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6/10
Magic in short supply this time around.
4 July 2008
As the lights in the cinema dimmed I waited with baited breath; how will it begin? How will they incorporate the Paramount logo, what will be our first glimpse of Indy and what will he say? There it was, the Paramount logo and it turned into... a prairie dog mound of earth. Okkkaaaayyy. Then a CG prairie dog appeared and I knew we were in trouble.

It's interesting how the Judaeo-Christian artifacts, the Ark of the Covenant and the Holy Grail, seemed to get the more 'serious' (for want of a better term) treatment out of the four Indy films. The Shankara Stones and the crystal skulls come across as more jokey and comic book-like, as if because they aren't 'real' (from a Western point of view) they get a less 'serious' narrative.

There were too many side kicks, too many dusty, dark temples and too many by-the-numbers action sequences. The narrative was all over the place and, like the later Star Wars films, the story was muddled and sometimes confusing.

The first three Indy films worked so well because they didn't use CG, the filmmakers had to actually go out and find real locations to do their stunts. I'm referring to the car/truck chase through the jungle and near the cliff edge in 'Skull' here. You could see it was all blue screen, CG and manipulation, and it suffered as a result.

However, the car/truck chase in the desert in 'Raiders' when Indy has the Ark onboard and is fending off the Nazis is spectacular because we know it was, for the most part, real. No studios or computer wizardry, just good old fashioned film-making.

Cate Blanchet was fun to watch in Russian Domme garb but it was pretty much a one note-character and soon grew tired.

On the plus side, Harrison looked great and really seemed to be enjoying being back in the hat. His performance was well worth the price of admission.

All up the film came across as a parody of Indy, a send up even. It felt like the whole concept had been dumbed down somewhat, the edges smoothed off and made cute and, unfortunately, corny.

I still love you all though. I was 10 when Raiders was released, I'm 37 now and will always adore Indy's adventures, past, present and hopefully future.
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B.T.K. Killer (2005 Video)
A new low in movie making - avoid at all costs
21 October 2006
Today I saw the worst movie ever made - 'BTK Killer'. Repeat, the worst movie ever made. (It doesn't even have anything to do with the real BTK - Dennis Rader and his terrible crimes). Hence, the makers of this 'movie' are just trying to cash in on the name.

Everything about this movie is atrocious. The direction doesn't rate as amateur, the cinematography is at best home-movie quality, the acting is Z grade and the editing annoying and, well - very annoying! All those seemingly endless shots of animals being butchered made me continually reach for the fast forward button.

I feel so sorry for the actors in this piece of drivel - they really looked as if they were trying hard, but with such incompetent and juvenile direction and comic book standard dialogue that was offered them, it is no wonder none of them could offer a believable performance.

'BTK Killer' lacks anything even remotely approaching talent, it reeks of being a 'cash in', and is so poorly thought out and constructed that I hope video stores who do currently stock it will realise the error of purchasing it and immediately consign their copies to the nearest recycling bin.

Please avoid at all costs.
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Wolf Creek (2005)
8/10
Great, but maybe didn't go far enough.
9 November 2005
Warning: Spoilers
May contain some spoilers...

Maybe I read too many reviews, posts and whatnot on IMDb before seeing 'Wolf Creek' because I got the impression that the film was really going to knock me for a six with regard to its depictions of violence and torture. Well I saw it today and thought it was very well made, but perhaps didn't quite live up to the hype that has been generated around it.

My first impression was how completely natural all the actors were in the film, it really did feel like I was watching someone's home videos. (The cinematography was very slick though and it seemed the DOP really took advantage of the available light and weather conditions - like the fog towards the end). Each character was believable and likable in every way. I enjoyed watching them interact on their journey through the centre of the continent.

Once John Jarrett enters the film we know things are about to take a turn for the worse for the characters. I at least had my bottle of water ready for what I thought was going to be a hellish ride through some very disturbing moments. And yes these moments did come...and then all too quickly they were gone. Once again the actors talents were what drove the story here. Forget beautiful pin-up American teens in some horror flick where only the good ones survive, 'Wolf Creek' gave us very real looking people in very terrifying circumstances. Their fear was palpable.

However, I did feel somewhat let down by some of the (what I felt) rather illogical situations. The first one involved Liz when she awoke bound and gagged in the shed. She was bound only with two cable ties, a weak gag and her hands were bound in front of her. Of course she escaped! Why didn't he hogtie her or something more secure? The other point which I felt didn't ring true was when Liz was snooping around the collection of photos and video cameras that the killer had collected over the years. Why would anyone, in such a situation, take the time to rummage around these items. Just get the hell out of there! I suppose my other main complaint was that some of the camera work was so jolting that I just couldn't figure out what was going on. I know hand-held cameras in a dramatic moment are supposed to move around but sometimes it was just too much. It was a case of wait for the camera to settle down so we could actually see what has been happening.

The music for the car chase sequence between the killer and Kristy sounded more than a little like the rather experimental music for Spielberg's TV movie 'Duel'.

One thing though that I cannot answer is, why did their watches stop at the crater? And the car as well? Was there some supernatural theme going on here, and how was it connected to the killer? Did he have some special powers? This element gave the film a slight 'Twilight Zone' feel about it, yet the film worked better just as a realistic portrayal of the murder of innocent young travelers.

Ultimately I think the whole torture aspects of the film have been over-hyped by the media. I never found myself turning away from the action. If anything, I feel we should have seen more. Not to satisfy some secret fantasy, but because the film built itself up so much to something dreadful happening, that when it did happen, it was over a little too quickly.

Still, it was great Aussie film at a time when we need great films.
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Sterile, cold and soul-less
10 August 2004
The Star Trek machine finally ran out of puff with this promising yet thoroughly unimaginative adventure.

If ever a movie was made by committee this is it, as it seems devoid of any real 'vision' or 'passion'. Everyone and everything seems to be going through the motions of making this film.

The beginning was convoluted and silly (Picard driving the 4WD over a cliff into the shuttle craft: I can't imagine the Picard from the TV series doing that), and the wedding scene (badly put together) had Wesley in it. Did he just drop in from the 'other plane of existence' that he inhabits for a while without a word of introduction?

Yes it has action, yes it has adventure...but what good are these when all the characters seem so flippant and laid back? All the audience gets is a by-the-numbers action film and nothing more. The sets were dull and flat, the action predictible, the narrative derivative and tired.

And once again Beverly gets very little to do. Gates is a wonderful actor and is so seldom used in the movies.

For the first time in a Trek movie I found myself yawning, and wishing it would hurry up and end.

It was all action for action's sake, without reason or passion.
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Lynch the director!
30 June 2004
Modern cinema has sunk to a new low, and that new low is 'House of the Dead'. The characters could have been wax dumbies for all the director cared. The dialogue doesn't even rate as banal, and the overall feeling one gets is - why did they all bother?

What could possibly have made Clint Howard (a fascinating actor), sign up to be a part of this purile, juvenile, utterly atrocious piece of garbage? Maybe a few brain-dead teenagers who live in dark basements in Oatmeal Nebraska might enjoy this 'movie', but to the rest of humanity it is an embarrassing and disgusting waste of time, money and energy. (Thank God for independant cinema!)

There is no characterisation, no plot, no logic, hell not even any continuity between the shots! (Just look at the scenes of the Captain alone on his boat while it is raining. In the next shot it is not raining, then cut back to him and it is raining again).

To sum up, it wasn't scary, it wasn't exciting, it wasn't sexy, it wasn't anything of worth at all.
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Notting Hill (1999)
Reminds me of someone special.
27 June 2004
As 'Notting Hill' is a romantic comedy, it is often assumed that it is a "chicks-flick". Afterall, isn't it women who usually like movies such as this? Well yes, but I'm sure there are many guys out there who also love it - and I am one of them.

I guess everyone, at some point in their lives, falls in love with someone else, and this movie is a genuine and heartfelt look at how that love begins, grows, suffers and ultimately triumphs. Well, that's how things happen in the movies, real life is often not that perfect, but that's the whole point for movies show us what might be.

The characters Hugh Grant and Julie Roberts play are so similar to myself and a woman I was very much in love with for a long time - and still am. There is a scene at Hugh's place, on the roof actually, where they are going over her lines for a new movie she is about to begin. Everything about them in that scene, their personalities, their way of speaking to each other, even their clothing is a mirror of me and that woman who I was once with. Watching 'Notting Hill' reminds me of our time together.

'Notting Hill' is a very 'English' movie, full of English sensibilities, humour and characters. I love it for its wonderful depiction of how love might be for us all.
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A woeful excursion
25 May 2004
'Blues Brothers 2000' is a sequal that just didn't work. Whereas the original felt gritty, dirty, cool and funny, the new one shows us characters in bright clothing, the sun is always shining and everything seems so squeaky-clean. It's as if 'Disney' took over the production, put a cute kid in it, and turned it into a jolly piece of family entertainment. For example, in the original the car chase was on the mean dirty streets of Chicago, with all the rubbish and shadows that come with a city location. But in the sequal the car chase was staged on a nice piece of quiet country road, with green grass and lovely scenery. It seems the filmmakers decided to take it easy with this one and do all their work in the most comfortable of surroundings. Why block city streets when you can take your time out in the middle of nowhere? While that may sound convenient in the end the original car chase was much more exciting, real and funny than the newer version.

Even the prison that Ellwood is released from at the beginning of the film is in a nice piece of verdant countryside. I thought Jolliet was deep in the heart of Chicago, in a kind of industrial wasteland... Aretha Franklin and her crew are all now rich and selling expensive cars! Oh dear, whatever happened to the 'blues'? Blues music plays so much better in more rundown areas. Well that's what I think.

Certainly the music is awesome and I cannot help feel that they should have all just gone on the road rather than make this ineffectual and silly sequal. There were just to many characters, not nearly enough story, and Ellwood seemed to talk non-stop to the point of being annoying. Ackroyd's voice even sounded cartoon-like, he definately didn't sound the Ellwood from the original.

I have seen the original more times than I can count, and could happily sit down and watch it now, but the sequal I have seen maybe two and a half times and have no wish to sit through it again. I would love to see a Part 3, but this time getting back to the roots of what Blues really is, and not a cleaned up, sanitised and bubbly episode like what '2000' was.
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Beowulf (1999)
An insult to the poem
14 May 2004
For those who do not know, 'Beowulf' is an ancient Anglo-Saxon poem that was originally created in the English homelands of Northern Germany, Southern Denmark and the Frisian Islands. It was a pagan poem that featured a man, Beowulf, battling against the monsters Grendal and Grendal's mother. The Anglo-Saxon peoples journeyed across the North Sea in the years following the end of Roman rule in Britain and began to slowly take control of a large chunk of the island, eventually creating the nation of England. These people brought their epic stories, poems, religion and folklore with them to their new island home. One of those epic poems was 'Beowulf'.

'Beowulf' was not just a poem about the great deeds of a warrior, it was about honor, loyalty to one's lord (Anglo-Saxon lords often gave rings to their best warriors as gifts, and were much prized and coverted. This theme found its way into 'The Lord of the Rings'). It was also about the cycle of life and death, how one's time on Earth is fleeting with the unknowable always ready to greet us.

As the years went by the Anglo-Saxons adopted Christianity and this new religion seeped into their ancient pagan literature, including 'Beowulf'. But the poem survived with many of its ancient themes intact. The version we have today was written down around the year 1000AD, though other older versions would certainly have been recorded but have since been lost to time.

And then, in 1999, comes a hopelessly idiotic, bland and reprehensible film under the title of 'Beowulf' that just so happens to have virtually nothing in relation to the original ancient English epic poem. The movie doesn't deserve the right to use the title of such an important part of English culture in such a slap-dash and insulting way.

There is absolutely nothing about this movie that can be recommended. It was an exercise in pure violence, nothing more. If you have the opportunity, grab a copy of the poem and read it, you'll enjoy every moment of it.
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The Rundown (2003)
Only paid 50 cents to see it
27 April 2004
That's right, I only paid 50 cents to see this movie. My local video store offers all its movies for 50 cents on Tuesday, and boy am I glad I didn't spend anymore.

There were two things only about this movie that made it watchable. Firstly, the chemistry between the two male leads was strong, and secondly, the DVD had a good selection of entertaining features. And that's about it.

To be honest, I fell asleep just as The Rock entered the town to do battle with Chris Walken and his goons in the third act. It was all very predictable and childish, nothing new or exciting. I didn't have high, or even modest expectations anyway.

All very lame-brained and dumb, just the way American audiences like their movies to be.
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Russian Ark (2002)
so good
31 March 2004
This is what cinema is all about, the freedom to explore every possible story telling device. Russian Ark is a bold step forwards, an intriguing premise, and I saw it with an ex-girlfriend whom I still love.

She liked the film, I loved it, and I got many of the references and enjoyed explaining them to her. I'm not sure how much of the film made sense to American audiences (being so US-centric) but the film shows us that cinema is the most dynamic and amazing format for creative expression.

Only one question, why is a guy at the end wearing modern day eye-glasses in the scene where everyone is leaving the ball?

Russian Ark demands attention from the audience, and as long as you give it, you will be rewarded greatly.
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Le divorce (2003)
Another arrogant American look at Native Europeans
30 March 2004
The posters and other advertising material for this film make one think that 'Le Divorce' is a sweet and charming Parisian romantic comedy, but instead the audience is subjected to nearly two hours of poorly thought-out characters, a plot that goes nowhere, depressing lives and confusing motives.

'Le Divorce' is a conspicuously anti-male and anti-French film. Virtually every (French) male character is either selfish, arrogant, slimy, stupid or all of the above. Is every French man so worthless?

Why set a film in France if you are only going to ridicule and complain about the French? It's as if the filmmakers seem to think that only Americans know what is truly right and wrong and everyone else is either backwards or dumb.

The American attitude to other cultures is so condescending that one feels physically sick. In one scene, Glen Close's character thinks aloud about writing a book about the French and their strange ways, as if she were a Christian missionary or Imperialist, wanting to chronicle the quaint ways of the 'natives'. In another scene on a train someone asks "Is this the Middle Ages?", with the reply being, "No, this is France". Since Americans in general seem so intimidated by European culture and intelligence they feel they must deride all native Europeans in such a manner.

Naomi Watts, someone whom I admire greatly, was so uninteresting and morose that I was glad whenever she left a scene. Whenever someone voiced an opinion or idea that was not 'hip-PC' then her character would grumble.

'Le Divorce' was tough going, it wasn't entertaining in any way, nor is it a film I would recommend to anyone else.
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One of the greatest achievements in TV sci-fi
24 March 2004
Without a doubt Deep Space Nine is the most mature, intelligent and sophisticated of all the Star Trek series. Watching it is more like watching some type of epic theatre than television. DS9, I believe anyway, is about karma - what goes around comes around. The title is apt to say the least, for Deep Space Nine is the deepest of all. Each character is a self-contained universe with so many surprises and revelations: certainly, each character goes through enormous changes by the time the series ended. In addition to the core 7 or 8 characters were dozens of supporting characters who were just as fascinating.

DS9 appeals to me because it took risks, it did things no other Star Trek show had ever done. While I love all of them, (though still not terribly impressed with Enterprise) the other Trek shows so often seemed to play it safe. Whereas the Worf/ Deanna relationship on The Next Generation seemed artificial and forced, the Worf/ Dax relationship on DS9 seemed more genuine and heartfelt, as did all the other relationships on the station.

DS9 gave us everything we could ever want from a tv sci-fi show - great space battles (Favor the Bold & heaps of others), intriguing character dynamics (Sisko & Dukat), fascinating concepts (The Visitor, Far Beyond the Stars), great comedic moments (the Ferengi really are a fun race!) and a truly wonderful feeling of 'purpose' which made me feel that I was privy to something far grander than a tv show.

In every way DS9 is a class-act, a superb adventure, and a legacy that I fear is next to impossible to equal, let alone beat. As Star Trek unfortunately seems to be descending into empty formalism and comic book characters and narrative, Deep Space Nine will remain an example of daring, intelligence and true originality.
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Duel (1971 TV Movie)
Awesome! Duel delivers truckloads of suspense.
21 January 2004
Consider this, Spielberg was only about 25 years old when he directed Duel, and he had only 16 days in which to do so. Duel takes a simple, age-old story of man versus beast and spins a tale of utter terror, excitement and daring. Just like the monster Grendel being slayed in the epic Anglo-Saxon poem Beowulf, Duel gives us a modern day fellow who does battle with a metal beast.

The only time Duel falls a bit flat is the diner scene about half way through the film, though it does set up a lot of what David Mann, our hero, is thinking and feeling. Once the action picks up again it never stops and leads us to a very satisfying and breathtaking conclusion.

If you watch closely in some of the scenes where David Mann's car is going slowly up hill, you can see the top of Spielberg's head in the rear-view mirror. There is also a reflection of Spielberg in a chrome bumperbar during the scene with the school bus.

Duel was one of the very first 'made-for-TV' movies but because it was so great it eventually went on to have a theatrical release. Since Duel was made for television it is not technically Spielberg's first feature... that honour goes to 'Sugarland Express' which starred Goldie Hawn.

Despite the plethora of villains in movies over the decades, the truck in Duel still ranks as one of the most effective and terrifying.
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Good film but some gaping holes
19 January 2004
Ok, I am a Star Trek, and as such I probably watch the shows and movies a little bit closer than your average viewer. Maybe I watched 'The Undiscovered Country' a little to closely because I came up with a whole bunch of errors that might just interest you. I AM NOT giving away any of the story here, but if you don't want to know anything that happens in the film, maybe you'd better exit out now. Here goes:

1). The First Officer of the Excelsior says "I have an energy wave at 204 mark 6 port sir! When we see the Excelsior however, the energy wave hits her on her starboard side.

2). Why is Janice Rand already on her feet while Sulu is still clawing his way along the floor of the Bridge to his chair after the energy wave hit?

3). Why didn't the Excelsior's sensors detect the explosion on Praxis? The first hint of trouble came when Sulu's coffee cup fell on the floor!

4). Just after the Enterprise has left Space Dock we see Kirk in his quarters putting his bags away. Suddenly, Valeris arrives and informs him that they are almost at the rendezvous. How long does it take Kirk to put his bags away?!

5). When Kirk is wrestling with Martia (in Kirk disguise) they roll on the snow towards McCoy's feet, but in the next shot they roll straight over McCoy's chest.

6). When the Enterprise meets Gorkon's ship and Kirk invites him and his crew to dinner, we see Chekov at his usual seat next to Valeris. But then, after Kirk leaves, Chekov has some how jumped to Kirk's chair when he says "Guess who's coming to dinner".

7). When Gorkon's ship is hit by a photon torpedo (seemingly from Enterprise) we see the Enterprise's Bridge with at least half a dozen people suddenly rushing to their seats. Where did all these people come from? Were they all just standing around at the centre of the Bridge waiting for something to happen?

8). At Kirk and McCoy's trial a Klingon witness says that "After the first shot we lost our gravitational field. I found myself weightless..." Actually, it was after the second photon torpedo that the Klingon ship lost its gravity.

9). Just after Chang's ship cloaks upon arrival at Khitomer we see Kirk pacing around the Bridge, awaiting the inevitable battle. The clock above the viewscreen shows that it is 0:4:37:06. However, when he wanders past Uhura's station her clock reads 0:4:35:31.

10). When Gorkon's ship is damaged by the torpedos that seem to come from Enterprise, we hear Chekov say, "She's still lisitng." The clock above the viewscreen shows 0:1:38:49. But when Chang appears on the viewscreen the clock shows 0:1:29:16.

11). In the end credits, Uhura is listed as Uhuru.

Apart from all that, the film is still highly entertaining and a worthy conclusion to the original crew's adventures together.
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Great action & great actors
19 January 2004
What is so surprising about this Indy film is the almost total lack of American actors. Obviously Indiana is played by Harrison Ford, yet virtually everyone else is British. Sean Connery (Scottish) plays Indy's father, Denholm Elliot (English) plays Indy's happless friend, Julian Glover (English) plays the evil Donovan, Alison Doody (Irish) plays the two-timing Elsa, John Rhys-Davies (Welsh) plays Indy's friend Sallah, plus a whole heap more.

Throughout his career, Spielberg seems more and more comfortable with British rather than American actors.

Spielberg seems to be enjoying himself so much directing this film that the sense of fun, excitement and sheer movie joy is infectious on us all. Forget about logic and rationalism, 'Last Crusade' is a wonderfully disarming romp that brings out the child-like innocence in us all. We all want to remember the games we played as children, and this film allows us to relive those childhood adventures all over again.
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Life of Brian (1979)
The Pythons' Masterpiece
18 January 2004
Life of Brian is clearly the Python's most solid feature film. Though it is still made up of sketches, each one is so superbly knitted into the next that a seamless strong narrative is the result. Terry Jones does a brilliant job at directing while all the members of the Python team seem to be giving their best performances ever. Graham Chapman is especially wonderful as Brian.

The Sermon on the Mount, the stoning, what have the Romans ever done for us and the Latin writing lesson scenes are my favourites. Some people at the time of the film's release condemned the film as blasphemous and so on, it was even banned in some countries. When one actually sits down to watch the film it is realised that it is nothing of the sort. Rather, it contains a very positive message of belief in one's self, to find the answers to life and religion without blindly following what others' tell us.

What a shame there is no modern day Monty Python around to give us even a hint of the greatness that those 6 guys did. Of course each has gone on to success as individuals, but as a team I doubt that they will ever be bettered. Comedy standards are so low today that the humour in Life of Brian is perhaps beyond the perception and understanding of younger audiences, who have all had their minds dulled by gross-out toilet humour 'comedy' films and tv shows.

And remember, "He's not the Messiah, he's a very naughty boy, now go away!"
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I, Claudius (1976)
The British show the world how to make a TV drama.
16 January 2004
Nobody, absolutely nobody on planet Earth could do such an intelligent, superbly acted and brilliantly directed drama series like I, Claudius than the British. If one wanted to learn how to act, they should watch I, Claudius, if one wanted to learn to write drama, they should watch I, Claudius. In an age of dull, repetitive and childish immature television, I, Claudius stands out as a show that seems to good to be true. The viewer is spoiled with the staggering quality offered by the series.

With all due respect to American actors, and there are some very fine ones, they could never have achieved what the British actors did in I, Claudius. What we see are actors doing what they love so effortlessly without the benefit (or hindrance??) of mega-Hollywood bucks.

The show is, and I know this from my own experiences and from seeing the reaction of others, incredibly addictive. One simply cannot get enough of it. The series treats its audience as intelligent individuals which is such a refreshing change from the attitude of most current and past programs.

Without any hesitation, watch this series. Television can never get any better than this!
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Awefull, dumb, stupid
6 January 2004
The big question surrounding this atrocious movie is "who the hell gave the producers the money to make it!?" There are so many talented people out there, some with really great scripts, yet this embarrassing junk gets the green light!

The story was unimaginative and the cinematography high schoolish. There is nothing in this movie that can be recommended. It is a failure on all points and I'm just sorry that I handed over $7 to see it.

Seal all copies in a vault and forget about it.
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8/10
Brilliant, gets better with age!
2 January 2004
'How I Won the War' has to be one of the most original, bizarre and imaginative war films ever made. I first saw it late one night as an impressionable kid and immediately was drawn by its unusual style and narrative. To have the film tinted in several different colours to show the stages of the war was both daring and cool. One gets the feeling of having witnessed something larger, more intimate and important than just a mere war movie.

There are no real heros in this film, certainly Michael Crawford and his troop are pretty cowardly and inept, whereas the Germans are depicted, in the raid on the fuel dump scene, as being content with religious service and a bit of soccer.

It is true that history is written by the victors and Michael Crawford's character, Goodbody, is one of only two survivers from his regiment. He proudly states at the very end of the film that he "won the war". Maybe he did, but his actions and his balmy enthusiasm show us just how idiotic war can be.

My favourite scene was the one with Goodbody and the German officer who befriends Goodbody for much of the film. Together, they talk about how cruel both the British and Germans are, and how the German officer has killed many Jews. Goodbody then talks about how he got his commission and why he is fighting. It ends with the German officer telling Goodbody that he (Goodbody) is a fascist. "Am I?", replies Goodbody, "but I don't particularly dislike Jews."

When the very affable German officer, who is attempting to surrender, is blindly run over by an advancing British tank, we know that in this war the good, the bad and the ugly become mixed up and inseperable.

I currently own a very worn out video of the film and am hoping it will be released soon on DVD here in Australia.
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A good looking disappointment
22 December 2003
I first saw 'Cave Bear' when it first came out on video back in 1986 and quite enjoyed it, though it did wander far from the novel. Having recently bought it on DVD as an adult I can honestly say the film still looks great but the film makers took a powerful, epic story and turned it into a one dimensional piece of fluff that never succeeds in enthralling us. I have always been a huge fan of Daryl Hannah, and though she really seems to be doing her best here, I believe she was miss cast. Ayla was meant to be a young teenage girl - Daryl was far too old. The fault here of course is not with Daryl but with the Director and Producers. The main saving grace of the film is the cinematography - it looks beautiful and must have been a difficult film to light considering it all had to look natural and ambient. The DVD release was aweful - it wasn't in widescreen and looked little better than video. It was released by 'Force Video' (never heard of em') and didn't even feature a scene selection function. I know that Jean M. Auel was not entirely happy with the film (I wrote to her once and was thrilled to receive a letter back from her, some of it even hand written by her!) so perhaps one day the entire series of 'Earth's Children' books could be made into a mini-series for television.
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