Firefly & Serenity

Year: 2002 - 2003 (Firefly), 2005 (Serenity) Running time: 625 minutes (Firefly), 119 minutes (Serenity)
Certificate: 12 (Firefly), 15 (Serenity)
Language: English
Creator (Firefly): Joss Whedon
Screenplay (Serenity): Joss Whedon
Director (Serenity): Joss Whedon
Starring: Nathan Fillion, Gina Torres, Alan Tudyk, Morena Baccarin, Adam Baldwin, Jewel Staite, Sean Maher, Summer Glau, Ron Glass, Chiwetel Ejiofor

Dave.

I'm not going to make a habit of reviewing TV shows in the blog because frankly not many of them warrant watching all the way through (pointed glance in the direction of Lost, 24 and Heroes). I will occasionally make exceptions when I think it is worth it (also, there is a film, so I can include it for that reason).

Serenity herself, the tenth major character.

Fox have given us a lot over the years; in particular, we have them to thank for two of the best TV shows ever broadcast, in The Simpsons and The X-Files, as well as the defining show of an entire generation, Buffy the Vampire Slayer. For Joss Whedon the powerful network is both the grantor and destroyer of dreams. Following the huge success of the aforementioned Whedon-created Buffy and spin-off Angel, Fox gave him the chance to create a new show without studio interference. The phenomenal sci-fi western Firefly is proof of Whedon's under-rated genius for creating near-perfect TV shows. The empty-headed ass-face at Fox who saw the pilot of this elaborate, brilliantly conceived show and said 'I don't get it, let's bury it in the schedules so no-one will watch it, giving us a reason to cancel it before the end of the first season' should be shot in the face or, in the interests of humanitarianism, should at the very least be flogged and forced to work in a shoe shop until they retire, so they cannot possibly influence television scheduling again.

"Curse your sudden yet inevitable betrayal!"

The show itself was truly flawless, set in a future where humanity has reached the stars and Earth is now just a myth of 'Earth-that-was'. English and Chinese are spoken by everybody fluently, reflecting a past (our future?) where China's elevation into a superpower rivalled anything in the West. There is an inner core of planets forming the Alliance, and an outer 'wild frontier' where people are left to pretty much fend for themselves. It's a whole new type of wild west, which allows for lots of clever mixing of futuristic technology and old-west style environments. The Alliance is the victor in a war fought against the Independence, a war many people are struggling to forget. And on the very edge of space are the Reavers; humans reduced to primal animals, cannibalistic and without mercy.

The show focuses on the ship Serenity and her crew who go from job to job, sometimes legal, sometimes not, and it is here where Whedon's talent shines through. Without fail every character, major or even minor recurring ones, are fully realised, completely developed and performed impeccably by perfectly cast actors.

The crew and passengers are wonderfully varied. There's Shepherd Book (Ron Glass), a man of faith hitching a ride for the sake of the journey rather than the destination, who has a secret somewhere in his past, giving him knowledge of tactical fighting and the ability to handle a weapon, not to mention clearance of the highest kind on any Alliance cruiser.

Mal channels Dirty Harry.

The show quickly developed an X-Files-type mythology in brother and sister fugitives Simon and River Tam (Sean Maher and the remarkably talented Summer Glau). River is a mystery with a damaged mind, rescued by her brother after being experimented on by Alliance research scientists. River's crazy-lost-girl-genius shtick could get old quickly with someone less gifted but Glau invests her with such an achingly acute sense of lost potential, you can't fail to love her and it's easy to see why her brother sacrificed a glittering medical career and all of his wealth to save what he could of her.

Kaylee (Jewel Staite) is the mechanic, who pulls genius tricks to keep the ship flying and exudes a charming mix of sunny innocence and uninhibited sexuality. Jayne Cobb (Adam Baldwin - not a Baldwin brother) is the muscle and provides much of the comic relief, being a man of simple appetites and limited IQ. Inara (the impossibly gorgeous Morena Baccarin) is one of the most intriguing characters, being a high class prostitute. In Whedon's world, prostitution is not only legal, but being a registered 'companion' is a distinguished career choice and she is the most respectable character on the ship, and gives them access to more civilised worlds than they would ordinarily be able to go to.

Mal escorts an excited Kaylee to a rare high-class shindig
in the episode called, um, Shindig.

Wash (Alan Tudyk) is the pilot, who can throw the old ship through the tightest spots like a master composer conducting an orchestra of flying metal and glass. Along with Jayne, Wash provides many of the lighter moments. Wash is married to second in command Zoe (the formidable and perfectly formed Gina Torres), a veteran of the war with the Alliance and pretty much the hardest character on the show.

Leading this varied assortment is Malcolm Reynolds (Nathan Fillion, who deserves to be much more popular than he is, due to being wonderful in everything he's in and a genuine '27%er' - a term for a popular but not A-list actor who instantly makes the prospect of seeing something 27% more attractive when their name is on the cast list), a captain equal parts James T. Kirk and Clint Eastwood. Mal is a veteran of the war (with Zoe, he was on the losing side) and lost his faith when he lost the war. He's damaged, and over the course of the show comes to slowly begin to heal.

She can kill you with her brain.

The show also had a tenth main character of equal standing in Serenity herself. Building all the sets to interconnect to give the actors a real sense of location to lose themselves in gave the ship a real personality and the potential for long takes through multiple ship locations. Every character had layers and layers that would have been peeled back over the years. The most engaging scenes are often of all the characters together and the easy camaraderie that exists between them, sharing a bond almost familial in nature. It's clear the show was as much fun to make as it is to watch.

Each episode has complex plotting, elaborate character development and is beautifully filmed using effects that are still very impressive for a television budget - the camera zooms and swoops over the CGI, not always putting it centre screen and this technique adds realism and wasn't really seen before Firefly and has since been seen in Avatar amongst other things. The dialogue is marvellous and ever-quotable, and is always accurate for the character speaking it - you never get one of those jarring moments where you think 'he wouldn't say that, it's just a plot contrivance'.

The crew brace themselves for something dramatic. Possibly.

When trying to pick stand out episodes, I quickly realised that all fourteen episodes are stand out, but my favourite scene, in a bittersweet kind of way is in episode 12 The Message. By the time they were filming they knew they had been cancelled and the final scene is of the crew delivering the body of a war buddy to his family. The shots of the crew standing in the snow while the music, which was written purposefully as a 'farewell' to the show plays are beautifully poignant, and, if you loved the show as much as I did, rather emotional. I simply cannot fathom why Fox got cold feet, and judging by the DVD sales, I'm not alone. They were so impressive that Universal decided it was worth funding a full-length movie to allow Whedon to tie up the loose end Fox had left him with.

Hero poses #9 and #21.

Serenity is pretty good, but it had more character on the small screen. If you watch it without seeing Firefly first, take a point off the score. The focus is on the Alliance hunt for River and Simon and the reason the Reavers became as they are and makes for some spectacular action sequences, the best of which involve Summer Glau, for she is incredible. Not all loose ends are tied up - for example the mystery behind Shepherd Book is purposefully left unexplained, which is inevitable when the complicated threads developed on the show are given less than two hours to resolve themselves.

Serenity does have one great example of how elaborate the characterisation is and how realistic the characters are. In the final moments of the pilot episode, also named Serenity, Mal explains something about himself to Simon: "If I ever kill you, you'll be awake, you'll be facing me and you'll be armed." In the movie Serenity Mal has fallen on some particularly difficult times and during the course of the film shoots three unarmed men, killing two of them. Mal is one of the good guys, but with this Whedon illustrates that even the best of people will abandon their principles if the situation requires it. This doesn't make Mal a failure or a bad person, it merely makes him realistically human.

Even though Serenity isn't how I would have chosen to see the show wound up, I'm grateful for some sense of completion. Whedon continues his rather annoying habit of pulling out surprise deaths during Serenity and it's a little heartbreaking to see certain characters bite the dust when you know they would have lived far longer if it wasn't for Fox. Maybe Fox did Whedon a favour in the long run. There's no doubt Firefly would've jumped the shark at some point, but following its cancellation, it never does and we're left with these fourteen near-perfect episodes.

Much loved, RIP.

Score:

Firefly: 9/10

Serenity: 7/10

Rachel.

Firefly was recommended to me by Dave after he watched the series alone and I was instantly hooked! The characters are immediately likable and intriguing, leaving the viewer trying to guess their secrets. The sci-fi western combination is surprisingly agreeable and, as Dave has mentioned, a real measure of the talent of its creator.

...And you will know her by the trail of dead reavers.

It is however very bittersweet to watch at times. While you're swept up in the crew's adventures, the brilliant and often memorable dialogue, the humour, and when you're appreciating the quality of the effects and depth of the characters, the fact that it will never reach its true potential sets a bit of a cloud over the series. I echo the sentiment that the decision maker who cancelled Firefly should not be allowed to work in television or indeed any part of the entertainment industry!

When compared to the series proper, Serenity is merely above average as a stand alone film and I fear for those who did not watch Firefly first it would make little lasting impression. However, for a fan like me tying up some of the loose ends did provide a little closure.

Score:

Firefly: 9/10

Serenity: 7/10

Firefly and Serenity are well liked out there - see Doux Reviews' Billie's episode-by-episode review of Firefly and Joshua at Cinemablend's take on Serenity.

(A note on the scores)

I'm no film critic. I'm just a little nobody who likes watching films a lot and decided to share some of his thoughts with, well, nobody in particular. It turns out I wasn't smart enough to figure out a perfect scoring system, opting for a simplistic out-of-ten approach. I didn't really think it mattered too much, as what I really think about the film is in the body of the review and the score is more like a general indication of my overall assessment. I have, I'm both saddened and somewhat ecstatic to tell you, received complaints.

I've only got ten numbers to play with. Some films get the same score. This does not necessarily mean I like Children of Men, Stranger Than Fiction and The Departed equally. They all got eight because that's what I felt they should get. Not that it matters. What is a review? It's the opinion of the person writing it. Rarely are two people's opinions the same. If you tell me there's no way Stranger Than Fiction deserves eight, it isn't going to make me go 'Oh, right, fair enough, I'll knock it down a point then'. It just means you don't think it's as good as I do. To be frank, I'm pleased this thing is receiving any attention at all, good or bad. The whole point was I hoped it would kick-start discussions about the films featured. Still waiting for comments, though. Go on, be the first.

It's been pointed out to me that I apparently think The Incredibles is as good as The Departed. Firstly, I don't really disagree - The Incredibles is a marvellous film. Second, in order to show exactly where each film fits compared to others the rating would have to be out of 1000 or something. If two films get the same score, it means they are broadly similar in quality, not exactly the same. Thirdly, the subject matter of The Departed and The Incredibles are not comparable in any way. The idea is each film should be compared to its peers. The Incredibles should have its eight compared to what I give other films of a similar type (which will hopefully be possible when the blog has a few more reviews published on it). As for The Departed, as mentioned in the review, it should be compared to its contemporaries - against Goodfellas or, say, The Godfather, it does OK, but is closer to Casino. It's nothing like The Incredibles, Stranger Than Fiction or Indiana Jones and the Temple of Doom. The quality is generally similar, but the comparisons don't and can't add up.

The Incredibles was also snorted at and written off as a film for children. It's aimed primarily at kids, sure, but I fail to see how this matters. Should kids films automatically be given a maximum potential score of seven before even being watched? Of course not. Some of the greatest films ever made - Bambi, Spirited Away, Toy Story - are made for kids. Also, Star Wars and Dr. Who, overrated as I find them both, are made for young 'uns. The 'but it's for children' argument is hereby declared null and void.

So, in the interests of helping out those of you who are confused, here is a brief breakdown of what each score means:

1/10 - Quite possibly my least favourite ever film. Ever.
2/10 - Truly, tragically bad.
3/10 - Maybe there is one or two nice things to say.
4/10 - Wasn't dreadful, but wasn't really worth the time out of my life to watch.
5/10 - Average. OK. Alright.
6/10 - Not bad, but there are better alternatives out there.
7/10 - Really rather decent.
8/10 - Outstanding.
9/10 - Among the very best - cinematic bliss.
10/10 - Quite possibly my favourite ever film. Ever.

Got it? Good.

The Departed

Year: 2006
Running time: 151 minutes
Certificate: 18
Language: English
Screenplay: William Monahan
Director: Martin Scorsese
Starring: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone

Dave.

The cop who's a mole.

This may well be a first in the history of film - a Hollywood remake that holds its own against the foreign language original it's remaking. In fact, I might go so far as to say The Departed could probably be considered to be better than the outstanding Infernal Affairs. All it took was the pairing up of legends Martin Scorsese and Jack Nicholson (another film first, fact fans). Billy Costigan (DeCap) is a cop undercover in the mafia, led by head gangster Frank Costello (Nicholson). In a beautifully contrived juxtaposition, Colin Sullivan (Matt Damon) is a member of Frank's gang planted as a mole in the police force. It's one of those perfect set ups that simply requires you to light the blue touch paper and stand well back as the tension increases. Both the cops and the mafia get wise to the fact they've been infiltrated and set Billy the task of uncovering the criminal mole and Colin the task of finding the undercover cop. As you might imagine, it can't end well for anyone, and the escalating body count during the explosive conclusion is inevitable.

It won Scorsese his long sought-after Oscar (about damn time, you useless bunch of Academy shits), but as good as it is, it's certainly no Goodfellas, although it can definitely measure up against Casino. Let's face it, nothing's ever gonna be Goodfellas except Goodfellas and Scorsese almost at the top of his game is better than almost any other director out there.

The mole who's a cop.

The supporting cast are uniformly without crapness, with Martin Sheen, Ray Winstone and others putting in top performances. Hell, even Mark Walhberg is not only passable, but his foul-mouthed outbursts are a highlight. The two leads also do well - Billy trying not to crack under the pressure and desperate to get out and Colin wishing he could switch sides and not be working for Frank make for some of the most engaging scenes. As Scorsese's new muse, DeCap gets the biggest role and doesn't let the ball drop once - in the right role he is truly one of his generation's finest actors. However, none of that really matters, because it's big Jack who steals the show, just as one might expect. His mob boss is utterly without conscience, berating corpses for falling funny when he murders them, but he has a Nicholsonish bent to him that makes him great to watch, evilness notwithstanding. They increased the size of the mob boss role substantially compared to Infernal Affairs, and with big Jack in the role, it's one of the wisest things they could have done.

One of many great pieces of work from the master director, The Departed looks incredible, sounds fantastic (Gimme Shelter is the perfect song for the intro), and it moves with such pace before you know it two and a half hours have gone by and you're watching all hell break loose at the finale.

Score: 8/10

Rachel.

This is not for the faint-hearted, but extremely entertaining. It's fast-paced and violent with a brilliant soundtrack and sharp wit. Lots of great characters well-acted and, like Dave, Jack Nicholson was my favourite. Just to warn you though - look out for the shock-factor ending. Highly recommended.

Score: 7/10

Roger Ebert is a bigger fan even than me, while Josh at Cinemablend likes it except for the ending.

The Shawshank Redemption

Year: 1994
Running time: 142 minutes
Certificate: 15
Language: English
Screenplay: Frank Darabont
Director: Frank Darabont
Starring: Tim Robbins, Morgan Freeman, Bob Gunton, Clancy Brown

Dave.

A rare moment of peace at Shawshank prison.

My, oh my. One of a limited number of Stephen King adaptations that isn't complete pants, The Shawshank Redemption is a miracle and it's easy to see why it tops so many 'greatest films ever' lists, even though, like the similarly revered Fight Club, it was a flop at cinemas and found its audience on video. There's something magic about it that is impossible to recreate, even for director Frank Darabont, who tried with the massively over-rated The Green Mile. Andy Dufrense (Tim Robbins) is an innocent man sent to Shawshank prison for murder. Found guilty of killing his wife, Dufrense not only has to cope with the grief of a murdered wife, but has to find some way to survive a dreadful, hopeless hell on earth. Almost immediately, you are forced to the brink of tears as during Andy's first night one of the other new prisoners is beaten to death by the guards for simply being afraid.

We follow Andy as he tries to adjust to his new life of regular rape and constant abuse without the possibility of escape. Instead of being dragged down into the ugly existence many of the inmates lead, Andy's calm and unbreakable demeanor begin to partly uplift the lives of some of his fellow prisoners. When Dufrense risks his neck to secure a few beers for his new friends in the sunshine, his success is giddily euphoric. An accountant in his previous life, Andy uses his expertise to help the corrupt warden Norton (Bob Gunton) and guard captain Hadley (Clancy Brown) amass fraudulent fortunes, and in return, some of the more unbearable parts of prison life - the rapes, for example, - are stopped.

On and on the film pulls you, from horror to sorrow to happiness, increasing in intensity. The lowest point, when Andy's chance for freedom is ruined by murderous and corrupt officials is almost more than you can take, and when it appears as though he is considering ending his own life, you can truly understand why. The repeated phrase "Get busy living, or get busy dying" leads you to think Andy has chosen the latter.

And then, it happens. Everything turns around as you learn of Andy's escape and how he ruins the people who have kept him prisoner and murdered to serve their own greed. The moment warden Norton throws the stone at the poster and it flies right on through gives you such a sense of satisfaction, the effect is heady. Only when you have followed Andy to the brink of despair can you truly appreciate the joy of seeing him free.

Obviously, Tim Robbins is wonderful, putting in the performance of a lifetime, but it is Morgan Freeman as Red, the story's narrator and Andy's closest friend who stands out for me. The scene with the interview in which he is finally granted his release is without doubt one of the finest examples of acting I have ever seen. Unlike, say, Dustin Hoffman in Rain Man, there is no showboating, no grandstanding, only believability. In a single glance, or a slightly lifted eyebrow, Freeman somehow manages to convey to the viewer a lifetime of regret for one stupid act as a young man.

For some, the overly happy ending may be a little too much to swallow. For me, it was entirely necessary after what these two characters have gone through; after what they have made you feel.

This is one of the greatest prison dramas of all time, with only Papillon offering any potential competition.

Score: 9/10

Rachel.

Andy enjoys a short break in the sun.

What can I say? This is one of my all time favourite films. Superb acting and a gripping story of hope and unbreakable friendship; The Shawshank Redemption has it all. Along with some disturbing scenes of prison life, there is light-hearted humour and for the viewer a roller-coaster of emotions. The story is told in such a way that you forgive Red and the others for their crimes and feel overwhelming compassion for all that they go through. As Dave mentioned, I can understand why the ending could have been regarded as a bit over the top. However, I feel it gives a sense of much needed closure and if you're anything like me, a bit of a blubbery moment; oh for the blue of the Pacific Ocean!

Score: 9/10

The Shawshank Redemption is Bill's favourite film of all time (Bill is one of many), but Robbie at The Telegraph is slightly less fervent in his praise than either me, Rachel or Bill, suggesting it falls just short of greatness.

The Incredibles

Year: 2004

Running time: 115 minutes

Certificate: U

Language: English

Screenplay: Brad Bird

Director: Brad Bird

Starring (voices): Craig T. Nelson, Holly Hunter, Samuel L. Jackson, Jason Lee

Dave.

Bob quietly reflects while imprisoned by
Syndrome.

With every feature they make, Pixar prove that when it comes to making films that are bright, rich in story, gorgeous to look at and funny as hell, they have a pretty much unrivalled track record. The fact that the films are computer animated is irrelevant - as has been said before, animation is a technique, not a genre. Take The Incredibles, which is certainly not the best Pixar release. Superheroes the world over are forced to go into hiding when Robert Parr ('Mr. Incredible', voiced by Craig T. Nelson) is sued for saving the life of a suicide who didn't want to be saved, which in turn opens the floodgates for lawsuit upon lawsuit. Banned from 'hero work', he is forced into keeping his powers under wraps and raising his family with wife Helen (formerly 'Elastagirl', voiced by Holly Hunter). It's hard to decide whether the people at Pixar are all lunatics or geniuses. Probably a little of both.

You're never far from another beautifully rendered scene that will put your jaw on the floor, but this being Pixar, the shiny animation while undoubtedly without peer in its field, is simply the tip of the iceberg. The characters are, despite being secret superheroes, entirely believable, and the scenes of the Incredibles just being a family are suffused with a realism that will ring true with many people who are married with children. Even the minor characters are an absolute delight (in fact, tiny and crazy Edna Mode (voiced by director Brad Bird) is probably my favourite character, despite having only a small part), and the cast as a whole nail every comedic and dramatic beat.

"Showtime."

Covering a whole range of emotional states, there is comedy (see Sam Jackson's Lucius Best, formerly 'Frozone', arguing with his wife when she hides his supersuit) and there are moments that bring a lump to the throat (Bob, terrified at the idea of losing his family breaking down with an anguished cry of "I can't lose you!", then ducking his head, quietly stuttering "I'm not strong enough" is particularly affecting), but when the action kicks in, it truly hits its stride; certain scenes are breathless, and stand toe-to-toe with the best action cinema has to offer. Sheer brilliance.

So why only an 8? Sounds like a 9. It's an 8 because Pixar have set the bar so high, that something as fully rounded and technically accomplished as The Incredibles sits only in the middle of the pack, quality-wise. I'll probably run out of superlatives long before I finish reviewing all of Pixar's output.

Score: 8/10

Rachel.

Ah, Pixar. Thanks for providing another thoroughly entertaining couple of hours for adults and kids alike. The story puts a cool spin on the lives of comic book-style superheroes using their amazing trademark animation. I can't wait to share this funny and heart-warming film with my daughter Katie.

Score: 8/10

It seems others rate The Incredibles even more highly than me, if Stella at the BBC and Michelle at Future Movies are anything to go by.

Fight Club

Year: 1999
Running time: 139 minutes
Certificate: 18
Language: English
Screenplay: Jim Uhls
Director: David Fincher
Starring: Brad Pitt, Edward Norton, Helena Bohnam Carter, Meat Loaf

Dave.

Coming to terms with the idea that just maybe there is
more  to life than stuff.

I am Jack's sense of utter awe. Fight Club is an exceptional film, with a mind-blowing plot line. Every element of it screams inventiveness, from the perfectly pitched music (and sound, a brilliant example of which is the surround sound mix during a scene in which the camera swoops around the inner workings of a bomb, and the ticking and bleeping come from different places depending on the position of the camera), through the outstanding cast (even Meat Loaf, surprisingly), to the unexpected and original direction of David Fincher, an example of which is the inspired opening credits. Adapted from the novel by Chuck Palahniuk, it's a study of how frustrated, testosterone-fuelled men find a way to express their pent up aggression while being a vicious criticism of consumer culture. Despite being such a wonder, the film flopped embarrassingly on its release, and has since found its audience on DVD.

Ed Norton is a nobody, a drone who finds a cure for his insomnia in attending support groups for the terminally ill, even though he's not dying. Disturbed to find he's not the only tourist of the groups of the dying he meets Marla Singer (Helena Bohnam Carter) and is instantly repelled. His life is changed when he meets soap salesman Tyler Durden (a never better Brad Pitt) and the two start an underground club where men, tired of the endless daily grind of their working lives, pummel the crap out of each other so they can feel alive again. Durden is everything Norton secretly wishes he could be; not tied to a job, not chained by etiquette and sexually uninhibited, embarking upon an extreme sexual relationship with Marla ("I haven't been fucked like that since grade school" providing one of many controversially memorable lines).

Durden is an incredible creation, who while onscreen demands your attention as he is preaching to Norton about why his life is pathetic and why he doesn't need any of his home comforts, spouting lines such as "The things you own end up owning you" and imagining a future where "You are stalking elk through the damp canyon forests around the ruins of Rockefeller Centre." Much of what he says sounds rather sensible and you find yourself, like Norton, coming around to his way of thinking. Until he goes mental and starts 'Project Mayhem'. If, like me, you found yourself understanding a little of the anti-materialistic place Durden is coming from, what must be acknowledged is that something like 'Project Mayhem' is almost certainly the kind of thing that would result from a large group of people following Durden's 'teaching'. The plot development feels entirely organic, and is a little sobering for those nodding along at Durden's logic in the early scenes. An effective example of the 'wisdom' of Tyler Durden is the scene where he and Norton take a sales assistant to a parking lot and threaten to kill him. At the end of the ordeal, the poor soul is given a choice; start working towards realising his life's dream or be murdered. Though the method is strong, the shop assistant is no longer wasting his life, dreaming about what might have been. Talk about extreme therapy.

Then there is the moment. Oh, the moment. I'll never forget the first time I saw it unfold in front of my eyes. I won't tell you what I'm talking about, this blog's spoiler warning notwithstanding, because knowing it beforehand can genuinely ruin the film for you and rob you of an unforgettable realisation. When you see it you'll know, and then you'll understand.

Truly one of the greatest modern contributions to cinema, this still stands as Fincher's high water mark. Plus, the choice of Pixies' Where is My Mind? over the end credits is inspired.

Score: 9/10

Rachel.

Arguing over diseases.

Girls, if you watched Meet Joe Black wiping the drool from your lips whenever Brad Pitt was onscreen, you should watch this film. His brilliant portrayal of Tyler Durden is the ultimate proof that Pitt is not just a pretty face. In addition to Brad Pitt changing my perceptions of him as an actor, this was also my introduction to Ed Norton, who is the perfect choice for a ho-hum character who slowly loses his mind. The gasp-inducing shock ending blows other film twists (like The Sixth Sense) out the water.

If you haven't already seen Fight Club, stop reading this and go and watch it!

Score: 9/10

It seems others either strongly disagree, like Peter at the Guardian, or agree with reservations, like Adam at Empire. The people that seem to love it as much as me are, ironically considering it flopped originally, the audience.

Total Recall

Year: 1990
Running time: 113 minutes
Certificate: 18
Language: English
Screenplay: Ronald Shusett, Dan O'Bannon, Gary Goldman
Director: Paul Verhoeven
Starring: Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone, Michael Ironside

Dave.

Mars:  Red, apparently.

Paul Verhoeven has made some truly awful films, such as Basic Instinct and Showgirls. He has however, also made some phenomenal ones, for example Robocop and Starship Troopers. Total Recall assuredly falls into the latter camp. Based on the short story We Can Remember It For You Wholesale by oft-filmed science fiction author Phillip K. Dick, we follow construction worker Douglas Quaid (Arnie) who decides to get an implanted memory of an adventure on Mars. The procedure uncovers a hidden identity buried in Quaid's subconscious ('Hauser'). Things get rather messy, plot-wise from then on, with Quaid taking on a mission to save the downtrodden mutants of Mars from radiation poisoning and evil corporate greed. Possibly.

At the time, Schwarzenegger was an unpopular choice for the cerebral sci-fi adaptation, and several changes were made to the original novel - for one, Quaid was originally an office drone not a construction worker, although, considering the big man's ridiculous physique, the reason for that change is obvious. On the surface, the fears of the anti-Arnie brigade appear fully justified, as at first glance this extreme-violence action romp lacks the intelligence of the average Dick adaptation (although other Dick themes, such as paranoia and the exploration of human identity are certainly present), and is filmed in a style that befits both Verhoeven and Schwarzenegger. Upon a closer look however, hidden depths can be found, and by the end we can't decide if it was all real or just a memory implant. The more I watch it, the more convinced I become that the whole thing happened in his head and was by design. The fact that it ends in a white light fade out suggests that it is all in his head, but it is never confirmed.

The film is full of little touches that stay with you, scenes such as Quaid pulling a huge red tracker out through his nose, the psychotic cab robot who commits hari-kari after not being paid, or the outstanding prosthetics. More memorable though is the big man's dry wit (a talent that is criminally ignored due to his distinct lack of acting skills) when delivering certain lines, particularly "Look who's talking" after being told by a disfigured mutant that he has a lot of nerve showing his face and "Consider that a divorce" after shooting his wife in the head.

With more depth than you may at first suspect, this is classic sci-fi done in Verhoeven's uniquely extreme style.

Score: 8/10

Rachel.

Quaid was reluctant to discuss marriage counselling.

A brilliant Saturday night film, this is classic Arnie at his best. As Dave has already mentioned, it has some great lines - my favourites being "See you at the party, Richter" and "Screw you!" as he drills into the double-crossing Benny (Mel Johnson Jr.). However, in my opinion, the film is most memorable for its distinctive special effects; explosive suffocation, Kuoto the mutant rebel leader and a prostitute with three breasts! I still think this kind of effects work, without the overuse of CGI (as is often the case in more recent films) adds a unique and, in some cases, more believable look.

Definitely worth a watch, although it's possible my high score is more a result of rose-tinted nostalgia than quality. And by the way Dave, I definitely think it was all real!

Score: 8/10

Vince at Qwipster agrees, but Janet at the New York Times would probably say I over-rate it a little.