedi stranger. Their mutual resignation to the parting seems awfully restrained. I expected a tearful scene of parting between mother and child, but the best we get is when Anakin asks if his mother can come along, and she replies, "Son, my place is here." As a slave? The discovery and testing of Anakin supplies the film's most important action, but in a sense all the action is equally important, because it provides platforms for special-effects sequences. Sometimes our common sense undermines a sequence (for instance, when Jar Jar's people and the good guys fight a 'droid army, it becomes obvious that the droids are such bad fighters, they should be returned for a refund). But mostly I was happy to drink in the sights on the screen, in the same spirit that I might enjoy "Metropolis," "Forbidden Planet," "2001: A Space Odyssey," "Dark City" or "The Matrix." The difference is that Lucas' visuals are more fanciful and his film's energy level is more cheerful; he doesn't share the prevailing view that the future is a dark and lonely place.

What he does have, in abundance, is exhilaration. There is a sense of discovery in scene after scene of "The Phantom Menace," as he tries out new effects and ideas, and seamlessly integrates real characters and digital ones, real landscapes and imaginary places. We are standing at the threshold of a new age of epic cinema, I think, in which digital techniques mean that budgets will no longer limit the scope of scenes; filmmakers will be able to show us just about anything they can imagine.

As surely as Anakin Skywalker points the way into the future of "Star Wars," so does "The Phantom Menace" raise the curtain on this new freedom for filmmakers. And it's a lot of fun. The film has correctly been given the PG rating; it's suitable for younger viewers and doesn't depend on violence for its effects. As for the bad rap about the characters--hey, I've seen space operas that put their emphasis on human personalities and relationships. They're called "Star Trek" movies. Give me transparent underwater cities and vast hollow senatorial spheres any day.

3.5/4

-Rodger Ebert
Frankly, this film is terrible, and the producers were obviously banking on the original Star Wars coming back all excited, and didn't bother come up with a good story.

What's wrong? Well --

(1) The virtuous Obiwan Kenobi talks an admiring young boy to participate in a dangerous race so that he can bet on the boy and win the money he needs for his mission. Sounds like the later movie HUNGER GAMES, except that in HUNGER GAMES we're expected to despise people who bet on children's lives.

(2) The young boy befriends a teenage girl who is presumably 6 or 7 years older. Come the next movie, they're suddenly the same age so that they can have a love affair. Are they of different species that age at different rates, or did the writers simply not plan ahead?

(3) The boy's mother tells Obiwan that she gave birth to the boy without having sex. Having introduced this bizarre Christological symbolism, the writers promptly forget it.

(4) And there's a character named JarJar, who apparently has no function in the movie except to irritate a lot of the critics.
***Solid return of the franchise after 16 years, highlighted by Liam Neeson***

A Jedi Knight & his apprentice (Liam Neeson and Ewan McGregor) escape a blockade with their new Gungan friend, Jar Jar Binks, and the handmaiden of Queen Amidala (Natalie Portman). Upon damaging their vessel, they find sanctuary on a planet where they meet a slave boy, a gifted pilot and engineer, who may be the prophesied “Chosen One.” Meanwhile, the supposedly extinct Sith resurface, including Darth Maul (Ray Park).

"Star Wars: Episode 1 – The Phantom Menace" (1999) is the fourth Star Wars film and the first of the prequel trilogy, followed by “Attack of the Clones” (2002) and “Return of the Sith” (2005). It marked writer/director George Lucas’ return to the popular franchise after 16 years, the previous film being “Return of the Jedi” (1983).

Star Wars is fantasy packaged as science-fiction or “space fantasy” whereas Star Trek is dramatic science-fiction in a space-travel context. I’ve always preferred the latter because it’s more adult-oriented, but I don’t mind a Star Wars flick now and then and “The Phantom Menace” is entertaining enough.

There’s a new cast of characters along with a young version of Obi-Wan Kenobi and R2D2, C-3PO, Yoda and Jabba. Liam Neeson stands tall as the no-nonsense Qui-Gon Jinn, McGregor is solid and Portman is attractive at the young age of 17. Also notable is Hugh Quarshie as Captain Panaka.

I didn’t mind the loathed Jar Jar Binks and I enjoyed the wondrous underwater sequence and the thrilling podrace in the first half (even though the mother allowing her son to enter the life-and-death contest is unlikely, not to mention the Jedi knights condoning it). Unfortunately the climax comes down to the clichéd “big battle sequence” and it’s predictable who’s gonna die in the corresponding duel. Yawn. Still, “The Phantom Menace” is all-around entertaining if you have a taste for Star Wars.

The film runs 2 hours, 16 minutes.

GRADE: B-/B
This is a terrible, terrible movie. I'm amazed that A) Lucas made a film like this, knowing how beloved the franchise was, and B) that the franchise remained so beloved after this had come out... It introduced Maul though, who is my favourite _Star Wars_ character. So points on that one.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._

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The Matrix crew : Barrie M. Osborne, Joel Silver, Mali Finn, Bruce Berman, Zach Staenberg, Don Davis, Michael Wilkinson, Kym Barrett, Deborah Riley, Bill Pope
The Matrix release date : 3 December 19 1 5
The Matrix runtime : 136 Minutes
The Matrix Crew : Barrie M. Osborne, Joel Silver, Mali Finn, Bruce Berman, Zach Staenberg, Don Davis, Michael Wilkinson, Kym Barrett, Deborah Riley, Bill Pope
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Set in the 22nd century, The Matrix tells the story of a computer hacker who joins a group of underground insurgents fighting the vast and powerful computers who now rule the earth. The Matrix 1999 review : The Martix is a great example of a movie that will live for ever or a very log time. The story and concept are out of this world. Keanu Reeves plays his role with utter brilliance, the cast was very well put together and the graphics are still to this day amazing. All in all one of the best movies of all time.
Get this: what if all we know as reality was, in fact, virtual reality? Reality itself is a ravaged dystopia run by technocrat Artificial Intelligence where humankind vegetates in billions of gloop-filled tanks - mere battery packs for the machineworld - being fed this late '90s VR (known as The Matrix - you with us here?) through an ugly great cable stuck in the back of our heads. And what if there was a group of quasi-spiritual rebels infiltrating The Matrix with the sole purpose of crashing the ruddy great mainframe and rescuing humans from their unknown purgatory? And, hey, what if Keanu Reeves was their Messiah?

What sounds like some web freak's wet dream is, in fact, a dazzlingly nifty slice of sci-fi cool. The Wachowski Brothers (Andy and Larry - last seen dabbling in kinky lesbian noir with the excellent Bound) pulling off something like a million masterstrokes all at once. Taking the imprimatur of the video game, they meld the grungy noir of Blade Runner, the hyperkinetic energies of chopsocky, John Woo hardware and grandiose spiritual overtones into William Gibson's cyberpunk ethos to produce a new aesthetic for the millennium powered to the thudding beat of techno. And it is just incredible fun. The key is the technique of "flo-mo", a process born from Japanese animation, whereby an object in motion is seemingly frozen while the camera miraculously spins around it as if time and gravity are on hold. It grants the action (including some killer kung fu which Reeves and crew spent months perfecting) liberty to take on surreal visual highs. Superhuman feats permissible, of course, in the context of VR as the rebels download Herculean "talents" to fuel their subterfuge. Meanwhile, the audience can only gawp longingly, with its jaws thunking to the cinema floor in unison, as the heroes wrapped in skintight leather, sleek shades and designer cheekbones, spin up walls, leap from high rises and slip through streams of bullets in silken slo-mo. Tron this ain't.

Immediately reigniting the moribund cyberpunk genre (the kids can't get enough Stateside), this has thrust Reeves from his imploding career back to Speed highs (and laying to rest the hideous ghost of Johnny Mnemonic) and stolen much more of Star Wars' thunder than was thought humanly possible. For all its loony plot, The Matrix is fabulous.

Sure, the expert Fishburne is depended upon to expound the lion's share of the script as seer-like rebel leader Morpheus. Reeves, stunning in his newcast slenderness, as Thomas "Neo" Anderson, the hacker turned hope for all mankind (care of some ill-defined mystical calling) is asked little more than perpetual befuddlement. Like Speed, though, this movie plays on his iconic looks rather than his oak-like emoting. There's a major find, too, in the irresistible Carrie-Anne Moss, a majestically wrought combination of steely no-shit intelligence and rock-chick vivaciousness as fellow tripper Trinity. And Weaving, cast against type, neutralises his Aussie tones to a freaky deadpan, the head of the MiB-styled defence system set against the Goth invaders.

And sure, three minutes of post-movie deliberation and all this state-of-the-art cyberdevilry is reduced to the purest gobbledygook. That, though, is not the point. The Matrix is about pure experience; it's been many a moon since the Empire crew have spilled out of a cinema literally buzzing with the sensation of a movie, babbling frenetically with the sheer excitement of discovery.

From head to tail, the deliciously inventive Wachowskis (watch them skyrocket) have delivered the syntax for a new kind of movie: technically mind-blowing, style merged perfectly with content and just so damn cool, the usher will have to drag you kicking and screaming back into reality. You can bet your bottom dollar George never saw this phantom menace coming.


Verdict - The deliciously inventive Wachowskis have delivered the syntax for a new kind of movie: technically mind-blowing, style merged perfectly with content and just so damn cool.

5/5

- Ian Nathan, Empire Magazine
It was around 2001 that I first watched this film and recently giving it another go, ever since, doesn't change the fact for me that this movie is an timeless piece of filmaking. From the characters to the striking and thought-provoking story, it basically has everything to make an action film a 10/10 in a book.
Finally got to see this on the big screen thanks to the TIFF Bell Lightbox in glorious 35mm. My reaction: whoa!

On top of that, I was able to participate in a round table discussion over the film's technical innovations, thematic philosophies, religious metaphors, undertones of gender politics, and absolute ass-kicking action. Can a movie be any more perfect?
***Brainy, entertaining and iconic, but too cool***

When a Big City computer hacker (Keanu Reeves) feels something is intrinsically wrong with reality, a woman with superhuman abilities (Carrie-Anne Moss) informs him that a mysterious man named Morpheus has the answers (Laurence Fishburne). But he has to escape the “agents” who are pursuing him (e.g. Hugo Weaving) to get to Morpheus. At which point his world is turned upside down and inside out. Marcus Chong and Joe Pantoliano are also on hand.

"The Matrix" (1999) is a cerebral sci-fi/action film that mixes elements of the first two Terminator flicks (1984/1991) with martial arts action and a basic concept that hails back to “Star Trek: The Motion Picture” (1979) and no doubt further.

To put this intricate movie together and make it entertaining took genius, so I give credit to the Waschowski Brothers, um, I mean sisters (rolling my eyes). The casting is great and Carrie-Anne is stunning throughout (I usually don’t like short hair on women, but she’s an exception). For me, though, the Waschowskis made it too comic booky. The posturing characters in their slick black outfits & sunglasses scream “Yeah, right.” And the Messiah angle is old hat.

The film runs 2 hours, 16 minutes, and was shot in Sydney, Australia, with some exterior scenes done in Nashville and San Francisco.

GRADE: B

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A ticking-time-bomb insomniac and a slippery soap salesman channel primal male aggression into a shocking new form of therapy. Their concept catches on, with underground "fight clubs" forming in every town, until an eccentric gets in the way and ignites an out-of-control spiral toward oblivion. Fight Club 1999 review : Pretty awesome movie. It shows what one crazy person can convince other crazy people to do. Everyone needs something to believe in. I recommend Jesus Christ, but they want Tyler Durden.
In my top 5 of all time favourite movies. Great story line and a movie you can watch over and over again.
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David Fincher’s new film, Mank, is coming soon on Netflix, released six years after his latest installment, Gone Girl. Therefore, this week I’m reviewing five of Fincher’s movies. Se7en was the first one, and now it’s time for one of the most culturally impactful films of the 90s, Fight Club. This is another rewatch of another filmmaking classic, one that I was never able to absolutely adore like most people. When this movie came out in 1999, critics were extremely divided, and the film failed at the box office. With time, it gained a cult following through home media, but it’s still considered a very controversial piece of cinema. So, nothing new, having in mind Fincher is at the helm.

Despite this being my third or fourth time experiencing this story, I never really changed my opinion about it, which is a bit uncommon in my viewing history. Usually, after multiple rewatches, my overall thoughts about a movie slightly vary, but Fight Club is one of the few exceptions. I believe my opinion remains intact from the very first watch. I really enjoy this film, but I can’t state that I absolutely love it. Since this is a special case, I’m going to start with what still bothers me after so many viewings, something I also rarely do in my reviews since I always leave the bad stuff to the end of the article.

Without spoiling anything, of course, there’s a vital plot twist that comes later in the movie that I could only appreciate by its execution, but never by its impact on the narrative. Jim Uhls’ screenplay relies on the main characters’ friendship to carry the story forward, and throughout the first two acts, Fincher leaves not-that-subtle hints to a massive revelation, which eventually triggers the beginning of the third act. This major plot point is brilliantly executed, and I still feel incredibly fascinated by its delivery, both in terms of the dialogue and the performances. However, its impact on any lightly focused, observant viewer is close to zero due to the clear evidence that pointed towards this development.

Now, I don’t want to sound like that stereotypical moviegoer that says, “I guessed the twist before its revelation, hence it all sucks”. Like I insinuate above, I was still wholly captivated during the entirety of the third act. Nevertheless, Fight Club’s runtime is far from being short, and Fincher spends a lot of time building up an idea that loses its surprise factor even before the film’s midpoint. It changes the protagonist’s perspective, it takes the viewer through a predictable yet entertaining path, setting up a powerful, meaningful ending. However, personally, I don’t feel like the time spent in the first two acts was satisfyingly compensated in the end… at least, not in its entirety.

The second act also has a short period where it loses a bit of steam due to some repetitive sequences and an unnecessary amount of flashbacks. Again, I feel like Fincher didn’t completely trust the audience back then, contrary to his procedure in Se7en. In the latter flick, Fincher left the biggest responsibility to the viewer’s imagination, leaving the murder scenes for the audience to picture in their minds. In Fight Club, that ambiguity and implicit dialogue are still present, sure, but even before the third act, there’s already an attempt to explain too much certain portions of the narrative that I wish would stay vaguer.

Without spoiling anything, of course, there’s a vital plot twist that comes later in the movie that I could only appreciate by its execution, but never by its impact on the narrative. Jim Uhls’ screenplay relies on the main characters’ friendship to carry the story forward, and throughout the first two acts, Fincher leaves not-that-subtle hints to a massive revelation, which eventually triggers the beginning of the third act. This major plot point is brilliantly executed, and I still feel incredibly fascinated by its delivery, both in terms of the dialogue and the performances. However, its impact on any lightly focused, observant viewer is close to zero due to the clear evidence that pointed towards this development.

Now, I don’t want to sound like that stereotypical moviegoer that says, “I guessed the twist before its revelation, hence it all sucks”. Like I insinuate above, I was still wholly captivated during the entirety of the third act. Nevertheless, Fight Club’s runtime is far from being short, and Fincher spends a lot of time building up an idea that loses its surprise factor even before the film’s midpoint. It changes the protagonist’s perspective, it takes the viewer through a predictable yet entertaining path, setting up a powerful, meaningful ending. However, personally, I don’t feel like the time spent in the first two acts was satisfyingly compensated in the end… at least, not in its entirety.

The second act also has a short period where it loses a bit of steam due to some repetitive sequences and an unnecessary amount of flashbacks. Again, I feel like Fincher didn’t completely trust the audience back then, contrary to his procedure in Se7en. In the latter flick, Fincher left the biggest responsibility to the viewer’s imagination, leaving the murder scenes for the audience to picture in their minds. In Fight Club, that ambiguity and implicit dialogue are still present, sure, but even before the third act, there’s already an attempt to explain too much certain portions of the narrative that I wish would stay vaguer.

Don’t worry, I’m done with the negatives, and don’t forget: I really, really like this movie. Obviously, Fincher and Uhls created a story packed with underlying themes and social commentary. From the whole consumerism theory to the more psychological component regarding Edward Norton’s mental state, every message is seamlessly communicated to the audience. I’ve also been through a point in my life where I wish I’d be someone else, someone who had already achieved every dream of mine successfully with an overwhelming feeling of fulfillment. Coping with the inability to become that perfect someone can become an excruciating, sad, depressing process, and it varies drastically from person to person.

Fight Club approaches mental health and people’s acceptance of who they truly are in a groundbreaking manner, capturing Edward Norton’s emotions perfectly and broadcasting his thoughts through some of the best narration in the history of cinema. Its take on the world of consumerism is undoubtedly interesting and plays a big part in the climax of the film. Despite the issues described above, Uhls’ screenplay is very well-written, elevating the conversations between Norton and Brad Pitt (Ad Astra, Once Upon a Time in Hollywood), which are indeed remarkably entertaining. Predictable or not, the main story is wonderfully executed by Fincher, who continues to demonstrate his impressive technical attributes.

Once again, the pre-production phase is proved here to be as important as any other stage in the filmmaking process. Fincher’s dedication to his features is palpable and visible on-screen through every single technical aspect. This time, Fincher brought in Jeff Cronenweth as the director of photography, and both worked together to not only create that desaturated, realistic atmosphere that Fincher loves so much but also to deliver the brutal, violent, bloody fight scenes that keep the entertainment levels at their highest. With clean, consistent, coherent editing from James Haygood, the movie flows beautifully despite its lengthy runtime. The Dust Brothers’ score is quite alternative, which suits the also unconventional storytelling.

Last but not least, Edward Norton and Brad Pitt. I know it’s incredibly cliche to write that two actors share impeccable chemistry, but Norton and Pitt take it to a whole other level. In two physically-demanding displays, both actors deliver award-worthy performances that marked their careers. Pitt offers one of his most underrated portrayals, being extremely funny throughout the entire film, but also astonishingly badass, carrying his fight sequences as amazing as he does with his dialogues. On the other hand, seeing Norton go all-out is a terrific experience. I lack words to describe such an emotionally compelling interpretation, filled with powerful character moments. A final word of praise to Helena Bonham Carter (Enola Holmes), who also delivers an exceptional performance.

In the end, Fight Club is and will probably remain David Fincher’s most controversial movie for a long, long time. With an absolutely brilliant direction and execution, Fincher uses Jim Uhls’ captivating, layered, unconventional screenplay to tackle themes such as consumerism, society’s behavior, and mental health, seamlessly transmitting meaningful yet contentious messages. Once again, the filmmaking in display is technically flawless, going from the trademark authentic cinematography and production design to the unique score, all flowing superbly through excellent editing. Unfortunately, I don’t belong to the group of people who utterly love this film. The excessive (sometimes unnecessary) use of flashbacks doesn’t help, but it’s the enormous build-up packed with overly explicit clues to a significant (yet unsurprising) plot twist that ends up partially ruining the viewing for me. I also wish that the script developed a few plot points more ambiguously, but Brad Pitt and Edward Norton elevate the whole movie so much with their ridiculously outstanding performances that these small issues don’t keep me away from highly recommending one of the most memorable, iconic films of all-time.

Rating: A-
I didn't enjoy this, pretty much at all, but still kinda appreciate how it all comes together. It's a weird one for me.

Overall, 'Fight Club' underwhelmed me. I actually knew very little before viewing it, despite hearing about it on a surface level for years and years; well, one 'regulatory' part of it anyway. It's much deeper than I had expected. Unfortunately, I didn't find entertainment with any of it - it was, to be honest, a slog to sit through.

The only scene I can remember enjoying is the very last one, and I don't mean that negatively because the end shot is terrific. It's just everything that comes before didn't do anything for me. Yet, I still rate its intentions. It did keep me guessing amidst my, near, boredom and the 'event' is a good one on paper. It just failed to connect on me in actuality.

Brad Pitt is good as Tyler, though the likes of Edward Norton and Helena Bonham Carter give meh performances in my opinion. Meat Loaf is interesting, I guess, as Bob.

I'm evidently in the extreme minority with my thoughts, each to their own, but I honestly didn't get into it sadly. As noted, though, I still partially rate it weirdly. 6* feels harsh, so I give it 7*.

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Title : Tarzan
Tarzan genre : Family, Adventure, Animation, Drama
Tarzan crew : Scott Martin Gershin, Mary Hidalgo, Chris Ure, Mark Mancina, Bonnie Arnold, Per Hallberg, Stephen J. Anderson, Kevin Lima, Christopher Chase, Edgar Rice Burroughs
Tarzan release date : 23 March 19 4 0
Tarzan runtime : 88 Minutes
Tarzan Crew : Scott Martin Gershin, Mary Hidalgo, Chris Ure, Mark Mancina, Bonnie Arnold, Per Hallberg, Stephen J. Anderson, Kevin Lima, Christopher Chase, Edgar Rice Burroughs
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Tarzan was a small orphan who was raised by an ape named Kala since he was a child. He believed that this was his family, but on an expedition Jane Porter is rescued by Tarzan. He then finds out that he's human. Now Tarzan must make the decision as to which family he should belong to... Tarzan 1999 review : Tarzan swings through the iridescent jungle swiftly, ending Disney’s Renaissance era with wild exuberance. Two worlds, one family. An innocent little boy, approximately four-years old, was escorted for the first time to a cinema complex. Politely requesting a bucket of sweet polystyrene popcorn, he walked into the dimly lit auditorium scavenging for an appropriate seat that would maximise his film experience. The trailers initiated, suppressing the inner excitement of the full feature that was yet to commence. Then, it happened. The Disney logo emerged. It was time. A family surviving a shipwreck, colonising an uncharted jungle whilst the emphatic voice of Phil Collins powered the narrative. A leopard savaging a baby gorilla, then brutally slaying the English couple, leaving only their infant son crying. His sorrowful echoes reverberating through the rainforest, until a female gorilla acquires him. Adopting a human child. Tarzan. The four-year old, naive to the cruelty of nature, was transfixed by the colourful animation. The plethora of emotions. That pure Disney magic. It was the commencement of a new-founding love for cinema. An adoration he could never shake off again. Yes, that four-year old, was me.

Subjectively speaking, Tarzan is more than just another Disney classic from their animated library. Even more than just an adaptation of Burroughs’ epic. It was a trigger. A sweeping adventure that upheld every emotional resonance possible. The brooding romance between explorer Jane and fully-adolescent Tarzan. Thematically presenting ostracism through two interconnected species, conveying the “Two Worlds, One Family” conflict within Tarzan. Who we are raised to be and who we are truly meant to become. Comedic buoyancy through the supporting characters of Terk and Tantor, supplied with their own catchy rhythms. Dark antagonisms through Clayton’s treacherous hunting techniques, viewing gorillas as merchantable assets. An exploration into the vivacious rainforests of Africa. All culminating to form a wonderfully effervescent coming-of-age tale. One of Disney’s most overlooked, for sure.

The art direction is the strongest of the Renaissance period, combining traditional hand-drawn animation with pioneering three-dimensional backgrounds. Often incorporating visual montages to steer the narrative into the intended direction. Watercolour backdrops to enhance the naturalistic environment. Bright character designs to contrast the darkened background. Sublimely directed by Lima and Buck. Then, Phil Collins just being the legendary musician that he is, providing the tale with apathy and soul. The “Two Worlds” anthem, “You’ll be in my Heart” and “Strangers Like Me”. Mancina’s score actively preventing the characters from singing and turning into another unnecessary musical. As I said, subjectively I refuse to liken Tarzan to just another animation from the “House of Mouse”. It was my first cinema endeavour after all.

However, objectively, there are narrative stumbles. It’s the breeziest story, condensing an epic plot into less than ninety minutes. The most noticeable consequence of this, is the rushed editing on certain segments. The introductory two minutes is a whirlwind of emotional storytelling that, unfortunately, holds minimal foundations. The montages of Tarzan growing up also lacked narrative heft, providing nothing more than visual delights. Goldwyn, Close and O’Donnell had insufficient power within their voice roles. Although Driver and Blessed were delightful. And, as much as I adore the song, the repetitious reprises of “Two Worlds” throughout minimised lyrical diversity.

The entire story is told faster than a shotgun firing, but I refuse to shake my undying adoration for this feature. Tarzan was the film that made me the cinephile that I am today. If I hadn’t received that euphoric pleasure from the cinema back in ‘99, well, these amateur reviews probably would never have been written. Ever. So for that, Tarzan and Disney have my eternal gratitude.
'Tarzan' is one of those films that I had always assumed I had seen, though evidently I hadn't and this was my first time watching. It's a cracker!

Phil Collins' music is tremendous, it truly adds a lot to the film - "Son of Man", which I already knew about, is a great song which works very well with the montage. Some of the editing is rather sharp, while the animation is pleasing on the eye.

Tony Goldwyn (Tarzan) and Minnie Driver (Jane) suit their respective roles nicely, as do Glenn Close (Kala) and Brian Blessed (Clayton). Rosie O'Donnell is the one I enjoyed most, as she portrays Terk - which isn't really a massive character, yet O'Donnell makes her memorable.

It does feature things you've seen from earlier jungle based films, like 1967's 'The Jungle Book' and, as expected yet still amusingly, 1997's 'George of the Jungle'. The early scenes in-particular, which rely firmly on Collins' music - from the midway point it's more level, whilst also taking its own route with this type of story.

I'm interested to find out where the two follow-up films go.

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