I have recently started reading fiction again after spending half a year studying academic subjects. I have always been a fan of the Bond franchise so decided to actually familiarise myself with the source material. I have found the results to be quite surprising and not at all as I expected. So far I have read the first five in the series, which I purchased from various second hand bookshops.

The first thing that stands out is how the books vary from the films. The stories are often quite minimalist and not as epic in content as the films. The content is often quite adult and very much reflects the mood of the times. Remember that Fleming created these bulk of these books during the 1950's. This was a hard time for the United Kingdom. The country was broke and dealing with the demise of the "Empire". America was in ascendance and the Cold War dominated domestic politics and foreign policy.

The Bond franchise focuses of many things that would appeal to the reading public. Namely the glamour and opulence that was missing from their lives. Fleming is a master at describing exotic foreign travel, fine cuisine and "playboy" lifestyle. Sexual activity is quite candid for the times, though it betrays the patronising attitude prevalent to women at the time. There is also a lot of themes that will strike todays reader as simply xenophobic and racist. But they have to be taken in context of the times.

"Casino Royale" and "Live And Let Die" are both fairly straight forward thrillers. The events are far from incredulous and the the stories progress at a rapid pace. The use of violence is striking and well written. Bond, tortured by having his genitals beaten, still has the power to shock. But it is not until "Moonraker" that the books truly hit their stride. The storylines have become a little more complex and you feel that this is the Bond that you remember. "Diamonds Are Forever" and "From Russia With Love" further demonstrate this. The style is very compelling. The characters are well defined and the locations and organisations meticulously researched. There is tension that holds the attention.

Modern spy or espionage novels owe a tremendous amount to the legacy of Ian Fleming. His own experiences in Naval Intelligence and as a journalist afforded him the ability to create credible and absorbing stories. His own penchant for women and life as a "bon viveur" permeated his writing. For readers in Britain enduring the post-war austerity years, he gave glimpses of the world and lifestyle they dreamed of. It may be difficult for younger readers to connect to the world in which Bond exists, as it is removed by several generations. It lacks a lot of the technology and social conventions that they identify with. However, for the more mature reader Fleming work provides the epitome of the thriller novel and a intriguing insight into post colonial Britain that has long gone.

XoD.

Frank Darabont has achieved critical acclaim, artistic integrity and mass appeal with his last two adaptations of Stephen Kings material, namely "The Shawshank Redemption" and "The Green Mile". That's a tough act to follow. Despite sticking with Mr. King's work for his latest film, he takes a step sideways with a more distinct genre piece. But once you look beyond the traditional "creature feature" plot device you get another well written and performed character study, again focusing on how the human condition deals with extreme situations. However, the route it takes and the themes it explores may not be to everyones liking. Like several other recent films and even Hitchcock's "Psycho", this is a movie that has a unexpected revelation, which if known in advance, greatly diminishes the impact.

The film starts with a storm. David Drayton (Thomas Jane) and his family retreat to their basement. When they emerge in the morning a tree has crashed through their front window, and the power is out. David and his young son go into town for supplies, leaving his wife behind. It’s at the general store where David first realises something is horribly wrong. A man, covered in blood, races into the store screaming “there’s something in the mist!” Just as an unnatural mist rolling towards the store, the city’s air raid sirens sound.

They soon discover they’re trapped inside the store. To leave is to go into the mist, and inside the mist are unspeakable, unbelievable, horrors. David and the group of customers hidden inside the store go through all the things anyone would: Shock, confusion, disbelief. But the danger, no matter how bizarre and inconceivable, is real. Tensions mount as time passes. Soon David and a handful of other like-minded survivors begin to realise that it may be just as dangerous inside the store as it is outside it. People start to turn on each other. The worst aspects of human nature begin to manifest themselves.

"The Mist" is more than just some monster movie, instead it’s a careful examination of human nature. Darabont’s adapted script develops each character carefully, and the film’s real thrills come from following his group of terrified survivors as they fight, fear, and quite simply fall apart in different ways as they lose hope. Some turn to God and fatalism, others turn to logic, still others remain in denial and pay for their refusal to face facts. David Drayton however, simply refuses to give up.

Thomas Jane carries the movie as Drayton, an artist turned temporary leader. But it’s not just Jane that turns in a solid performance here. Darabont has assembled an amazing ensemble cast of character actors who embody not just their given characters but different aspects of the society. Toby Jones, the quiet and unassuming junior manager of the store proves to be a robust and stoic character. Marcia Gay Harden excels as the towns religious zealot. It's been a while since I wanted to see the "bad guy" get what they deserved.

"The Mist" again shows Darabont's ability to get us so involved with his characters. It is what really makes the film so effective. You want them to be safe. You feel when some meet a brutal end. You rage at the mindless hypocrisy as people clutch at straws and change their allegiance, to survive and deal with events. If there’s any flaw in the film, it’s in the mechanics of Darabont’s script which at times, leans towards the predictable, using a familiar story arc to make his point about how we deal with the prosepct of our own doom. But like everything Darabont does "The Mist" connect with its audience on an emotional level that you can forgive these weaknesses. The film’s monster movie elements are there only to serve as a catalyst for a much deeper, brutally emotive, thought-provoking story. This is a clever, character-driven horror film and a human drama. It could also be considered a metaphor for genocide and ethnic cleansing. You decide. "The Mist" is recommended to fans of human drama, strong performances and is not the exclusive province of the horror buff.

XoD.

Starcrash is an Italian 1979 science fiction film, which like so many films from that country, shamelessly rips off, more successful US products. The cast included Marjoe Gortner, Caroline Munro, Robert Tessier, Christopher Plummer, David Hasselhoff, Joe Spinell and Hamilton Camp. The movie is regarded by some critics as a campy B film with cheap special effects and a weak, derivative plot that some people find unintentionally humorous. I would dispute that!

The "it's so bad, it's good" school of thought is often alcohol or opiate assisted. If this film is viewed without such factors then its enjoyment will diminish even further. The plot is nonsensical, even by the genre standard, and the dialogue childish. Don't give me that "it lost something in translation" jive. This is simply a poor film. I find it amazing that actors such as Plummer and Spinell appeared in it. I find it even more amazing that this film has a John Barry soundtrack!

You need a strong will to make it through this film. Don't be fooled by people trying to extol it's virtues. Yes, take some of the bad dialogue out of context and they seem funny. "You know, my son, I wouldn't be Emperor of the Galaxy if I didn't have a few powers at my disposal. Imperial Battleship, halt the flow of time!" Or "Look, Amazon women on horseback. I hope they're friendly". But after 30 minutes, it begins to grate! Oh and despite the fact that Ms. Munro spends most of the time wearing very little, the film is so badly shot that it does not really benefit from this aspect.

Only watch "Starcrash" if you are a completist genre fan, a sucker for Italian exploitation or on serious medication. Oh and on a separate note, the Android Elle joins Twiki from "Buck Rogers In The Twenty Fifth Century" as a member of that exclusive group, robots with phallic craniums.

XoD.

"Kenneth Williams: Fantabulosa!" first shown in 2006, was repeated on BBC Four this week. I missed it first time round so decided to watch it this time, being a fan of Kenneth Williams cutting wit. It painted a very bleak picture, depicting Williams as a man in search of a purpose, and a sense of belonging. Yet due to his misconceived short comings he remained emotionally isolated, "a tree that never blossomed", as he put it.

Williams was a man in no doubt of his own talents, yet at the same time baffled by what rewards these talents were supposed to bring him; a man hungry for adulation, yet arrogant to those who gave it to him; a man seen by the public as raucously loud with his braying laugh, yet privately tortured by self-loathing, by sexual repression leading to celibacy, and by a phobia about hygiene and made him shrink from a relationships and love.

Michael Sheen’s portrayal of Williams is at times so mesmerising, that it sometimes overshadows the back story. We are shown key factors that shaped Williams career, but it would have been beneficial to have explored their impact a little further. Sheen’s skill in distilling the essence of Kenneth Williams earned him an award, but the balance between character and story arc is a little off centre. However, it could be argued that elements of Williams life were so relentlessly tragic, that to explore them to deeply may have alienated the viewers. There are very frank depictions of Williams battle with his own sexuality. His friendship with Joe Orton and his "Bohemian" lifestyle, the illicit homosexual culture of the times and his hypochondria and obsessive habits.

Williams was a man who ached for love while shrinking from even companionship, a man from a humble home who enjoyed public affection but who was articulately aware of his shortcomings. "A man not waving but drowning" as he described it. Williams’s final diary entry read: “Oh, what’s the bloody point?” Is it possible to imagine a bleaker, lonelier, more desperate deathbed judgement on someones life? A tragic and poignant drama which once again shows the duality of "the clown". Catch it on BBC I-Player.

POW, Stephen Brooks (Oliver Reed) is assigned to work in a Munich zoo, where he becomes the keeper of Lucy the elephant. After a heavy bombing raid on Munich, it is decided by the Zoo's director to transfer Lucy to a safer location in Innsbrook. The journey must be done on foot, so Brooks is accompanied by two German soldiers and a female cook. Brooks however has other plans. To follow in the footsteps of the famous Carthaginian general Hannibal lead Lucy over the Alps, to Switzerland. Along the way, Brooks frequently runs into an American saboteur named Packy (Michael J Pollard) with his team of misfits and often ends up involved in the war he's trying to escape.

"Hannibal Brooks" is on paper, a bizarre film that straddles several genres. It is a post modern war film, with contemporary dialogue from the time. One minute there are actions scenes and the next humour and pathos. I often wonder how this concept was sold to the financial backers? It may also come as a surprise that this film was directed by Michael Winner! Yet it works. "Hannibal Brooks" is as implausible as it is inoffensive. The Bavarian landscape is beautiful. Oliver Reed gives a superb performance, despite the improbable story and disproving the old saying that actors should never work with children or animals. There is also a pleasant soundtrack by Francis Lai. But Lucy the elephant is the real star.

"Hannibal Brooks" is however currently unavailable on DVD. Being a "United Artist" release, the rights should now be owned by MGM/Sony entertainment. There was a R1 Japanese version which is now deleted. There are some DVD-R copies on E-Bay, taken from TV broadcasts. The film is shown occasionally on the National Geographic channel on Sky and on the BBC. The 16:9 prints are clean and have been recently re-mastered. I would hazard a guess that the original film was shot in open matte and then masked to 1:85:1 ratio. Catch it if you can. It's a enjoyable family film that despite it's shortcomings is perfect Sunday afternoon viewing.

XoD.

A well written film soundtrack does more than simply embellish the on screen imagery. It permeates the very fabric of the film and becomes character itself, adding emotional content and philosophical subtest to the proceedings. There is a fine line between enhancing the pace and atmosphere of a film and simply "telegraphing" imminent events in a melodramatic fashion. The Basil Poledouris score for "Conan The Barbarian" is a rare example of a near perfection. Using the traditional style of the "leitmotif", a 90 piece orchestra and 24 voice choir he has created a "a continuous musical drama" that has now entered the pantheon of great modern film music.

The violent first section of the movie is filled with intense, bombastic pieces including "Anvil of Crom", played by 24 french horns, strings and timpani, and "Riders of Doom", inspired by Prokofiev's "The Battle on Ice" from the "Alexander Nevsky" cantata. Thulsa Doom's theme, which recurs throughout the film, is based on the Gregorian chant "Dies Irae". A number of sombre pieces permeate the middle of the film, including "Civilization", "The Leaving", "The Search" and the sensuous "The Orgy" (co-written with his daughter Zoë and in part resembling Maurice Ravel's Boléro) before the music again intensifies for a series of battle sequences at the climax of the film. Other string sections, namely "Atlantean Sword" clearly resemble Ralph Vaughan William's "Variations on a Theme by Thomas Tallis".

All 16 tracks from the out of print "Varese Record" edition are featured below for your enjoyment. They have been encoded with a bit rate of 192kbps.

1.) "Anvil of Crom".

2.) "Riddle of steel/Riders of Doom".

3.) "The Gift of Fury".

4.) "Wheel of Pain".

5.) "Atlantean Sword".

6.) "Theology/Civilization".

7.) "Wifeing".

8.) "The Leaving/The Search".

9.) "Mountain of Power Procession".

10.) "The Tree of Woe".

11.) "Recovery".

12.) "The Kitchen/The Orgy".

13.) "Funeral Pyre".

14.) "Battle of the Mounds".

15.) "Death of Rexor".

16.) "Orphans of Doom/The Awakening".

XoD.

Warning.

I have included some screen captures from this film which depict scenes of a violent nature. Please be aware of this before reading and scrolling down the page. XoD.

Soldier Blue is an American Revisionist Western movie from 1970, directed by Ralph Nelson, telling a fictionalised account of the events surrounding the 1864 Sand Creek massacre in the Colorado Territory. It was written by John Gay based on the novel Arrow in the Sun by Theodore V. Olsen, and starred Candice Bergen, Peter Strauss, and Donald Pleasence. The title song was performed by Buffy Sainte-Marie. Released during the height of the Vietnam War against the backdrop of the My Lai massacre, it provided a depiction of a notorious incident in the history of the American frontier, in which troops massacred an undefended village of Cheyenne and Arapaho indians. The film creates a back story involving the escape of white survivors from an earlier massacre of U.S. Cavalry troops by Indians. The movie was controversial at the time not only as a revisionist western, but for its graphic depiction of violence. Director Nelson, pushed the depiction of the violence to new levels, showing graphic rape scenes, as well as "realistic" atrocities and acts of violence.

Well 38 years later, what is the current opinion of this film? An integral aspect of a film review is the prevailing social mood and context at the time of release. The world of 1970's America looked upon this piece of work with very different eyes than todays. Liberal, anti-establishment sentiment was still not totally acceptable by the mainstream. America had still not come to terms with its past relationships with its indigenous people. In that respect "Soldier Blue" was considered to be quite an outspoken and radical piece of cinema, that despite it's shocking nature, still had a social conscience. It should also be noted that "Soldier Blue" gained a reputation, that then followed it over the years, but overtime, the focus on the films politics was lost. When I was growing up in the early 80's amid the "video nasties" witch hunt, this film was mentioned in the same breath as "The Exorcist", "Zombie Flesh eaters" or "A Clockwork Orange" and it's political agenda was forgotten.

Seeing it again now, it’s a awkward mixture of heavy-handed pacifist arguments, with such clichés as the cavalry riding roughshod over the American flag, light comedy and brutal violence. It is very seventies in it's approach to its subject. The female lead is an outspoken feminist and the young cavalry officer a naive puritan. The social stigma of a woman captured by Indians is explored and the military are painted as degenerate, homicidal rapists run by cruel leaders with a genocidal agenda. Roy Budd's soundtrack is oddly inappropriate and mislead the audience as to the films tone. The films ending is still powerful but is not as visually shocking as you may anticipate. The depiction of violence and its acceptance into all aspects of mainstream TV and cinema really has softened the impact of the climatic massacre. On a purely technical level, special effects have improved so much over the decades. But more so, it is the change in public perceptions toward violence itself. I'm sure that if a group of 16 year olds were to watch this film a percentage would simply not be moved or shocked by what they saw. However, I'm sure that an audience of viewers of a more senior nature, particularly parents may still be distressed by what they saw. To truly appreciate the emotional impact of the films ending, you need to have a grasp of the historical legacy of the Native Americans and a sense of social conscience. Ralph Nelson film, being a product of its environment and time, may not necessarily connected to a modern audience.

Over the years, there have been numerous releases of "Soldier Blue" in censored versions. In the UK, the current DVD release is still incomplete, missing much violence and several horse stunts that have been deemed cruel (This is a separate matter that I shall write about at a later date). However the US Region 1 release is uncut, as is the Region 2 German copy. I have included some screen captures of the more notorious scenes below. They will give you some indication of the violence depicted.

During the climatic cavalry attack on the village, an Indian squaw is decapitated. Note that she is carrying her child on her back.

Whilst being raped by one soldier, another attempts to cut her breast from her body. They were tanned and used as tobacco pouches.

A woman tries to retrieve her child that has been impaled on a soldiers sabre.

Possibly the most infamous scene. A child whose leg has been cut from under her tries to stay upright. The Officer, annoyed by her screams "puts her out of his misery".

"Soldier Blue" is a clumsy yet sincere piece of cinema. It tries to over simplify a historical incident so that it can draw parallels to the ongoing political misdeeds of it's own time. It is of interest mainly due to it's significance in the evolution of modern cinema. Falling between stools it remains a misguided curiosity.

XoD.

"Star Trek" has become an integral part of pop culture and "Zeitgeist", regardless of whether you like it or not. Fandom is also a very universal part of modern life. It is these themes that director Dean Parisot draws upon for what is arguably one of the funniest sci-fi/comedies of the genre. "Galaxy Quest", now nearly a decade on, still stands up to repeat viewing with its excellent characterisation and witty observations on the genre. I could attempt to summarise the films finer qualities, but fear that I may not do them justice. So watch the theatrical trailer and hopefully you'll get the gist of it yourself.

"Galaxy Quest" is a film that I revisit at regular intervals. It still has the ability to make me laugh out loud. I like the way Sigourney Weaver sends herself and her Ellen Ripley character from the "Alien" franchise up. Sam Rockwell is excellent as the expendable crew member who doesn't warrant a surname. But it is Alan Rickman as the frustrated Alexander Dane, a trained Shakespearean actor who cannot escape the stigma of his on screen persona, Dr Lazarus, who steal the show. He loathes his alter ego and associated catch phrase "By Grabthar's hammer, by the suns of Warvan, you shall be avenged!"

Who says the Americans can't do irony and satire? This film is a fine example of the exception that disproves the rule. There's a lot more humour hidden in it than doesn't always show on the first viewing. It also showcases top notch visual effects by ILM and makes up by Stan Winston Studios. It is also very respectful of the subject it mocks and certainly does not "bite the hand that feeds it". So if you haven't seen "Galaxy Quest" I'd urge you to do so. It's as spot on in its comic observations as the "Family Guy: Blue Harvest" episode.

I've included a picture of Sigourney Weaver because, as mentioned above, she gives a fine performance and looks fantastic as a blonde.

XoD.

I have only recently become acquainted with the concept of "fan edits". A "fan edit" is a version of a film modified by a viewer, that removes, reorders, or adds material in order to create a new interpretation of the film. This includes the removal of scenes or dialogue, replacement of audio and visual elements, and adding material from sources such as deleted scenes or even other films. Due to the easy access to pro-quality software and high definition source material, such editions are often very professionally realised.

I was introduced to this sub genre when I was tipped off about an extended version of George A. Romero's "Dawn Of The Dead". After a little investigation on the internet I discovered "Dawn Of The Dead: The Extended Mall Hours Cut". This a a "fan edit" produced by the intriguingly named "Officially Unofficial", using the 139 minute Cannes Cut of the film and the Dario Argento 117 minute version. Effectively this is a near representation of the original rough cut of the movie. It clocks in at a total running time of 155 minutes.

This is quite a lot of extra footage. These include a few extra head shots in the mall sequences, as well as various dialogue extensions, such as the bikers in the finale, planning their “attack strategy”. Also there is one new scene which is dialogue between Peter and Stephen after they return from “shopping” the first time. Stephen and Peter argue over how they would deal with matters is Fran was bitten. It is a very different version of the film with a more depressing tone. It is also very well put together.

"Dawn Of The Dead" is a genre milestone and there is no need to review its merits here. This "fan edit" adds a interesting new aspect to it's pedigree. I shall certainly be keeping my eyes open for further fan produced material.

On a connected trivia note, during my investigations , I discovered that despite having a soundtrack written and performed by Italian musical collective "Goblin", much of the music was library material. The famous shopping mall "Muzak" is actually a stock track called "The Gonk" by Herbert Chappell, taken from the De Wolfe production library. It is in itself, a classic, so enjoy.

"The Gonk".

XoD.

"Awake" is a psychological thriller directed by Joby Harold. It is a "high-concept" movie that deals with the universal fear of hospitals, surgery and "anaesthetic awareness". Despite it's basic premise, "Awake" features several plot twists that takes the film in an direction that the viewer may not have anticipated. The film shows signs of being influenced by the works of Hitchcock and M. Night Shyamalan and the Italian "Giallo" genre.

Clay Beresford (Hayden Christensen) is a young industrialist, with a heart defect. Secretly engaged to secretary Sam (Jessica Alba), Clay worries about their future. He shares these with his heart surgeon friend, Dr. Jack (Terrence Howard) who urges surgery. On the very night of his secret marriage, a heart donor is found, and Clay is rushed into hospital. His controlling mother (Lena Olin) wants her choice of surgeon to handle the transplant. Once put under general anaesthesia, Clay finds he is fully awake, but unable to communicate. With the heart transplant procedure beginning, Clay must endure the agony. But with all his senses working, he soon learns that greater threats lie ahead.

"Awake" with its intriguing premise, unfolds quite rapidly. This moves the film along at a fast pace, but potentially at the expense of character development. Both Alba and Christensen give adequate performances, but the film is carried by the Olin, and Howard. I got the feeling that there was a lot of dialogue removed from the final cut of the film. There are apparrently seven deleted scenes on the Region 1 DVD release. Perhaps the film would have benefitted from their reinstatement.

The despite horrific idea of "Anaesthesia Awareness" it is explored with a degree of subtlety. The scenes of surgery are unpleasant but not excessive, but are sufficient to put oyur teeth on edge. Writer/director Joby Harold decides to employ several plot twists that require increasing levels of suspension of disbelief. It is here that opinion divides. Some critics felt that there was simply to many indulgences that strain credibility. There is also at a certain point a change in approach that takes the film into a different genre. There are also several technical mistakes that are obvious even to the casual viewer of any TV medical drama.

"Awake" had a trouble production with many a cast change. The studio also lacked confidence in the film. In more experienced hands, the scares would have been harder and the performances stronger. Yet despite some shortcomings, I still enjoyed "Awake". It reminded me of film noirs of the 50's such as "DOA" and also of the "The Twilight Zone". In a time of increasing commercialism, at least we have a film that tries to approach its subject with a degree of creativity. "Awake" does not justify the critical battering it has received and I would recommend it to those with a forgiving nature and a liking for more traditional thriller.

XoD.

Spoiler Warning.

I have included some plot details and pictures in this review that may spoil "Cloverfield" for those who have not yet seen it. Please be aware of this before reading and scrolling down the page. XoD.

I did my best to avoid the hype surrounding the January release of "Cloverfield". Such media saturation and public interest can often cloud the issue of whether the actual film is any good. Three months later, I finally watched the film this afternoon at home, which has distinct advantages over the "big screen" of the local cinema. Much has been made of the use of hand held video cameras. The constant movement of the image has proven to cause motion sickness for some viewers. This is not so overwhelming when viewed on smaller screen at home.

Well let's get the obvious out of the way first. Yes, this film is potentially an act of national catharsism over the events of 9/11. In the same way that the 1954 "Godzilla/Gojira" was the Japanese way of dealing with the Atomic Bombing at the end of the war. The hand held "mockumentary" style does lend and element of contemporary credibility to the proceeding. However more discerning film fans will be familiar with this technique in several other productions, such as "The Blair Witch project", "The Last Broadcast", "Ghostwatch", "Cannibal Holocaust", "REC" and "Diary Of The Dead". The film also utilises the classic plot device of only hinting at the monster. The fleeting glimpses caught between the skyscrapers of the Manhattan skyline are extremely well done and certainly contribute to the sense of horror and unease.

The story moves at a fast pace and the movie has a near perfect plot to running time ratio. It does not out stay it's welcome and concludes in a fashion one would expect from such a genre production. There is little or no information given out in relation to the nature of the creature that has appeared or where it has hailed from. This works well, as the central theme is not the monster per se, but how people and governments deal with cataclysmic events. It is both scary and shocking, but the violence is never overstated.

But where "Cloverfield" fails is with its central characters. They are not as under developed as you would expect. They are simply unlikeable. In an effort to appeal to the target audience demographics, the producers focus on quartet of young "yuppies". They are shallow and crass. The women scream and the men just bellow, unable to deal with the unfolding events. This is not implausible, just depressingly credible. It's a shame that the makers of this film did not show as much flare and imagination for their central protagonists as they did with there visual effects and production design.

Now the actual creature itself, as mention above, remains cunningly hidden for the bulk of the film. It is quite ironic that a creature of such size can remain so well hidden in the densely built urban environment of New York. There is a particularly good aerial shot that shows the creature striding between buildings and subject to an air strike from a Stealth bomber.

It is hinted that it is eating people that cross it's path, a fact that is later more overtly established when it is revealed to our gaze in Central park. I personally think that this was a mistake and that the once clearly observed, the well designed creature loses some of its mystique. I'm sure that the production team were also influenced to the work of H.P. Lovecraft and the Cthulhu Mythos. Similar giant alien beasts are briefly seen in Frank Darabonts "The Mist" (to be reviewed shortly).

There is also a secondary threat brought about by the creature in the shape of parasites that are shaken loose from it's body. These arthropods are the size of a dog and their bite presents another set of problems!

Overall, "Cloverfield" is a very enjoyable film. It is scarey enough to appeal to a range of audiences. Slightly older viewers and Europeans may find the American youth a little grating, but after the opening plot exposition, we are fully immersed in the ongoing disaster. We then have an exhilarating ride for the remaining hour. Recommended as an example of well produced populist entertainment.

XoD.

"Licence to Kill" was the 16th installment in the James Bond series, and the last to star Timothy Dalton as MI6 agent James Bond. "Licence to Kill" was the first official James Bond film to use a title not derived from either an Ian Fleming novel or a short story. However, it does contain characters and elements from Fleming's novel "Live and Let Die" and the short story "The Hildebrand Rarity". The film follows Bond's dismissal from MI6 and his vendetta against a South American drug baron. The film was originally due to be called "Licence Revoked", but was changed allegedly to avoid confusion with American audiences.

"Licence to Kill" was one of the least commercially successful Bond films. This can be attribued to the decision to release the film in the summer, in direct competition to the major blockbusters of that year.Bond films have traditional been Autumn releases. Due to the death of screenwriter Richard Maibaum and subsequent legal battles over the ownership of the James Bond series, "Licence to Kill" was the last Bond film for over six years. It has many unique factors that make it a milestone within the Bond franchise.

This is also the first Bond film to be rated "PG-13" in the US and "15" in the UK; all previous films were "PG". Violent scenes had to be trimmed in both the UK and US to avoid a higher classification. This was a decision made by director John Glenn to take on the competition of the time. Action films had become more prevalent in recent years and would have expensive and elaborate set pieces that in the past had been the exclusive province of the Bond movie. The recent release of the "Ultimate Editions" on DVD has finally restored all previously cut material.

The most striking addition of footage is during the shark attack on Felis Leiter. You clearly see the severed leg for a few seconds.

There is also several longer shots of Killifer being attacked by the shark.

When Milton Krest is explosively decompressed, not only do we see his head inflate as the pressure equalises.....

We actually get to see blood spatter across the porthole as his head explodes.

There is also a few extras seconds of carnage when Dario falls into the crusher.

Finally, Sanchez's "full burn" scene is extended and we see him in flames in a closer shot.

John Barry was not available at the time of the post production, as he was undergoing throat surgery. The soundtrack's score was composed and conducted by Michael Kamen. A British composer who had already scored several action films such as "Lethal weapon" and "Die hard".

"Licence to Kill" did, however, perform well with numerous critics. It is still a source of devision among fans. I personally rate is as one of the best entries in the franchise. It is hard edged and minimalist. It reflects the tone of Flemings early novels very well. Daltons performance, the lack of fanciful gadgets and glib one liners, is a radical change in tone from self paradying excesses of "Moonraker". Director John Glen also deemed the film to be the best of his five Bond films. I simply think that the the market at the time was not ready for such a change in tone. Yet the superb "Casino Royale" of 2006, bears many similar qualities.

XoD.

This is an update to my original review of "Aliens vs. Predator - Requiem (2007)." from 05.02.08. I have just watched the unrated version of the film which has approximately 7 minutes of new footage. It doesn't greatly improve the lack lustre plot or poor human character development. However, it does feature some further death scenes and gore. A selling point to some genre fans.

There is new footage of the "Predator" (Wolf) searching through the wreck of his comrades crashed ship. He views, via the dead Predators visor, the last moment aboard the vessel and discovers the existence of the "Predalien".

There are a few extra seconds of the "chestburster" emerging from Sam Benson's (the young boy) torso.

When Carrie Adams body is discovered at the Diner, by Darcy Benson, we see that she has been impregnated by the "Predalien" and died as as a result of multiple births emerging from her chest. The ability of the "Predalien" to reproduce was not revealed until the hospital scenes in the theatrical release.

Kelly and Molly O'Brien hide from the "Aliens" in the cemetery and encountered a man with a gun. He threatens Molly to be quiet so as not to attract the "Aliens". But he is subsequently seen by the "Predator" and has his head blown off by plasma fire. The "Predator" takes no action against Kelly and Molly, as they are unarmed females (inaccordance to the plot devices established in "Predator 1 & 2").

I did not spot any other major changes. The brief battle between the National Guard and the "Aliens" may have a little new footage. The other major death scenes appear to be the same as the theatrical release.

Despite the graphic effects, this film has been edited very rapidly (as so many action films these days) and also suffers from quite dark cinematography. It is not always clear what is going on. The unrated print does little to improve the film but as a purist, I'd say is preferable over the theatrical release.

XoD.