Yes we’re a few days early but that’s so that you can get a heads up on what to buy for next week on the most romantic day of the year… Valentine’s Day! V-Day is just around the corner folks and for those of you who don’t see it as another way for Clinton’s to make some money (I am a proper romantic right here), the Blu-ray Disc Association have created this top 10 list of Blu-rays that you should buy or watch for / with your loved ones this Valentine’s Day!

All of these are now available to buy on Blu-ray and I’ve provided links for you on each page. So without further ado, let’s get started!

10) Cleopatra (1963)

• Studio: (20^th Century Fox)
• Cast: Elizabeth Taylor, Richard Burton, Rex Harrison, Pamela Brown
• Director: Joseph L. Mankiewicz
• Buy here

Why not have a glamorous and seductive evening with Cleopatra? Re-mastered in stunning HD so you can see the Egyptian queen (Elizabeth Taylor) like never before, this Blu-ray follows Cleopatra’s triumphs and tragedies with Roman leaders Julius Caesar and Marc Antony. The film was also where Taylor and co-star Richard Burton began their epic, off-screen romance.

The latest stop on the route to the Final Destination is here and if you get your kicks from pretty people featuring in over the top death scenes and playing a thankless game of Hide and Seek with Death himself then you’ll be in for a treat with the fifth in the series.

My review of the film (out on DVD and Blu-ray on Boxing Day) is right here and it’s safe to say that if you’re a fan of the series then you’ll love what’s on offer here.

The clip we have for you today is taken from the Special Features on the disc and concerns a plot twist which does cast the previous four films in a new light, suffice to say that //Spoiler Warning// if you’ve not seen the film please don’t watch this//Spoiler Warning Over//

Phew.

Also the clip has moments in it which make it a touch NSFW. Use brains and caution if necessary.

Proving the mendacious nature of the previous film’s title (or does it?) we gather around the latest ode to over the top death and dismemberment with Final Destination 5 to enjoy the silliest and goriest installment yet. There’s nothing here to shock and surprise, so closely does it follows its forebears, with the usual pretty young things escaping the clutches of death by scarpering from a phenomenally unlikely fatal accident, delivered with glee from the filmmakers to the delight(?) of the audience, who know exactly what’s going to happen.

I have no problem with a film following a formula, and this particular Final Destination does at least try to throw something new into the mix, and if the film is well made with a hint of wit then I’ll play along, however Final Destination 5 falls into the trap of most of the sequels to the original by making this all about death scene after death scene; playing with the audience’s’ expectations is far enough, and par for the course, but every situation becomes about waiting for the gruesome to occur. We don’t care about the story or the characters, it may as well be a nasty YouTube playlist of cinema’s most outrageous death scenes.

The opening scene is impressive and well handled by Steven Quale and he brings a certain solidity to some of the later scenes but there’s nothing that anyone can inject into the film to make it worthwhile. The actors are playing caricatures bound for an early grave in as many pieces as possible, the writers have worked out how to concoct the most dangerous situations and draw out the gory anticipation to breaking point and so it plays on and on.

Bottom line is if you enjoy watching people die in outlandish ways then you’ll love this, and now that we’ve five films in there’s very little to differentiate this from the last four films, and plastering every death from the series in quick succession over the credits is a sure-fire way to underlining the fact that everything between the fatalities is pointless.

**~~~ (2/5)

Extras

The accompanying documentary is the usual celebration of the splatterfest with an array of talking heads enjoying the even more outrageous deaths they put together for the film, and when they come to the twist, which effectively re-writes the whole series, there’s a lot of back-slapping and talk of how this was integral to the whole film. In truth it’s far less about the twist than they make out though it’s worth a watch to see the production team talk about the effects, the scene on the bridge for example, and this is the subject of the special feature that I did enjoy.

There is a breakdown of the film’s opening scene on the bridge which involves no voiceover, no explanation, no complicated discussion of the problems and pitfalls of shooting such a scene. Instead we have the entire scene cut together without any finished effects and green screens everywhere and in a small picture in a corner the completed scene plays along in synchronicity. This is a great way to watch the scene and take in the massive scale of the work which goes into the process. Not deal breaker stuff, but good to have if you’re a fan.

***~~ (3/5)

Here’s a nice little featurette / trailer from Warner Bros. showing clips from the past 4 Final Destination movies show Death doing his best to kill us! The movie is released August 26th and you can see our review of the movie next week. We also got to attend the US junket so will have interviews with all the main cast from the movie so keep your eyes peeled on all things HeyUGuys!

Final Destination 5 stars Nicholas D’Agosto, Emma Bell, Miles Fisher, Arlen Escarpeta, David Koechner, Tony Todd, Courtney B. Vance, P.J. Byrne, Ellen Wroe, Jacqueline MacInnes-Wood and is directed by Steven Quale.

Synopsis: In “Final Destination 5,” Death is just as omnipresent as ever, and is unleashed after one man’s premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death’s sinister agenda.

Source: Digital Spy

More death-defying teens are lining up for Final Desination’s fifth chapter and we’ve got five clips from the film for you today.

We spoke to some of the cast and that interview will be up on the site closer to the release date of the 26th of August and having read the embargoed review there’s something a little different on offer with this outing of the long running (and running out quickly out of stream) series – you’ll have to check back to read exactly what this new rule is but it does change things significantly.

It’s a 3D affair once again and this series shows no signs of slowing down. Here are the clips,

If you’re standing on a bridge that is coming apart at the seams then chances are that not the sharpest tool in the face, and thus it seems a little unlikely that you and your friends are able to pull one over on Death.

But hey – what do I know? Here’s the fourth sequel to Final Destination which will no doubt stick leech-like to the formula of the other films – a premonition of an accident leads a group of pretty teens to escape Death’s grip just in time for us to enjoy it happening to everyone else before Death comes to claim the saved souls in gruesome and ridiculously random ways.

This film has a bridge in it.

Eyes down for a poster, which if you click it will become big and slightly scarier,

This came from IMPA and Russia it appears.

You know the drill by now. A bunch of people with a high PYT quota survive a horrific accident due to a premonition by one of the group, however Death isn’t exactly chuffed at this turn of events and so decides to pick each one off one by one in stupid and gruesome ways.

Not exactly the highest of concepts, but at least the first film, and parts of the second, were decent horror films, whereas the rest of the unsightly mob are turgid lessons in sluggard suspense – just waiting for each one to die and being teased to the point of mentally expectorating whenever a sharp object comes into view. Final Destination? Don’t bet on it.

Here’s your trailer,

Yesterday I posted the first trailer for the fifth instalment in the Final Destination franchise and now Apple have released the trailer in HD and shown us the first poster for the movie.

Final Destination 5 stars Nicholas D’Agosto, Emma Bell, Miles Fisher, Arlen Escarpeta, David Koechner, Tony Todd, Courtney B. Vance, P.J. Byrne, Ellen Wroe, Jacqueline MacInnes-Wood and is directed by Steven Quale.

Synopsis: In “Final Destination 5,” Death is just as omnipresent as ever, and is unleashed after one man’s premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death’s sinister agenda.

It’s scheduled for release in the UK 26th August and in the US 12th August.

Here it is people, the fifth movie in the Final Destination franchise. Interestingly, the previous movie was called The Final Destination but obviously people flocked to the cinema in droves to see it therefore bring us the fifth!!

Final Destination 5 stars Nicholas D’Agosto, Emma Bell, Arlen Escarpeta, Tony Todd, David Koechner and is directed by Steven Quale.

In this fifth instalment, Death is just as omnipresent as ever, and is unleashed after one man’s premonition saves a group of coworkers from a terrifying suspension bridge collapse. But this group of unsuspecting souls was never supposed to survive, and, in a terrifying race against time, the ill-fated group frantically tries to discover a way to escape Death’s sinister agenda.

Check out the trailer below.

EA is planning on making a movie based on a running industry joke.

The video game developer is allegedly developing ‘Madden Curse’, a spoof sport comedy based on the game’s urban myth that any star that graces the cover art of the latest Madden video game will be struck down with a career-ending injury.

VP of EA Entertainment, Pat O’Brien, is said to be steering the project which certainly has an eerie history to draw from.

In 1999, cover star Garrison Hearst broke his leg and never recovered, in 2000 box lead Dorsey Levens injured his knee and never won his starting job back, and in 2004 Michael Vick broke his leg one day after Madden 2004 was released.

And that’s just a summary of the curse, which has felled countless more.

The movie will follow the tale of a former Madden champion who comes out of retirement just as he finds himself gracing the cover of the latest edition, and his struggle to evade his fate.

So Final Destination meets Any Given Sunday then.

We’ve teamed up with our friends at MoviePosterShop.com to bring you a new competition which we have decided to call, ‘Movie Poster Monday’! Usually when we do a competition, it’s for a poster from a specific film, this time we’re opening up the competition where you can choose from any of the mass of posters on their website with anything from Gone with the Wind to Harry Potter and the Deathly Hallows: Part 1 to Twilight: Eclipse. The best bit about it is that they’ll also frame it for you!

About Movie Poster Shop: Explore over 600,000 items at MoviePosterShop.com. You’ll find movie posters, tv posters, lobby cards and more! Embrace your inner movie fan!

Since it’s Christmas week, we have the chance for not one but two people to win their choice of poster and the best thing about this competition is that MoviePosterShop.com can post to anywhere in the world so feel free to enter, wherever you are!

So, click here to peruse the MoviePosterShop website, find the one you want and then scroll down to enter.

To be in with a chance of winning this great prize, you must become a fan of the HeyUGuys FaceBook Page and also the MoviePosterShop.com Facebook page and answer the following question using the form below.

Who plays Harry Potter in the movies based on the books by J.K. Rowling?

The small print:

• Only one entry per household will be counted
• The competition will close Sunday 26th December at 23.59 GMT
• The winner will be picked at random from entries received

The usual T&Cs can be found here. Good Luck!

COMPETITION NOW CLOSED

As has been widely reported, Harry Potter made a massive impact at the box office in the last few weeks, and continues to do so. Success was inevitable, and the level of success predictable. Harry Potter is one of the most popular book series of all time, appealing to fans both young and old. All previous installments in the Harry Potter movie series have made hundreds of millions of dollars, and with the finale in sight, anyone with even a passing interest in the boy who lived wants to see how it all ends.

The success of Harry Potter financially, particularly in the case of Deathly Hallows, is also however part of a much bigger movie trend. We have seen, in the last year particularly, an apparent rise in the popularity of the family movie. Whilst in the past it has been big, effects heavy action movies that have been the big hitters, it seems there is now just as much interest, if not more, in family orientated, action adventure movies, in both animated and live action form.

It started at the beginning of the year with Alice in Wonderland. Directed by Tim Burton, and starring Johnny Depp, it was always going to have elements that would appeal to both children and adults alike. The novelty of the 3D experience was also just starting to become wildly popular thanks to Avatar, resulting in Alice setting the box office bar high early on in the year.

Then along came How to Train Your Dragon. The year’s first big animated movie, the original nature of the storyline, not based on a recognisable property, meant that How to Train Your Dragon started reasonably slowly at the box office. This Dragon however had long legs, and the combination of the 3D factor and fantastic word of mouth meant that it became a massive box office success.

The trend continued throughout the year, particularly with animated movies such as Shrek Forever After, and the big gun Toy Story 3. Toy Story 3 broke records to become the highest grossing animated movie of all time. Despicable Me enjoyed moderate success, and just a few weeks ago Megamind helped set a record for box office figures on the opening weekend of the Winter period.

There have been less live action success stories, but Prince of Persia broke the $100 million mark. With the recent success of Harry Potter, and the inevitable big money openings we can expect from the latest in the Chronicles of Narnia series and Disney’s Tron sequel, by the end of the year live action family movies will be nearly on a par with their animated peers financially.

Why, then, have family orientated films exploded in popularity recently? One factor that may have played a part is the recent global recession. Yes, you would expect that in a depressed economic climate, financial success would be more unlikely. However, with families forced to tighten their belts over the past couple of years, a lot of the entertainment budget for a typical family has been put to other uses. Now, instead of Mum and Dad going out for dinner, or on nights out with friends, and kids being taken to clubs and sports and the like, a family trip to the cinema looks to actually be a cheaper prospect. A £7 cinema ticket is cheaper nowadays than two pints of beer, or a bottle of wine, so is far more economically viable per person than a night on the town with friends. Combining everyone’s leisure time also means they can spend more quality time together.

Another part of the reason is that family movies are far more appealing now than they used to be to a lot of adults. Where once animated films were seen as childish and aimed solely at children, this perception has changed thanks in large part to the original Toy Story. Animated movies have become far more sophisticated. Pixar successfully combined adult humour with kid friendly slapstick action, and all the other studios began to follow suit. Now, it isn’t unusual for a an animated movie to be written with adults in mind first, and the kids second. Wall*E, for example, was actually quite boring to many young children, and achieved its popularity thanks to the appreciation of its adult audience.

With CGI now becoming more affordable, and available, live action family movies are also better equipped to sell to a broad audience. The action in family movies used to be confined to slapstick and pratfalls, but more affordable computer effects mean massive worlds can be used to entice adults and children alike. Films like Harry Potter would have been very difficult to make in a realistic way years ago, and the animatronics and plastic sets would have probably looked far too cheap and silly for a lot of the grown up audience to contemplate paying money to see. It is now far easier for the mature audience to buy into the worlds being created, as fantasy figures and locations are able to look much slicker and more realistic.

In the case of Harry Potter, it is also very much the themes explored and the richness of the original source material that have made the movies a must see experience. Adults were already engrossed in the novels before the first film was released, and in many cases the parents were looking forward to seeing the films as much, if not more than their offspring. This success has lead to similar types of book series being written, and adapted, like The Golden Compass and Percy Jackson and the Lightning Thief. It has also seen older works like The Lion, The Witch and The Wardrobe dusted off to capitalise on this newfound interest in magical family adventure.

Only time will tell if the family movie boom will continue on for an extended period of time. Certainly, there are many external factors that influence cinematic tastes and trends. A major upturn in the economy, another massive global event, or even just the introduction of a new favourite source material amongst movie makers could all change the dynamic overnight. For now, however, family films rule the box office. With Harry Potter and Megamind still going strong, Tangled now on release, and Voyage of the Dawn Treader and Tron: Legacy imminent, it is going to be a family affair in theatres this Christmas. Maybe that’s just as it should be.

Bazmann – You can follow me on Twitter at www.twitter.com/baz_mann

Last weekend saw the latest installment of the Harry Potter franchise surpass all the previous movies’ performances at the box office to lead the weekend with a US opening of around $125 million. This was a massive success for Warner Bros, making them the leading box office performing studio so far this year. With only Tangled offering any real competition the following weekend, the success is sure to continue.

Harry Potter and the Deathly Hallows is part one of a two part adaptation of JK Rowling’s source novel. Splitting one film into two parts has become an increasingly popular habit in recent years, and with part two of Deathly Hallows sure to match its predecessor financially, it looks like a winning decision. However, I have to ask the question – is this recent trend an attempt at providing the right platform for epic tales to be told, or is it a shameless cash-in employed by greedy studio execs?

There are clear reasons why using this technique is a good idea, particularly in the case of Deathly Hallows. It’s important to point out that as a film (or films) primarily aimed at children, there is a necessity to keep Harry Potter at a reasonable duration. The stories appeal to children as young as four or five. Expecting children of this age to sit still for an epic of Lawrence of Arabia proportions is unrealistic, and would even be irresponsible. Deathly Hallows is a very long book, and whilst adaptations of novels are frequently condensed for cinematic adaptation, as the last installment of the series there was a responsibility to the fans to encompass the whole of the source material.

The problem occurs if there is not a natural stopping point in the middle of the book. Chopping any coherent story halfway through the middle presents a very real problem. Books, like movies, tend to be written in three acts. By making a film based on the first 50% of a novel, you risk creating a movie with an unbalanced structure. If there isn’t an exciting cliffhanger somewhere around the midway point, as well as a tangible sense of character progression, a part one movie will end with a whimper rather than a bang. This can be very much subjective though, and depends on what your idea of a good ending for a first part is. Do you want to be left hanging, desperately wanting more? Or do you want some form of resolution to the events of the story up to this point? The ideal is, obviously, some combination of the two.

Cutting a movie up, or specifically choosing to make a particularly long movie so as to show it in two parts, can be far preferable to the ‘cash-in’ sequel. With Harry Potter, the filmmakers could be confident that the movie would be a big draw, so there was no financial risk involved in making two movies. It is a lot harder to make this kind of decision with an original property. You can have no real assurance that a single movie will recoup costs, so to spend the extra money on a longer shoot, and all that is involved, is a major risk. This is how we end up with the cash-in, the inferior sequel. All the good ideas are encompassed in the first movie, and a satisfying conclusion is provided. Then, when the movie experiences big box office success, attempts are made to tack more of the same on in a follow-up or two, as in the Matrix and Pirates of the Caribbean series.

I would much rather see a great idea split into two parts, thoroughly exploring all the different facets of the story, than be subjected to a mediocre attempt at a sequel. There is also a very practical aspect to shooting two films back to back. The sets, locations and cast are all in place, and well organised principle shooting can be completed in far less time than two full shoots would add up to. This makes it far more cost effective, and also helps avoid the inevitable continuity problems. Warner Bros have been very canny in producing the Potter films in short order, meaning the principle actors have not aged too far in advance of their characters, and therefore been able to portray their parts (reasonably) believably.

I think it is fair to say that the most prominent examples of ‘double dipping’ have actually been honest attempts at effective management. Quentin Tarantino’s Kill Bill was originally conceived as one movie, but being Tarantino, the screenplay ran very long. This led to the producers making the decision to show the film in two parts, so as to let the whole story be seen without audiences being put off by a butt numbing duration. The reverse was true with Tarantino’s Grindhouse collaboration with Robert Rodriguez. Originally meant to be shown as a double feature, Death Proof and Planet Terror were released separately in the end.

The story of Mesrine, the infamous French gangster, was wisely made in two parts rather than one movie, allowing sufficient length to tell as much of the man’s fascinating story as possible. The resulting Killer Instinct and Public Enemy No 1 were fantastic examples of cinematic storytelling. One film that could have benefited from being split into two parts was Red Cliff. The full feature is over five hours long, and was shown in its native land in two portions. Here in the West however we were given one movie, with an astonishing 90 odd minutes cut out to ensure that audiences could endure it. I would have much preferred to see the full story in two parts, as in Steven Soderbergh’s Che Parts One and Two.

Harry Potter has been very successful at the box office, and the vast majority of fans have been ecstatic with the quality of the movie. They will be overjoyed that they still have one more Potter film to enjoy, and will be eagerly looking forward to the final, final installment. I think that the decision to make two movies instead of cramming a rich and popular concluding story into one overlong film was the right decision, and one that was made for the right reasons. There is definitely a place for the two part movie, and as long as the technique is not overused, which up till now it has not, then I will continue to welcome this method of epic filmmaking.

Bazmann-You can follow me on Twitter at www.twitter.com/baz_mann

Last winter saw some unseasonably big box office numbers. Big budget disaster movie 2012 made over $700 million worldwide. Twilight: New Moon matched it. However, it was the Christmas period that was the big surprise. Sherlock Holmes surprised everyone with a great opening and long legs. I need not, of course, mention Avatar, the highest grossing movie of all time.

This winter kicked off with a record breaking weekend, as the triple threat of Megamind ($45 million), Due Date ($30 million) and For Coloured Girls ($20 million) combined to produce the biggest box office weekend opening for a November. Megamind carried that momentum through into the next weekend with another $30 million, meaning this looked to be just the beginning of a Winter that could almost be as hot as a traditional Summer.

The box office magic continued for the boy that lived, with Harry Potter and the Deathly Hallows: Part 1. The Potter franchise has been a box office juggernaut, running on the massive popularity of the book series and Warner Bros expert handling of the movie adaptations. Sequels have come regular as clockwork, meaning interest has never been allowed to die down, and the original cast have been able to effectively work right through the saga. There was no reason to think Deathly Hallows would be any different, and as part of the final installment, it was unmissable for a large number of movie goers. The decision to abandon 3D will hit the film’s final box office haul, with the extra revenue for the inflated ticket prices and the extra interest the format still draws capable of adding around a potential 20% to gross profits. The template for Harry Potter’s box office performance has been $70 million opening weekend, and a $300 million final domestic gross. Deathly Hallows shattered this with a US opening weekend of $125 million.

The next potential big hitter is Disney’s animated Rapunzel spin, Tangled. Animated family movies have made a killing this year, with How To Train Your Dragon, Shrek Forever After and Toy Story 3 doing particularly well, making hundreds of millions between them. Toy Story 3 on its own made history as the highest grossing animated movie of all time. Disney will hope to carry on the current trend, and build on the success of their last solo animated effort The Princess And The Frog. There’s no reason to think that Tangled won’t manage a similar opening to the aforementioned Megamind.

The third installment in the Chronicles of Narnia trilogy, Voyage of the Dawn Treader, should at least match previous outings with an opening of around $50 million. There is also the potential for the combined star power of Jonny Depp, whose profile helped lift the Pirates series to a billion dollar franchise, and arguably the biggest female draw in Hollywood Angelina Jolie to make The Tourist this year’s big box office surprise. To be fair, this is probably fairly unlikely, and an opening that rivals Salt’s $35 million can be seen as a success.

Next up will be Disney’s much hyped, over publicised Tron sequel. This is a really interesting one. Disney are trying desperately to match the success of their Pirates of the Caribbean franchise. They were only partially successful with Prince of Persia earlier in the year. The brand power of the videogame on which it was based didn’t prove strong enough to push it into the realms of their Pirates movies, as a reasonable opening led to a huge drop off. Tron is a sequel, so they will be hoping that the mixture of nostalgia, flashy effects and a huge promotional campaign will make Tron: Legacy this year’s Avatar. On the downside, their is no real star power attached, Jeff Bridges is a great actor but doesn’t have that box office cache. Add to this the fact that the original Tron was, in truth, actually not very good, and the outlook for Tron is hazy. It could fizzle out like Prince of Persia, but also has the potential to make similar numbers to the year’s first big box office hitter Alice in Wonderland.

Rounding out the year will be the Ben Stiller vehicle, Little Fockers. The third installment of the Meet the Parents series, Fockers could well match the £50 million + performance of its predecessors. Another comedy, Gulliver’s Travels starring Jack Black, has a chance of making an impact, but based on the performance of Black’s previous few movies hopes look pretty slim.

As we come towards the end of the traditional ‘Oscar contenders’ portion of the year, it certainly looks like the run up to Christmas will be a jolly period for the big studios hoping to cash in on peoples good cheer. There were only a few big winners financially speaking in the Summer, and this Winter has the potential to produce just as many, which will undoubtedly help give Hollywood producers a warm feeling inside during the cold snap.

Bazmann – You can follow me on Twitter at www.twitter.com/baz_mann

The IMDb250. A list of the top 250 films as ranked by the users of the biggest Internet movie site on the web. It is based upon the ratings provided by the users of the Internet Movie Database, which number into the millions. As such, it’s a perfect representation of the opinions of the movie masses, and arguably the most comprehensive ranking system on the Internet.

It’s because of this that we at HeyUGuys (and in this case we is myself and Gary) have decided to set ourselves a project. To watch and review all 250 movies on the list. We’ve frozen the list as of January 1st of this year. It’s not as simple as it sounds, we are watching them all in one year, 125 each.

This is our 39th update, my next five films watched for the project. You can find last week’s update here.

Raiders of the Lost Ark (1981) – 8.7 No. 18

There was a lot that was fresh about the first Indiana Jones movie when it was first released. A white night in shades of grey in Harrison Ford’s rock ‘em sock ‘em archaeologist, the feisty female love interest, a winning mix of slapstick humour and thrilling action. In the intervening years, however, it has weathered a bit. Much of the action is a little too tame. The spirited Marion Ravenwood pales in comparison to modern day action heroines.

The finale, too, though showy and gruesome, is a little bit of an anti-climax after some of the action that has leads up to it. Class is class however, and it is the presence and great comedy timing of Ford that makes Raiders just as watchable as it was all those years ago. The hand of Lucas can be seen throughout, but there is enough darkness and intrigue to make up for the silliness that Lucas instills.

A bit tame in comparison to modern day action/adventure movies, but the original still holds enough charm, and one of the most iconic characters in cinematic history, to stake its place in the IMDb list.

Goodfellas (1990) – 8.7 No. 14

With Goodfellas, Martin Scorsese got the mix of old fashioned gangster story and more contemporary thriller almost perfect. What could have suffered from being a little slow, and a little dialogue heavy is brought to life by Scorsese’s snappy direction and editing. The manic scenes towards the end particularly, as Ray Liotta’s Henry Hill races around town trying to avoid the eye in the sky of the FBI are thrilling.

Liotta, of course, is the man who makes the movie. Alongside heavyweights like Robert De Niro and Joe Pesci, who would both go on to far more successful careers, Liotta somehow shines. He shows a great amount of on-screen charisma, puts in a powerful performance, and his narration is surprisingly compelling.

It is performances as much as direction that make Goodfellas one of the best movies of all time. The story isn’t actually all that interesting, but the conviction of De Niro and Pesci, and a surprising amount of humour carry it through. A deserving listee, and a personal favourite to boot.

Casino (1995) – 8.0 No. 178

Where Scorsese scored with Goodfellas, the apparent attempt to recreate the chemistry fails spectacularly for me with Casino. With a story even less inherently interesting than Goodfellas, the directors mix of dynamic cinematography and snappy editing aren’t enough, and are not used frequently enough. What results is an overlong, and rather disjointed narrative as Robert De Niros Ace Rothstein makes his way (slowly) to the top of Las Vegas strip, only slide down the other slide at an even more meandering pace.

The performances by De Niro and Pesci are good, but they have far less to work with than in Goodfellas, or Raging Bull for that matter. Where Liotta’s narration genuinely aided the story in Goodfellas, De Niro and Pesci’s voiceovers are draining and tedious. Sharon Stone puts in a surprisingly great performance, but thanks to the mediocrity of the story, I found it difficult to care.

There are some great moments, and when Scorsese turns it on, his filmmaking is second to none. Unfortunately, i can’t help but feel that the great director became as bored as I did, and the movie as a whole fails to sparkle. Casino really has no place in the IMDb list, and I can’t help but think if it wasn’t for the name power of De Niro, Pesci and Scorsese, Casino wouldn’t enjoy anywhere near the reputation it currently does.

The Shawshank Redemption (1994) – 9.1 No. 1

Throughout the project i have marvelled at how some movies that are predicated on a great twist, whilst great upon first watch, suffer greatly when re-watched without the all-important element of surprise. Thankfully, Frank Darabont’s masterpiece is genuinely great long before that awe inspiring ending.

Tim Robbins and Morgan Freeman are the names over the door, but in actual fact, every performance is great, and it is the work of every single actor involved that makes this a perfect film. The story at its heart, that of hope and friendship, is deceptively simple, but it is the believability of the character’s actions and behaviour that make them so affecting. That ending, of course, is the icing on the cake, and neatly draws the narrative together for a truly heart warming finale.

It is hard to fully describe just what a joy it is to watch The Shawshank Redemption. In many ways, it can probably be considered a surprise that it tops the IMDb list. There are so many films with arguably a much bigger reputation, but Shawshank has very quietly become one of the greatest films ever made. It easily deserves its place on the list, and it is difficult to imagine another film that could ever hope to surpass it.

Taxi Driver (1976) – 8.5 No. 40

Its a bit like Scorsese week, and Taxi Driver is a prime example of why there are so many of his films in the upper reaches of the IMDb250 list. A chilling character study of a fairly average New Yorker, whose perception of the world around him drives him to mental instability.

Travis Bickle is an ex-marine, suffering from extreme insomnia. With nothing better to do, he takes a job as a cab driver, driving the worst streets of New York at the most ungodly of hours. The constant grime and sleaze that he exposes himself to on a nightly basis take their toll on his psyche. He looks to be trying to make the best of his life, but a bad break-up and an obsessive personality lead him to delusion.

Robert De Niro is brilliant as the psychologically damaged Bickle. His gradual descent into madness is frightening, and oh so compelling. The ambiguity of his motives is what makes Taxi Driver such a fascinating movie. In the end, when the situation reaches its tipping point, the violence is shocking, and shot completely without glamour. Bickle ends up as a hero of sorts, but if events had gone a different way he could well have been the most heinous of villains.

Scorsese shows some great cinematic techniques, and even this (relatively) early in his career shows a true greatness as a filmmaker. A masterpiece of cinema, Taxi Driver is at times difficult to watch, but it is even harder to turn away. Every bit as deserving of a place in the list as the likes of  Citizen Kane az#nd The Seventh Seal, Taxi Driver is a true classic.

Come back next week for update 40. You can follow our progress at   www.twitter.com/baz_mann and   www.twitter.com/gary_phillips_

Bazmann

Despicable Me is coming out next week (Friday, 15th October to be exact) and while I was watching the trailer for the movie again recently, I got hooked on the ‘does this count as annoying’ bit  of the trailer by character Agnes (voiced by Elsie Fisher) and it made me laugh so much! It got me thinking that maybe we could do a feature on the cutest and creepiest kids in movies.

Since Despicable Me is an animated film, I’ve gone down the line of animated for the cuties and live action for the creepies! Have a little look down the list and then feel free to let me know who I’ve missed in the comments section below.

CUTE  ANIMATED KIDS

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Does this count as annoying?!

Agnes (Despicable Me)

Lets start with Agnes since she’s the inspiration for the post. She’s cute and you just want to squidge her! We don’t know masses about her as yet other than the fact she had rather big cheeks and wants to slap them!

Cute quotes:

• Does this count as annoying?!

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I may look cute but nothing scares me!

Monsters Inc.’s most fearless character has to be Boo who throughout the entire movie, doesn’t seem phased by anything. Whether it’s being intimidated by giant monsters or by travelling through a maze of endless doors!

Cute quotes:

• Mowki Kowski.

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Squirt (Finding Nemo)

Dudeeeeeeeeeeeee

OK, he’s not a kid so technically doesn’t fit in this category but we don’t care, as there’s no denying that he’s the cutest turtle in the ocean!

Cute  Quotes:

• Good afternoon. We’re gonna have a great jump today. Okay, first crank a hard cutback as you hit the wall. There’s a screaming bottom curve, so watch out. Remember: rip it, roll it, and punch it.
• Duuuuuuuuuuuuuuuude!

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I'm not afaid of dust bunnies

Just look at her, how can you deny that she’s one of the cutest kids in animated film?! Miyazaki’s talent for creating beautiful, dreamlike worlds and populating them with vivid characters is legendary and little Mei is a curious child, coping with her family’s difficulties with the help of some peculiar and equally cute creatures.

Wide-eyed, fearless and full of life, she is one of Miyazaki’s many charming creations, she makes us feel childlike again.

Cute Quotes:

I’m not afraid of dust bunnies! (erm…. OK!)

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My best friend is an Iron Giant - is that normal?!

I’ve had a good old think and decided that good old Hogarth should make an appearance. Why’s he cute? Well, having the name Hogarth for a start! His best friend turns out to be an Iron Giant who is also a little bit cute – isn’t he?!!

Hogarth is also cute after doing his best to hide the giant and giving him lots of metal objects to eat as well as teaching him to speak! He’s probably the outside of the group but I think there’s a lot of love out there for him!

Cute Quotes:

• He’s a giant robot. It’s a little undignified.
• Welcome to downtown Coolsville! Population: us.
• You are who you choose to be! (darn right!)

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Look at me like that again and I'll kick your butt!

Jack-Jack is only a tiny little baby but don’t let that fool you. He’s not to be messed with. Blessed with super powers that he’s acquired from his parents, Jack-Jack could kick your butt whenever he wanted to. If you’ve not found them yet, check out the extra features on The Incredibles DVD where we get to see exactly what happened to Jack-Jack when he’s left with his babysitter in a short called Jack-Jack Attack!

Cute Quotes:

• (About Jack-Jack) Violet: We act normal, mom! I want to *be* normal! The only normal one is Jack-Jack, and he’s not even toilet trained!

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Ponyo (Ponyo)

Can someone take this Tesco shopping bag off my head please!

This entry can also include Sōsuke, the small boy Ponyo befriends in another of Miyazaki’s masterpiece from Studio Ghibli. The transformative power of love is central to this charming fairytale whose magic and imagination is matched by the wonderful characters who lead us through the trials of a little child of the sea who wants to become human.

Miyazaki’s talent for creating engaging young characters are honed to perfection here and if you don’t fall in love with Ponyo then you truly have no heart at all.

Cute Quotes:

• Ponyo loves Sosuke!
• Ponyo wants ham! (of course she does!?)

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Was my name chip before I was a cup?! If so, am I missing my nose?!

Again, technically not a kid in the movie BUT (spoiler warning) becomes one at the end and was originally a child therefore is completely allows in this feature! Chip is one of the reasons this story ends well, without him, the Beast would have been The Beast forever!

Cute quotes:

Chip: Are they gonna live happily ever after, Mama?

Mrs. Potts: Of course, my dear. [Gives a contended sigh] Of course.

Chip: [pause] Do I still have to sleep in the cupboard?

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CREEPY REAL KIDS

OK, now we move onto the creepy kids and this is where it gets rather interesting! Again, let us know who we’ve missed in the comments below!

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Danny Lloyd (The Shining)

"I think i swallowed a fly!"

If this kid doesn’t freak you out then no one will! He rides a bike around his house, his dad coined one of the most famous horror movie phrases of all time ‘Here’s Jonny!’ and he freaks me out every time I see him!

Creepy Quotes:

• Redrum. Redrum. Redrum.
• You mean they ate each other up?
• His dad says “Here’s Johnny!” – obviously he may grow into that one day!

What else is there to say?! Creepy!!

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"Erm, excuse me Bruce, I seem unable to stop seeing dead people!!"

Cole Sear (Haley Joel Osment – The Sixth Sense)

When you think of creepy kids in movies, Cole Sear aka Haley Joel Osment isn’t too far down the list from his performance in  The Sixth Sense! It’s probably not his faul;t that he’s so freaky in this movie but when you read the scary quotes, you may understand why! I mean, when you grow up seeing dead people walking around wherever you go or get shut in cupboard with them at the local bullies birthday party, you know you’ve got problems! Or even while eating your cereal and watching every single cupboard door and drawer get opened while you’re trying to enjoy your coco-pops isn’t a really what i would call, ‘good times’!

Creepy Quotes:

• I see dead people!!!!!!

I don’t think we need any more than that – creepy!

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Damien (Seamus Davey-Fitzpatrick – The Omen 2006)

"You'll pay for making me have this haircut!!"

He watches people while they sleep and has what looks like an upside-down bowl has been placed on his head when in fact that is his haircut! Damien aka Seamus Davey-Fitzpatrick  does a fantastic job in the 2006 version of The Omen of freaking the heck our of everyone watching with his pure freakishness! Because of all those different ways of saying freaky, he goes in the list!

Check out this image of him at the premiere of the movie, he even looks freaky here! Shouldn’t someone have told him he could break character once the cameras stopped rolling?!

Creepy Quotes:

• Did I scare you, Mommy? I didn’t mean to. (he blatantly did!)
• They’re afraid… (too right they are, look at your haircut!)

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"Please please please can I get rid of these stupid pig-tails?!"

And from one freaky-ass hair cut to another. She may look all sweet and innocent in this image but no, those pigtails tell a different story! Emily Callaway  played by the sweet and innocent Dakota Fanning in Hide & Seek might be all nicey nicey on the outside but on the inside she’s creeptastic! The quotes tell us all we need to know!

Creepy Quotes:

• Emily: It was Charlie. (LIES!)
• Emily: You’re gonna make him mad.
• Emily: Can you see now, Daddy? (That you’re a creepy character?! Obama said it best – YES WE CAN!)

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Sadako (Inou Rie – Ring)

"If only I didnt have this blasted fringe!"

It’s obviously something to do with haircuts. Here’s the third in a row with completely physcho hair. I mean, do you think if they got it cut it might make them that little more appealing?! Maybe not in the case of Sadako aka Inou Rie from Ring (1998). This is the movie that spawned American remake, The Ring and few years later and Sadako does her best to freak you right and and does a great job doing it! I mean, she crawls out of a television for Pete’s sake! What’s not creepy about that?!

Creepy Quotes:

• Well, she doesn’t really say much…. just crawls out of TVs but we still give that a 10/10 on the creepy scale!

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Kayako (Takako Fuji – The Grudge)

"Does my face look creepy with all this makeup on?! Ummmm.... yes, it does!"

Quite possibly the freakiest movie I’ve ever seen has to be The Grudge. Why’s it freaky? Well, just look at that flippin image on the right and it tells you all your need to know! The quote section for Kayako akaTakako Fuji will be rather short since there are no words spoken by this scarily twisted and uber creepy little girl, all she does is make some sort of clicking noise off camera which scares me half to death every time I watch it – the solution to my problem, don’t watch it!

Unlike her friend above, she doesn’t have a fringe or at least no one that we’d want. All she needs to do is grown it out a bit and it could hide that terribly scary face! Alternatively, removing all that white makeup could assist her in making more friends rather than scaring them half to death….. and then killing them!

Creepy Quotes:

eeeeeeeeeeeeeeeeeeeeee (tranlates to clickkkkkkkkkk clickkkkkkkkkk clickkkkkkkkkk or something like that!)

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Ray Boyd (Jonathan Lipnicki – Jerry Maguire)

"I look really cute, but have you seen that film Benjamin Button? I'm actually 90 years old!!"

OK, thought I’d end on a controversial one! Most people would argue that Ray aka Jonathan Lipnicki from Jerry Maguire deserves to be in the ‘cute’ category bit there are a couple of reasons why he can’t go in there.

1. He looks a little bit like an old man which is just weird!
2. He says the ‘f’ word (see quotes) and any 4 year old (or however old he was in the movie) that says the ‘f’ word, can’t go in the ‘cute’ category!

Ray may look cute on the surface but he’s a devious little chap who knows when mum is coming and going. He knows exactly how long he can sit on the sofa with Jerry (Tom Cruise) shooting the breeze before mum comes back in from the kitchen. You watch it next time you see Jerry Maguire, that kids has a sixth sense (see above for Cole Sear) and cannot be trusted!

Creepy quotes:

• D’you know that the human head weighs 8 pounds? (how would he know that if he wasn’t creepy?!)
• D’you know that bees and dogs can smell fear? (see above!)
• D’you know that my next door neighbor has three rabbits? (he’s never seen them, he just knows!!)
• Ray: You said f**k. / Jerry Maguire: Uh… yeah… I…  / Ray: Don’t worry. I won’t tell. (of course he wont, Creepy little chap!)

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So there we have it, the cutest and creepiest kids in movies! I’ve obviously missed hundreds of them so tell us in the comments below who are your favourite cutest, and creepiest kids in movies!!

The IMDb250. A list of the top 250 films as ranked by the users of the biggest internet movie site on the web. It is based upon the ratings provided by the users of the Internet Movie Database, which number into the millions. As such, it’s a perfect representation of the opinions of the movie masses, and arguably the most comprehensive ranking system on the Internet.

It’s because of this that we at HeyUGuys (and in this case we is myself and Gary) have decided to set ourselves a project. To watch and review all 250 movies on the list. We’ve frozen the list as of January 1st of this year. It’s not as simple as it sounds, we are watching them all in one year, 125 each.

This is our 37th update, my next five films watched for the project. You can find last week’s update here.

Blade Runner (1982) – No. 109 8.2

When four human form ‘Replicants’ go off the reservation, a world weary Blade Runner by the name of Deckard is reluctantly pressed into service to hunt them down. During his investigation, he meets a Replicant by the name of Rachael, who astonishingly is initially unaware of her true nature. As Deckard’srelationship with Rachael develops, his hunt raises more questions about the nature of humanity, and whether artificial human beings are less sentient than their creators.

I’vewatched BladeRunner so many times over the years, it has become hard to re-assess it afresh for this type of review. As far as an exercise in world building, BladeRunner is incredible. The mixture of compelling visuals, incredible musical scoring and the combination of contemporary lifestyles withfuturistic technology combine to make the world in which Blade Runner takes place so realistic that it is easy to completely immerse yourself in it. So many movies set in the future, such as I, Robot, Minority Report etc.. display it as a very sterile, white plasteel environment with flawlessly pristine technology available to all. Deckard visitingdingy shops and noodle bars in a flying car, chasing human form robots. The contrast between the progressive technology and the continuing poverty and decay of a big city is used to great effect to create a realistic vision.

The story, on the other hand, comes across now as a little mundane. The tale of a human chasing down artificial intelligence gone wrong is no longer fresh or original, and regardless of whether it was when the film was originally released, it makes it harder to get excited about now in the present day. The philosophicalquestions posed, about humanity, self-awareness and playing God, are very well posed however, and combined withthe unique atmosphere of the created world givea very unique feeling to Blade Runner that has never been surpassed.

For me, the performances aren’t great. Rutger Hauer’s Roy Batty is clearly unhinged, which just about justifies his larger than life performance, but everyone else just come across as adequate. Even Harrison Ford, though displaying great screen presence, and a vulnerability refreshing for a male lead, doesn’t sparkle in the same way as he does in the Indiana Jones movies, for example.

I’ve never really been sure if i like Blade Runner all that much. I clearly enjoy watching it, as i have done so more times than i can count, but there does seem to be a simplicity to the sequence of events, leaving me wanting that little bit more on every viewing. For its unique atmosphere, and the thought provoking ideas behind the story, Blade Runner is definitely still one of the true greats, and despite my misgivings i can’t really argue with its position in the IMDb250 list on that basis.

The Green Mile (1999) – No. 96 8.3

The Green Mile follows life on the Green Mile, a death row section of a penitentiary. The prison guards are there to make their charges last days as comfortable as they can reasonably be, but the status quo is upset by bloodthirsty guard Percy Wetmore, the arrival of ‘Wild Bill’ Wharton, and gentle giant John Coffey, who it is discovered holds a very special gift.

The Green Mile has a very odd feel to it. Most of the movie is set within one very small set, and whilst it doesn’t necessarily look cheap, it does create a very contained atmosphere. This doesn’t detract from some very good performances, particularly from Sam Rockwell as Wild Bill Wharton and Doug Hutchison as Percy Wetmore. The story doesn’t suffer from it either. The Green Mile is a touching tale really, of a simple man suffering for God’s work, and of good men trying to make the best of a job essentially working as caretakers of monsters. Hanks as Paul Edgecomb and David Morse as Brutus Howell come across as genuinely likable, personable characters.

My problem with The Green Mile is that there is a dark, sinister edge to it, which seems at odds with the lightness and charm of many of the characters. Every story needs a villain, and Wetmore does display some truly reprehensible behaviour, as does Wild Bill. But the ending they both meet, due to the actions of a man doing ‘God’s work’ seems to contradict the message that all men, regardless of their behaviour, deserve a degree of civility that is threaded throughout the rest of the story. The wardens show great care and sensitivity towards their charges, making their final days as comfortable as reasonably possible. We seem to be being told that all men deserve respect, even if they are on death row. Then we are shown the vengeance wreaked by Michael Clarke Duncan’s John Coffey, and those final actions seem so out of character with the rest of the movie.

These macabre events, combined with the botched execution that leads to them, lend a grotesque tone to a story that starts out so genteel. This may be a completely intended switch, but it leaves the film feeling very off balance. It also means that when we witness Coffey’s final moments at the end of the movie, the impact is dampened by what has gone before. The Green Mile was perfectly watchable, but nothing more. Having now seen it once, i don’t imagine a scenario in which i’ll choose to watch it again. For me, not deserving of its place.

Fight Club (1999) – No.17 8.7

A white collar insomniac finds his Ikea-loving lifestyle turned upside down when he meets shady soap salesman Tyler Durden. They start up an underground fight club, a group therapy session that allows the common man to de-stress after a hard day at the office. The insomniac discovers, however, that Durden has grander ideas, and as events quickly spiral out of the narrators control, he finds that the biggest shock has been saved til the very last.

From the outset, it is not obvious what kind of movie Fight Club is. Comedy, drama , thriller? It starts out as a truly odd tale of a man who cannot find his place in the world. As you follow Ed Norton’s ‘Narrator’ through his adventures at support groups, and his first meeting with Marla, it is impossible to tell where the story is headed. Then Norton’s world is blown to pieces, literally, and things just get weirder.

Throughout Fight Club, you’re never really sure whether to laugh or be appalled. Norton’s character isn’t really likeable, and is actually a bit of a jerk, particularly with regards to his interactions with Marla. Brad Pitt’s Tyler Durden has become an icon of cool, but really, he isn’t any more likable than Norton (which i guess actually makes perfect sense). Still, you feel hopelessly compelled to continue watching the car wreck to see the outcome.

Really, it isn’t the characters that you find yourself rooting for, it is the story. The anti-establishment, anarchic ideas of Chuck Palahniuk’s writing are what makes the story relevant and vital. The mischief and mean spirit of Durden’s army should be abhorred, but he makes a convincing argument. Sadly, by the end of the film, its biggest failing is that you can’t really care what fate befalls the protagonists. Whilst Durden’s rage against the machine is compelling in theory, the reality is that no real face is put on the villain of the piece, meaning that when his plan comes to fruition, it can only be seen as senseless. He has effectively waged war on an anonymous evil.

Are we supposed to sympathise with either Durden or Norton? You’d have to ask director Fincher. The talented director’s filmmaking ability is beyond question. The soundtrack and visuals are unique and striking throughout, and the stellar cast mean that you never question the believabilityof the madness that unfolds on screen. The only real issue with Fight Club is that it leaves you feeling emotionally cold. A story of reprehensible characters watching their lives unravel, there really is no emotional anchor to it. An entertaining film, by one of the best directors of his generation, but lacking that intangible something that would make it great. A good movie, but one whose reputation far exceeds its skills.

The Wages of Fear (1953) – No. 177 8.1

In a rundown South American town, the large mob of unemployed denizens are given the opportunity of a lifetime. The chance to drive a cargo across country to a remote oil field for a huge payday. The catch? The cargo is dozens of barrels of highly unstable nitroglycerin, and the vehicles are not built to withstand even the smallest pothole in the road. There are two trucks, and the first to safely reach its destination will win the big prize. It is the most lethal of races, but there are no shortage of men willing to take the chance for a better life.

The Wages of Fear starts off so slowly, that you’d be forgiven for giving up early on. The story of paupers in a run down town, with nothing better to do but make nuisances of themselves isn’t greatly compelling, and in truth this period of character establishment runs far too long. By the time the offer of a job, literally career suicide comes along, you find yourself desperate for a bit of pace. Strange, then, that the slow deliberate journey the protagonists embark on turns out to be one of the most compelling, sizzlingly tense tales ever told in cinema.

Four men, two trucks, and a whole lot of nitroglycerin make The Wages of Fear one of the greatest action movies of all time. The set pieces are inventive, and the performances are pitch perfect as the desperate men risk it all for the promise of a route out of the miserable poverty they live in. None of the characters have shown so far to be particularly noble or nice, but you can’t help but pull for them, even with the cruelty they so often show towards each other, as they race to be the first to get their payload to its destination. Some fantastic shocks, that in retrospect are all obvious but never feel so at the time, and perfect pacing of the second half of the movie make watching the wages of Fear an unforgettable experience. One of the best films i’ve watched for the project, it is just a shame that many have probably given up a third of the way into the movie. It is works of art like this that are the reason i took on the project, as i probably wouldn’t have seen it otherwise.

Memento (2000) – No. 27 8.6

Leonard suffers from a rare condition that means he is unable to create new memories, the result of an assault that left his wife raped and murdered. Despite his handicap, Leonard follows the trail of the man responsible, using a unique method of notation to piece together his investigation as every few minutes his short term memory is wiped. He thinks he has the perfect method to keep track of his situation, but we discover that Leonard is in fact very confused, and at the mercy of the people around him as they make use of his circumstances for their own benefit.

From the opening scene of a Polaroid developing backwards, Memento catches your attention, and arouses your curiosity. The unique decision to unravel the storyline backwards perfectly complements the memory bending storyline. In truth, with a little bit of re-jigging, the movie would have worked if it had been played forwards in sequence. The story is interesting enough to captivate you either way, as the story of Leonard’s quest, and the discipline he shows as he tries desperately to keep track of his investigation compel you to continue watching. It helps that, despite the fact that Leonard is a vengeful, violent character, Guy Pearce’s charm and sympathetic portrayal makes him a likeable lead character. That is the brilliance of the backwards chronology – you’re pulling for Leonard all the way until the end (or beginning), when you find out exactly who he is, and what he has done.

Having watched Memento several times, the gimmicks don’t hold up quite so well on repeat viewing. Each scene overlaps, showing part of the same scene in the next so you can see how it links up. a useful tool, but it starts to feel very repetitive upon subsequent views. The same problem also exists as with any film that relies on a twist. Though the subtle humour and intricacies of the plot shine through when watched again, by knowing how it all ends, what the big finish involves, a big part of the pull of the movie is taken away. On first watch, Memento is, for me, one of the best films i have seen. It is just a shame that it suffers so much the second, third or fourth time. The curse of not being unable to unsee a movie. A curse, i guess, that Leonard never has to fear…

Come back next Monday for update 38. You can follow our progress at  www.twitter.com/baz_mann and  www.twitter.com/gary_phillips_

Bazmann

Well, it’s not a huge surprise, but it’s good to know that as well as overseeing the next Superman film Christopher Nolan has just confirmed that he will be directing Batman 3.

Empire had the rather good fortune to catch Nolan in a chatty mood and here’s the all important confirmation,

I don’t know if it’s announced or if it’s not announced,” said Nolan. “It’s becoming inevitable, I’ll put it that way. I feel myself falling into it, I guess. And getting it all figured out and I’m pretty excited about what we’re doing so… If I haven’t announced it, I think that people probably all know at this point that I’m doing it.”

Hang on, that’s not 100% clear: so we can safely assume you’re directing?

“I think you can at this point, yes.”

So, while we don’t all agree that Nolan is the best man for the job he is pretty much guaranteed a blank cheque given the success of the first two and the recent box office juggernaut Inception.

Who knows which villains and sidekicks Nolan will populate the third film with, personally I’m hoping Michael Caine suits up as a nice and unexpected twist on Robin.

Do you think this is a good thing for the Batman series? Would you have liked to have seen another director take on this project?

The IMDb250. A list of the top 250 films as ranked by the users of the biggest internet movie site on the web. It is based upon the ratings provided by the users of the Internet Movie Database, which number into the millions. As such, it’s a perfect representation of the opinions of the movie masses, and arguably the most comprehensive ranking system on the Internet.

It’s because of this that we at HeyUGuys (and in this case we is myself and Gary) have decided to set ourselves a project. To watch and review all 250 movies on the list. We’ve frozen the list as of January 1st of this year. It’s not as simple as it sounds, we are watching them all in one year, 125 each.

This is our 31st update, my next five films watched for the project. You can find last week’s update here.

So far, i’ve summarised the films i’ve written about for the project, but i’m not going to for the Star Wars trilogy. I appreciate there are those that haven’t seen them, but i imagine they’re in the minority. To be honest, so much has been written about the Star Wars movies i’d rather not cover them at all, but they’re on the list, so here are my thoughts on rewatching each film.

Star Wars: Episode IV – A New Hope (1977) – 8.8 No. 12

The idea of Star Wars, and the mythology contained within, are undoubtedly awesome. Say what you want about George Lucas, but the concept of the force, what it is and how it works is a brilliant idea. It instantly adds a feeling of depth and spirituality to what otherwise would be a fairly straight forward space film. Luke, the young farm boy destined for greatness is not on its own an original idea, but transplanted to the star Wars galaxy, where he truly can effectively save the world adds a whole new level to the cliche. The introduction of Han Solo allows humour, as well as presenting a wild card story-wise. Solo is often likened to a cowboy type character, but is far more selfish and self-serving than those from tales of the old west, and you are kept guessing until the very end just what his motivations really are.

The death halfway through of Obi Wan, up to this point an integral character in the movie, is a shock and an unusually brave movie for a fantasy movie aimed at kids. It is pretty dark, and though i don’t remember the first time around, it must have been a blow to the system. Darth Vader and the Death Star are also fantastic works of George Lucas’ imagination, and are the real reasons Star Wars was so iconic. The pace is brilliant, with no wasted motion throughout. The race to destroy the Death Star is brilliantly constructed, and timed to perfection. There is a lot great about the first Star Wars, and to this day i can still understand why it has built up such a following.

OK, the dialogue can be pretty bad at times, but it is difficult to build exposition and background into such a fast paced story. Remember, it is a whole different world we are introduced to, and on that basis i think Lucas did a decent job. The droids ARE annoying. I can see why we loved them as kids, and i understand their function. I can see why Lucas became so enamoured by the idea of seeing such epic story from the point of view of the lowest class of beings, but i can’t help but be irritated when they go about their misadventures. It is the only time the movie slows down, and though i can’t imagine how the overall plot would work without them, i’d like to see a cut that diminishes their role as much as possible to see if the film actually loses anything.

Top 250? Of course. Special Edition? Not actually too distracting in this case, but ultimately pointless.

Star Wars: Episode V – The Empire Strikes Back (1980) – 8.8 No.10

The ice planet of Hoth looks phenomenal, and the idea of the rebels hiding on an uninhabited, and almost uninhabitable, planet is really cool. The attack by the Imperials, and the AT-AT’s in particular, is probably the best sequence of the Star Wars trilogy, and to be honest, for me the movie suffers considerably from the subsequent slowdown of the pace. The cat and mouse game between the Millennium Falcon and Imperial forces is not particularly thrilling, though the development of the Han-Leia relationship adds a bit of emotional depth to the story. Luke’s visit to Dagobah, though amusing at times, is actually pretty tedious.

Events pick up with the visit to Cloud City. Billy Dee Williams adds some much needed flair to proceedings, and is probably the most charismatic character of the series. Over the course of the movie he shows depth,and presence, and his ambiguity adds some real interest. The big story is obviously the face off between Luke and Vader, with some awesome revelations that you really don’t see coming. The second lightsaber battle of the trilogy is exciting when it gets going, but does not involve quite enough action to provide a climatic finale to the movie.

The dialogue is, once again, pretty poor, and actually more obvious because the pace of the movie is so much slower than the previous one. People call Empire dark, but no major characters die, with Solo effecctively only being kidnapped. The open-ended climax, whilst providing some surprises, doesn’t really feel like a proper ending because it is so heavily aimed towards leading into the final part.

Best of the trilogy? Difficult to choose between A New Hope and Empire. Empire is probably the most well made, with the more in depth story, but as a stand-alone film it has no beginning or end, leading off of the first film and setting up the last. A New Hope is the only film set out as a beginning to end movie that can be watched in isolation, so on that basis it probably works better as a film.

Star Wars: Episode VI – Return of the Jedi (1983) – 8.3 No. 104

The problem child that nobody loves. The liberation of Han Solo is a bizarre set-piece really. Because of the time that has clearly elapsed but we haven’t seen, we’re met with a Luke that has powers we didn’t see him develop. The battle over Sarlacc’s Pit is exciting, with again some interesting new creatures and the cool sail barge, but feels a little rushed, and dare i say it easy? Jabba is a great character, but is killed off pretty quickly in the film,then we are immediately rushed off to the continuing battle with the Empire, leaving the whole exercise as a really odd feeling segue.

The second Death Star is a lazy idea. The presence of the Emperor at the vital time even more so. The whole battle to destroy it, and the impossible odds beaten in the process wrap up a well imagined story far too easily. The Rebels should have been annihilated, and the idea that such a small fleet of ships could survive dozens of Star Destroyers and an operational Death Star is ridiculous based on what we’ve seen over the course of the trilogy.

That a gang of teddy bears are the ones that facilitate it makes it all the more unforgivable. I don’t have the hatred for the Ewoks that some have, in principal at least. The idea that these primitive creatures can overcome the technology of the Imperial troops on Endor, and the almost slapstick way they go about it, is what really burns. James Cameron clearly bought that idea though…

It’s easy to deride Jedi,and some would say lazy. But it is two distinct stories glued together with more Dagobah tedium in the middle. The culmination of the Han-Leia lovestory is satisfying, and the revelation of Luke and Leia’s relationship is actually pretty cool, but on balance, Jedi is a complete misstep. A real shame, but i think the Star Wars series started going downhill a long time before The Phantom Menace hit our screens.

Saving Private Ryan (1998) – 8.5 No. 47

When it is discovered that a certain Mrs Ryan has lost three of her sons to World War II, the decision is made to send a team to try and bring her fourth and last remaining son back home from the front. Having survived the overwhelming odds of the Normandy beach landings, school teacher Captain John H Miller (Tom Hanks) is charged with leading that team through war-torn France.

Losing several team members along the way, Miller’s men search for the proverbial needle, experiencing the many horrors of war in the process. When they finally find the lost paratrooper, the soldiers are forced into a backs to the wall stand-off with a German patrol in a bid to keep Private Ryan alive long enough to escape to safety.

Steven Spielberg is accused of making movies that are too saccharine, often with a soppy happy ending. There is nothing sickly sweet about Saving Private Ryan. War is laid bare, with the effect it has both physically and emotionally fully explored, with very little respite. From the opening attack on Omaha beach, it is clear this is no fun romp. Spielberg leaves you in no doubt that the attack on the beaches of France was a suicide mission, with the Allied forces breaking through by sheer strength of numbers and blind commitment to the cause. There is no attempt to disguise the horrific casualties sustained, and the massacre is shot in a shockingly visceral style.

We’re given the chance to get to know Miller and his team as they journey across country, making the losses they enduring all the more affecting, and the savage behaviour they exhibit to their German captives all the more shocking.

I have seen Private Ryan before, and remembered the unflinching style of the opening scenes very clearly. I had somehow forgot how bleak and realistic the rest of the story had been. It was a brave movie for Spielberg to make, and a brave part for Hanks to take, as both are famous for sweet family movies with happy endings, and kudos to them both for using their profiles and drawing power bring the casual multiplex audience in and show them the true horrors of war. There are many war movies equally as effective as Saving Private Ryan at giving a flavour of what was endured by the brave soldiers that fought for our freedom, but Saving Private Ryan has probably reached the most diverse audience. For me, a pretty flawless film, and a must watch.

Strangers on a Train (1951) – 8.2 No. 121

Whilst on a train journey, tennis star Guy Haines meets a strange man by the name of Bruno Anthony. Anthony is both overfriendly and a little too interested in Haines’ personal life. He is aware that Haines wants to divorce his wife in order to build a life with his girlfriend, Senator’s daughter Anne Morton. Anthony reveals a plan he has concocted whereby he will kill Haines estranged wife, and Haines will murder Anthony’s father. Haines makes his excuses and leaves, somewhat bemused by the conversation, but Anthony mistakenly believes a deal has been struck.

Anthony carries through on his end of the bargain, but Haines is understandably shocked and scared when he is confronted with what has happened. Haines tries desperately to distance himself from Anthony, but the stranger begins to infiltrate Haines’ life, throwing threats and blackmail at Haines. Will Haines go to prison, or can he put together a plan to expose the deluded murderer and clear his own name?

The idea behind Strangers on a Train is pretty intense. It combines stalking as an art form, not such a common occurrence at the time, with a cold-blooded murder story. Anthony is deliciously unhinged, living in a complete fantasy land. You can’t help but feel for Haines. What would you do? It’s a hopeless situation to be thrust into, and you can genuinely feel his helplessness.

The reason the story is so disconcerting is the performance of Robert Walker as Anthony. His madness is portrayed perfectly, with a wonderful mix of mania and innocence. You can’t help but almost feel sorry for him for alot of the film. He is clearly unhinged,and that is conveyed brilliantly by Walker. This performance makes that of Farley Granger as Haines look pretty bland in contrast. His desperation is palpable, but Granger just isn’t the most charismatic of leads.

For me, Strangers on a Train has a very different feel to the other Hitchcock movies i’ve watched for the project. Whereas his other works have worked by either letting the tension build to boiling point, or using intelligently constructed plots to confound the viewer, Strangers on a Train affects you in a much different way. The situation is off-putting because it is both completely off-kilter, and theoretically plausible. Any one of us could meet the titular stranger on any train one night, and find our lives falling apart around us. A very compelling story to watch unfold.

Come back next Monday for update 32. You can follow our progress at www.twitter.com/baz_mann and www.twitter.com/gary_phillips_

Bazmann

Last week, Inception broke the $500m worldwide gross milestone. A big success story, to be sure, but after The Dark Knight’s $1bn+ number, it perhaps isn’t really a major surprise. It was even less of a surprise when it was revealed that Nolan would be at the helm for Batman 3 once Inception was done and dusted, but as the Inception train begins slowing to a halt, i can’t help but ask myself, was Batman 3 the right decision for Nolan’s career?

Nolan made his name with clever, twisting drama, and it is only his last couple of movies that have led to his being considered an action movie director. Films like Memento and The Prestige used human interest and intricate plotting to make an impact, and there is a risk that with his new action movie sensibilities, he could begin to lose what made him great as a filmmaker in the first place. This is one major reason why i feel it would have been wise to step away from the Batman franchise, but there are several more…

It’s a no-win situation.

As i said at the outset, The Dark Knight made over $1b worldwide. This makes it one of the highest grossing films of all time, leaving any attempt to top it financially virtually impossible. There will be much expectation, however, from both fans and studio. If it makes considerably less than the Nolan’s second Batman movie, it could be considered a failure.

The Dark Knight is also considered by many to be one of the best movies ever made, currently holding 11th place in the IMDb250 list. Again, this leaves expectation impossibly high, and it is highly unlikely Nolan can match it with the third film. This, again, could result in the movie being considered a failure. The Dark Knight’s plot was very well constructed, and complemented by some fine acting performances. A lot of elements came together perfectly, and the chances of Nolan experiencing the same fortune again are slim.

On the other hand, if he does top The Dark Knight financially and critically, he could be pressurized into considering staying on once again for a Batman 4. Whilst he has made it fairly clear that he doesn’t want to make more than a trilogy of films, if Warner Bros lean on him, and the fans scream out for another one, it will put the director into a very difficult situation. He could well find himself accused of turning his back on the franchise that brought him to the masses if he has to publicly turn down another Batman movie.

The actor playing the villain will be compared to Heath Ledger.

It’s unfair, and it’s inevitable. Heath Ledger carved out one of the greatest villain performances in cinematic history, and his presence, and the circumstances around it, were a big part of The Dark Knight’s success. The pressure will be on for whoever plays the principal villain in Batman 3, whoever it turns out to be, and whichever character they play. The fact that Ledger would have most likely reprised the Joker role in Batman 3 if he hadn’t tragically died will only make the scrutiny that bit more intense. With that shadow looming, it will be an almost impossible part to write and cast.

We have already seen the speculation around the next Batman villain undermine the build-up to Inception’s release. Whilst on the promotional trail for his latest film, Nolan was subjected to just as many questions regarding casting rumours for Batman 3 as he was to Inception based ones. With Joseph Gordon-Levitt and other Inception cast members inevitably linked to the follow-up to The Dark Knight in recent months, it is clear that there is somewhat of an obsession with which foes Batman will face next time around, and who will be responsible for bringing them to life.

He’d reached a good stopping point.

At the end of Batman Begins, it was made clear that there would be more. When Gordon revealed the Joker card that was being left at crime scenes, it was a message to the audience that there was to be a continuation to the story. At the end of The Dark Knight, there was no such nod to a sequel. Whilst you could argue that there were plot strands left hanging, like Mr Reese’s knowledge of Batman’s real identity, and The Joker’s incarceration but not death, the final scenes, with Batman riding off into the night, did not beg a follow up.

Batman knew that the people of Gotham would never truly accept him as their hero, no matter how much good he did, and that he was destined to live life as an outcast. This could easily be left as the conclusion of his journey, doomed to protect Gotham from behind the anonymity of his mask, a figure of mistrust and fear. A third film just isn’t necessary.

The biggest problem with following on from a film with so few loose ends is that any attempts to extend the plot strands seem tenuous, and if you start with a whole new story there is a danger of shifting the film’s tone from the previous one, leaving it feeling disjointed from the series. This actually happened to an extent between Batman Begins and The Dark Knight, with Gotham looking almost completely different the second time around, which means that in this case it may not prove so much of a problem.

The franchise is too restrictive.

With Inception, Nolan has been able to craft a story completely from scratch, making up his own world, characters and technology. Whilst he has been able to make his Batman series unique to his own sensibilities, he is very much constrained by the logic and history of the comic series.

I have no doubts Nolan and his writing team can put together another compelling Batman story, but it will always be within a range of restrictions, which must be quite draining, and even frustrating at times. By casting off the shackles of Batman’s world, the talented filmmaker would be free to create original stories, exploring the themes and ideas he really wants to without having to keep grounded to a particular set of rules.

Inception was almost pure sci-fi, and Nolan set out his Batman stall by grounding it as much as possible in reality. This makes it difficult to be too inventive with the plot, and makes any science fiction based cheat such as the one seen in The Prestige much harder to get away with. Incidentally, this also makes a lot of the comic book characters difficult to realise on screen in the Batman world that Nolan has created.

He won’t improve on his weakest areas as a filmmaker.

The biggest criticism levelled at all of Nolan’s work is an inability to put genuine emotion up on screen. All of the characters that lead Nolan’s work are motivated by the same thing. Obsession. It is clearly a reflection of his own obsession with filmmaking, but the problem is that this type of character is not conducive to telling emotional, human interest stories.

This is made worse by the restrictions of the Batman character. Even Inception, despite a story revolving around a father trying to be reunited with his children, and the casting of one of the finest actors plying their trade today, did not have the emotional depth that truly great filmmaking requires.

The problem with the action movies that Nolan is now making is that they leave little time for personal drama, three-dimensional characterisation and exploration of character motivations. In order to improve his ability to work with this side of film, i think Nolan needs to concentrate on lower budget, character-led storytelling. Until he can give us perfectly crafted human drama, i think he needs to stay away from big budget blockbusters that demand great thrills and high action to draw in an audience and recoup their budget.

I understand that the reason Nolan was able to get a green light for Inception, his passion project, was his commitment to the Batman series, and its continuing success. I’m sure that by making Batman 3 he is once again ensuring that he’ll get to make the movie he wants to make once it is finished with. However, Nolan is one of very few directors that i can genuinely say i like every one of his films. My fear is that if he leans more and more towards the thrill-heavy action genre, he may well lose his filmmaking identity.

It would be a great shame if the director of great movies like Memento and The Prestige started making big movies that fell more towards the Transformers 2 end of the scale. This probably won’t happen, but there is a risk of getting carried away with a genre, and by making sequels to successful blockbusters, there is always great pressure to top the last installment by going bigger. We don’t want this from Nolan. He has given us one of the best, and most original movies of the Summer, and that is what we want more of, not franchise based popcorn fodder. I’m looking forward to Batman 3, and i will probably love it, but for the next couple of years i’ll find myself wondering what might have been, if Christopher Nolan had chosen to detach himself from Batman and make another original masterpiece.

Bazmann – You can follow me on Twitter at www.twitter.com/baz_mann