Ben Affleck is a dick.
He's such a dick he pays a family to pretend to be his family so he can have a perfect christmas.
2013's yuletide viewing got off to a truly odd start with this forgotten rubbish which was so bad it didn't have a finished script, was pulled from it's original release date of Christmas 2003 and was dumped into about 3 cinemas the following October!
Affleck is a millionaire marketing exec who following the advice…
Surprisingly watchable, if low-key, New Cold war thriller with Richard Gere as a retired operative hand-holding (reluctantly) a young buck who's obsessed with a case Gere supposedly closed years before.
It blows it's one big hand far too early, and totally changes the dynamic of the film from what could have been a tense, 70s style conspiracy thriller, into a more arthouse character piece.
There are still one or two surprises left, and it's very watchable on a wet sunday afternoon. But don't expect fireworks.
Not as laugh-out-loud awful as I'd been led to believe, but still utterly dreadful, and for large parts, extremely dull.
Matthew Fix is surprisingly effective as an emaciated ruthless killer. Tyler Perry is laughable stepping into Morgan Freeman's shoes.
Everyone else, including director Rob Cohen, is paying the rent.
Critical re-evaluation must be coming soon for this most monstrous and notorious of turkeys.
It's reputation is (mostly) unjustified, and no doubt came from a desire to knock Bruce Willis down a peg or two.
It's ridiculously over-the-top, willfully messy, but damn entertaining and good fun. I'd take one Hudson hawk over any number of dull, identikit summer blockbusters of recent years.
Still one of the best Bond movies.
Action packed but grounded after the excesses of Moonraker. It's brilliantly cast and makes an attempt to keep the villain a surprise.
Tonally it's a bit of a mixed bag with some jokey moments out of place amid the general serious tone.
The rock climbing climax is still amazing with some truly incredible stunt work.
Low key example of Amicus' anthology films, this is really good fun but could have done with an injection of blood.
The first and last stories are easily the best, with both providing good, fun twists. The 2nd and 3rd pass the time but but are lesser efforts, despite the presence of Cushing and Lee respectively.
Good fun, but feels more like a collection of Tales of the Unexpected than a full on horror movie.
Given how many times I've seen this, I found this watch to be a very critical one, and found the experience to be suprisingly shoddy.
I've come to realise that without Savini's gore and Manfredini's score, this is what it is: cheap, amateurish exploitation that somehow spawned a franchise and a genre.
Betsy Palmer is still great.
Much slower paced and cheaper looking than many other AMicus anthologies, this is nonetheless still undemanding entertainment. Having four rather than five stories means at least two outstay their welcome a bit, and the best one (the last) seems too short in comparison.
The cast is top heavy with American stars with dear old Peter Cushing making a final story appearance, and poor Michael Ripper looking like he's going to get his own story, then doesn't.
Not a patch on the 70s variants, and very tame on the scares and gore.
Breaking the Waves meets the New York Ripper.
It's rare for me these days to find a film with a reputation for sleaziness or unpleasantness to live up to its reputation, particularly one over 30 years old. But Giallo in Venice does just that.
From the astonishing opening shot of a guy getting his jewels stabbed with a pair of scissors, you know you're in for a ride, and a not very pleasant one at that.
It's a bit of…
Not dreadful. In some ways it's very well made.
Despite all the prequel guff, this is clearly a remake. It's a bit too much of a leap of faith to imagine that major plot points happened in exactly the same order at the Norwegian camp as they did later at the US camp down the glacier.
Mary Elizabeth Winstead is a very engaging lead and operates in a very different way to Kurt Russell in the 'original', acting more as…