From the minute I started watching this film, I knew I'd have fun. Paulette Goddard, in the role of Southern belle Loxi, conjured up images of what would have been if she had been cast as Scarlett in Gone With the Wind four years earlier, instead of Vivien Leigh. Her accent and the dresses could confuse anyone about which movie she was in, "Wind" or "Wind"! And it didn't hurt that there was a "Mammy" look-alike, and Goddard's character used the famous Scarlett phrase, "Fiddle-dee-dee!" Although Vivien Leigh was unbeatable in Gone With The Wind, it surely would have been wonderful to see Goddard in the role.

I also found myself switching opinions on who Loxi should be with--Sea man John Wayne or Lawyer Ray Milland. At the end, I was a little displeased about what happened and who she ended up with, but all in all I thought it was a great movie.

On a side note, I must say that when I saw the giant squid in the finale, I laughed out loud. I'm no squid expert, but it's eyes looked like those glue-on Googlie eyes that come on trolls, but in an extra large size. But if you ignore that, it is suspensful. Rent it and enjoy!


Paulette Goddard is terribly miscasted in her awful role opposite the always fine Ray Milland. John Wayne provides his usual cool talking and the period that this film was made is quite clear: during wartime, but the best scene is the one with the giant seamonster, really superb!


Anyone who has had to sit through lumbering dinosaurs like The Ten Commandments might find it unlikely, But Cecil B. DeMille has actually made some films which, if not exactly 'good', are interesting in very unexpected ways.

Take Reap The Wild Wind, for instance. In theory, it is traditional, reactionary fodder, a tale about the greatness of America and capitalism, as the booming narrater assures us, with a feisty heroine tamed by an upstanding representative of the law, and a weak man who's punished for his crime against right.

But in practice, it's like Moby Dick filmed by Powell and Von Sternberg. The sexual dynamics of the film are unheard of for such a big budget Hollywood blockbuster of the early 1940s. Paulette Goddard is a strong-willed salvage captain, bellowing orders, embracing danger, constantly throwing a spanner in the works of her macho admirers.

It's these two you've got to see - there aren't gooses this camp outside of a Carry On. John Wayne - oh yes, the Duke - in an amazing, self-deluding, performance, is supposed to be a ragged man of nature, but he's really a big girl, passive and confused, who's constantly outwitted, both intellectually and physically, by Ray Milland's supposedly foppish, gay-coded, lawyer. Hilariously, he dresses in black polo necks, with Village People caps, and the daintiest red cravat. I never saw such finery in a John Ford film.

Milland, while unexpectedly resourceful and tough, is impossible to take seriously as an action hero, with his frilly shirts, fey curls and elegant elocution. And don't get me started on Raymond Massey...

THe film is nominally one of those disaster movies, like San Francisco and The Hurricane, in which a rambling love story pads out a now antiquated special-effects-laden finale. But, thankfully, here it doesn't quite work - serious scenes of action and suspense seem to be shot parodically, and with an oddly comfortable homoerotic bristle; the startling use of colour and costume is disorientating. Dandy monkeys and talking dogs add to the surreal effect. The 'spectacular' squid finale, while bereft of tension (due to DeMille's ignorance of the basic laws of film) is a minefield of sexual innuendo. A remarkable film.


"Boys Life 4" continues the successful series of short films about gay men.

The first story is called "L.T.R." (ie. Long Term Relationship) which focuses on the lives of two young men aged 20 and 21 (ie. 'twinks') who fall in love and believe that it will last forever. An amateur film-maker documents their entire relationship from week one... right through to week four. One of the boys is very much a responsible home-maker while the other is a pot-head. The dynamics of their relationship recall the days of young love and how immature and inexperienced two young men can be. Some of the funnier high-lights include interviews with their friends and their take on the relationship, along with some personal 'interaction' with the film-maker himself.

The second story is called "O Beautiful" and tells the story of a young gay man who is attacked and sexually molested by a group of homophobic men in a New Jersey cornfield, and is then rescued by one of his attackers who returns after everyone else leaves. This would probably be the most drawn-out story of the four. It is hard to say whether these two men build a friendship, or more of an understanding when they spend the entire trying 20 minutes of the story talking about being gay, dealing with it and where to go from there. I actually felt that this was the most boring out of the four stories and probably the most cliched, especially the scene where the attacker breaks out into a rendition of "O Beautiful" for no other real reason than to cause the viewer irritation and drum in the fact that 'THIS IS AN INDEPENDENT FILM! YOU MUST LOVE ME!'. For those who are interested, there is only one shot of male 'nudity' in Boys Life 4 and you will find it in "O Beautiful".

The third story is called "Bumping Heads" and is a bittersweet story of an older man in his 40's who falls in love with a young drug-abusing man in his 20's who designs hats. The two meet at a party where they, 'bump heads' while reaching for a can of beer. Their friendship builds when they go out to a nightclub and again, 'bump heads' while looking around the club at the people dancing. The story is partly told in flashbacks from a hospital room where the older man has a bloody patch on his head and the younger man is angry at him for starting a fight. We discover what happened through the telling of the incidents leading up to this to what actually happened at the nightclub. There are some funny lines from the female Doctor at the hospital, but other than that, the ending leaves your mouth feeling a little sour.

The fourth and story is called "This Car Up", referring to an elevator in an office building and the budding relationship that is about to be explored by a bored office worker and a bicycle courier. This would have to be my favorite story of the four. The two men appear to be very superstitious about love, the office worker always referring to his 8-ball for answers, while the bicycle courier counts his odds by flipping quarters. The story is told in split-screen style with a set of spinning poker slots above their heads that tell you what they're currently thinking. I thought the format was clever and extremely funny and the outcome is very comforting. Definitely one of the cutest stories in the Boys Life series.

All in all, I was very pleased with Boys Life 4. The series is certainly not tired and with the continuing addition of fresh and innovative story-tellers and directors, I predict Boys Life to continue on for quite some time.

My Rating - 7 out of 10


The return of slick cop, Axel Foley(Eddie Murphy) is in for another adventure in Beverly Hills. In the first movie, Axel goes in deep of finding his friend's killer. In part 2, Police Captain Bogamil(Ronny Cox) get shot, and his daughter Jan(Alice Adair) notifies Foley in Detroit. Knowing that his friend is in danger, he does the noble thing and heads off to Beverly Hills to find out more about the incident. First, he gets to get past a bureaucratic police chief(Allen Garfield) who is mostly all talk, and no action. Both Taggert and Rosewood(John Ashton & Judge Reinhold) work together to bring the criminals to justice. I like the music selections the movie made: "Shakedown" by Bob Seger, "Cross My Broken Heart" by The Jets, "I Want Your Sex" by George Michael, etc. Everything in the movie turned out great. Using the Mack R-Series Mixer as a "decoy" vehicle really did the trick on thwarting a robbery. Brigette Nielsen really hit it off after "Cobra", she was a very intimidating character in the movie. A little more exciting than the first, although I prefer Part one for the music score. Part 2 got more action. Rating 3.5 out of 5 stars.


Though I'm sure many disagree, I enjoyed the sequel even better than the original "Beverly Hills Cop." Both are good movies, but this one has more laughs, in my opinion. Eddie Murphy goes into more of his hilarious improvisations and since Tony Scott is in the director's chair this time around, the action scenes are more elaborate. Taggart and Rosewood loosened up in the end of the original, so their characters are much more fun to watch. I love Taggart's line at the end of the climactic shoot-out. I still can't say John Ashton and Judge Reinhold match up to Laurel and Hardy, like Martin Brest (director of the original) said, but they do make a great team. And as much as I loved the music in the first movie, the music in this soundtrack is even better! The song during the opening title sequence, "Shakedown," is perfect as it really got me pumped up for what was about to come. Like the original, this movie also has a strip club sequence and as an added bonus, shots of scantily clad "Playboy" bunnies. So how can I complain? Well...other than the fact that Bronson Pinchot (who stole the show in the first and third movies as the hilarious Serge) doesn't make an appearance. I still stand by my word in saying this is the best in the "Cop" series! This is yet another reminder that Eddie Murphy used to make funny movies. What happened to you, Eddie? We want you back!

My score: 7 (out of 10)


Well, what do you know? After mentioning this film in a completely different review, it pops up on the BBC less than a day later. Which gives me an excellent chance to watch this film one more time and judge it on merit and not memory.

This time, Axel Foley (Murphy) returns to Beverly Hills to investigate the attempt on the life of an old friend and the connection with the so-called Alphabet Murders. Teaming up with his colleagues from the first film, Axel goes "deep undercover" to bring the perps to justice though not without indulging the viewer with a glorified view of Eighties California. You know, sports cars and palm trees. Rich bitches and their poodles, that sort of thing.

The reason I mentioned "Beverly Hills Cop II" in my review was that, for me, it's one of those films that you know inside out and still enjoy watching it despite the fact that it isn't the best example of the genre. Cop movies are 10 for a dollar but this one always sticks in my mind. Watching it last night reminded me of an extended edition of "Miami Vice" with its sharp suits, fast cars and faster women. Even one of the characters refers to "six foot blonde women growing on trees" in Beverly Hills. All the Eighties references were there - the scene at Playboy Mansion, the angry police chief (this film had two), the hyperactive stockbroker and, of course, Eddie Murphy. When will someone tell him that his era ended when the Eighties did? I fail to see how a foul-mouthed comedian and actor like Murphy can go from films like this to the awful "Daddy Day Care". Interesting to see the man who filled his shoes in the Nineties, Chris Rock from "Rush Hour", in a small cameo. Made me smile, anyway.

But for all it's faults, I still enjoy watching this film. At the time, it might have been cutting edge but now, it's more of a documentary. Simpson and Bruckheimer productions are all more-or-less identical but this has the added bonus of baring witness to an Eighties gloss overdose. Throughout this film, I kept getting reminded of that fantastic game "Grand Theft Auto: Vice City" and if you liked that, you'll enjoy this. Basically, if you can handle the bright neon and the famous synthersizer intro, you'll love it. But if you're still trying to blank the memory of Thatcher, Reagan and (more horrifically) The Human League, steer well clear.


In the second installment to the highly successful "Beverly Hills Cop" trilogy, we find Axel Foley(Eddie Murphy) returning once again to Beverly Hills to solve crime. This time Axel is trying to solve the shooting of Captain Bogomil(Ronny Cox). As Axel digs deeper, he discovers that Bogomil had been on the trail of a group of bank robbers, which are headed by Maxwell Dent(Jurgen Prochnow), who just so happens to own an exquisite Beverly Hills gun club. So Axel reunites with old buddies Billy Rosewood(Judge Reinhold) and John Taggart(John Ashton) to go and solve the crime.

Being that this is the second film in the trilogy, one would expect "Beverly Hills Cop II" to either be a step up or a step down from the first film. "Beverly Hills Cop II" tries to be stylish but can't even though it's in the hands of Tony Scott, director of 1986's "Top Gun". The action here is a lot wilder too, but after a while it starts to get pointless, especially in the ending shoot-out. Of course, Eddie Murphy saves this film from being another average action-comedy, which is good. So when you watch this film, try to be fair in judging in it.

I give "Beverly Hills Cop II" an 8/10.


Okay, so this was not as explosive as the first "Beverly Hills Cop" movie, but it still had enough energy to succeed. Eddie Murphy is great here. His portrayal of Axel Foley in "Cop II" is just as hilarious as the character was in "Cop I." Look for appearances by Chris Rock and Gilbert Gottfried. They are funny, too. It is a must-see sequel.


It never fails. I remember seeing this film in the summer of 87. I remember seeing it four times and twice I had to sit near the front of the theatre because it was packed. The film went on the gross about $250 million dollars. Audiences were laughing their guts out and returning for more. So what happens to a film this funny that it only gets less than 6 on the IMDB? Do people forget what it's like to laugh? Do people forget how funny Axel Foley really is? Has the boring and embarrassing third one destroyed all that was memorable about the first two? Because Beverly Hills Cop II is nothing but a treat. It is hilarious and as a movie itself it is pretty good too. The characters have even had a chance to grow from the first film. This is a really funny movie and if you haven't seen it in a while you should treat yourself and do so.

Axel Foley goes back to Beverly Hills to investigate the shooting of his old buddy, captain Bogamel( Ronny Cox ). Here he again teams up with his two pals Rosewood and Taggart. But before he goes to Beverly Hills he has a good old fashioned ass chewing by inspector Todd. Remember the famous scene? " Two thousand dollars for a suit, two hundred dollars for a tie, a requisition order for a Ferrari. " And then " I'm going deep deep deep, deep undercover. " We also have a small role for Paul Reiser as Jeffrey. So all the old characters do their thing at the beginning, but it's when we get to Beverly Hills that things get all messed up. And one of the best surprises of this film is the character growth of Rosewood ( Judge Reinhold). In the first one he was a shy, unassuming, wet behind the ears cop. Now he seems as though he has watched too many Sylvester Stallone movies ( and this may be the case as we see a poster for Cobra and Rambo hanging in Billy's house ). He now carries bigger weapons, talks with more confidence and wants to go on Foley's adventures. His change provides the film with many of it's funnier moments.

But of course what we expect out of Eddie Murphy in this role is a wise cracking, fast talking, spur of the moment character. And that we get. He does just as many little "skits" in BHC2 as the first and most of them are hilarious. Especially funny is the one in the gun club when he supposedly brings in a bag of " plutonium nitrate highly explosive soundseaking projectlies." The scene works because we really don't know what all that jargon is and neither does the lady behind the desk. Murphy is the master of smart ass comedy. He has an impeccable sense of comedic timing and he plays the crowd at the theater like a drum. We are under his spell and we love it. BHC2 is comedy at its finest and there is no reason for you not to enjoy this film unless you are just not a fan of Murphy. There were few films in the 80's that Murphy failed in, this is not one of them. True hilarity from beginning to end.


It's pretty good. I thought Eddie Murphy as always made it great. Great jokes, plot, and action. 7 out of 10.


Beverly Hills Cop 2 was a smash hit when it was released to theaters in 1987. Many action fans really loved this movie, as well as fans of the first Beverly Hills Cop film.

One of the reasons why Beverly Hills Cop 2 is such a great sequel is because of the return of the stars from the first film. Eddie Murphy is back, as well as Judge Reinhold, John Ashton, and Ronny Cox. In addition to them, some new characters are introduced such as Brigitte Nielsen & Jurgen Prochnow as the new villains, and the cute Alice Adair as Ronny Cox's daughter in the film.

Another reason why this sequel is good is because of the way the action and comedy scenes are balanced. While not as funny as the first film, Beverly Hills Cop 2 has a nice balanced blend of action and comedy. This means that both action & comedy fans will love this movie.

Here is the final reason that this sequel is good: So many great cameos are featured in the film! There are cameos by Paul Reiser (again), Gilbert Gottfried, Chris Rock, Hugh Hefner, Carrie Leigh, and DOZENS of sexy Playboy Playmates!

Perhaps the only bad thing about the film is that there were many noticeable mistakes in editing. However, upon watching this movie more than 5 times, I got over the mistakes and managed to look past them. The good things about this movie far outweigh its disadvantages.

To sum up, I strongly recommend this film to those who loved the first movie. It is a truly great sequel, one of the greatest movie sequels of all time. It follows very closely to the first film, and has an 80's feel to it just like the first movie. Don't miss those great cameos!


Up to scratch in all areas apart from the editing. I'll get to that later. This one sees Axel head back to Beverly Hills after a 3-year gap to solve the Alphabet crimes. The film is more violent than the original and is truer to the Simpson/Bruckhiemer films that followed.

When you compare this movie to more recent flicks like Con Air or Gone In 60 Seconds you can see a definite resemblance in style. These movies have very fast editing to heighten the action. Obviously the editors practised on this movie as the editing is very bad and there are many continuity mistakes.

It doesn't retread the same ground either. The first summed up what Beverly Hills was like in the early 80's but this one shows us the world indulgent Americans live in when they have more money than they can spend. As Axel says 'These rich people loose their minds and want to live in a donut', when describing to a building foreman that there are not supposed to be any right angles in the house he is about to 'steal'. The music has improved a bit too. Even if some of it is a direct rip-off of the music in John Carpenter's Escape From New York. It's a shame the music (not songs) from these films is not available on soundtrack.

Give Beverly Hills Cop 2 a chance and don't listen to the narrow-minded critics who panned this film (13 years ago). It is also the only one of the 3 that is in 2.35:1.


I remember waiting in line on May 25, 1987 , opening day, when I was 14 years old eagerly anticipating this movie.

Five minutes into the movie my heart sank. This movie was the ultimate glossy, high-powered empty "comedy/action" film. Even at age 14, I could tell this one stunk. Here were some of the reasons I felt this way.

1. Eddie Murphy is bitter and angry throughout the movie. There is no joy in this performance. He's constantly yelling and screaming at everybody.

Think back to the first movie when he pretended to be gay in order to get into the hotel buffet. He used his wit and intelligence to get himself through the gate. In BVC II he yells and insults everyone who dares to get in his way.

2. When did Axl become fishing buddies with Ronny Cox? 3. The character Billy Rosewood becomes a gun nut for no real reason other than the writers thought it would be a funny direction to take the character.

This movie could have generated a simple laugh by having Axl still driving around in his old blue Chevy Nova. But no, he's only shown driving a Ferrari and BMW(?)convertible.


How often does a great song and a lousy song come out of the same movie. "Shakedown" by Bob Seger was nominated for an Academy Award for best song, while "I Want Your Sex" by George Michael won a Raqzzie for the worst song of the year.

But, it's not about the song, it's about the actors. Here we have the gang back from Beverly Hills Cop: Axel Foley (Eddie Murphy), a hipper Rosewood (Judge Reinhold), Capt.Bogomil (Ronny Cox) and Sgt. Taggart (John Ashton, and Inspector Todd (Gilbert R. Hill).

This time the evil villain is the lovely Brigitte Nielsen.

Not as funny as the original, but still has plenty of laughs and action as the team solves the Alphabet Crimes.


....But what they don't tell you is that it isn't as good as the original!

Now while this movie is entertaining it nowhere has the magic of the original. Regardless it's still a fun popcorn movie. Which co-starred Sly Stallone's wife at the time. Who actually was HOT!!!!

3(***)out of 4(****)stars


A fall from greatness is a sad thing to witness, and none is sadder than the fall witnessed in "Beverly Hills Cop II".

Eddie Murphy is back as Axel Foley and you can have him. He's back in Beverly Hills to find the truth behind the shooting of Capt. Bogomil (Ronny Cox). This consists of him insulting and belittling nearly every single person who comes across his field of vision in a loud, shrill and usually un-funny way. Even Dets. Taggart (Ashton) and Rosewood (Reinhold) don't get away unscathed, even as they work with Axel once more.

Of course, the biggest joke in this movie is Eddie himself; he is so full of himself here and believes, even when he is being a jerk, he's in the right. It's amazing: in this single film alone, he takes bland pot shots at blue collar workers, receptionists, tall blonde women (Nielsen), German-accented bad guys (Prochnow), overbearing cops (Garfield, Hill, Reiser) weaselly little front men (Stockwell, looking suspiciously like his Dr. Yueh character from 1984's "Dune"), Gerald Ford and Hugh Hefner! Things are made worse when you realize that NO ONE could ever get away with the things Murphy does here. Only in his little world he has created for himself.

Nobody does themselves any favors by appearing in this movie. And the cameos by people with talent (Reiser, Chris Rock, Gilbert Gottfried) are so short that you expect Murphy felt himself being up-staged and cut them himself. Hey, it could happen.

And there is SO much misogyny running through this flick that you expect Gloria Steinem could use this whole film as an indictment against Hollywood in general. And WIN.

What a waste. The only good scene is the obviously improvised scene where Murphy introduces himself as Johnny Wishbone from the Island of St. Croix. And that's about it. Not much for action fans here, either.

Two stars. One for the good will left over from the original and the fact that Sylvester Stallone, original choice for Axel Foley, didn't take this role. Just imagine what HE would have done to "Beverly Hills Cop II".

Of course, you could always watch "Cobra"....


The 80s seems to have specialised in this time of throw away entertainment. Sure it had its promising moments too; there was an Alien and the first Terminator in there, but this was the decade of the macho, gun-totting, mulleted male. The emphasise of style over content is here for all to see, with the excesses of the 80s for all to see (I'd like to say we have evolved since then but I am really not sure).

Eddie Murphy returns to Beverly Hills again, all smiles and one liners to help the ungrateful local cops out with the 'alphabet robberies' (ooowwwww scary). Shoot-outs, pretty pathetic high speed chases, and illogical trips to a strip joint and the Playboy Mansion follow. On the way we see plenty of the semi-nudity that the 80s seem to specialise in (sorry 80s), and the sickeningly smug Foley (Murphy), the 'psycho' gun-enthusiast Billy (Reinhold), and the hapless Taggart (Ashton) bungle their way to solving the case and saving the day.

Clichés seem to pop out at every turn. The idiotic and constantly angry chief of police, the wise-cracking cop who learned his trade 'on the street', the portrayal of a strong female character as 'that big bitch over there' and the solving of the case after finding a match book (surely that has been used in Scooby Doo before!). The ease with which Murphy's character is able to evade shipment out of the city and fool the local cops is infuriately stupid.

Two lines summed up the unforgivable nature of this film for me. After enduring the latest verbal assault from the local police chief Foley, making light of race relations states supposedly humorously "is it a black thing?". Later in the film after disposing of a key criminal who just happens to be a woman Taggart tuts "Women". Come I know i must be taking this film just a bit too seriously, but there can't be anyone out there who finds awful and insulting one liners like this funny, can there? Ultimately between the distractions of the odd breast and an appearance by Hugh Hefner, an engaging storyline fails to emerge and the viewer is left with the infamous theme tune stuck in his/her head.


I was immensely disappointed when I saw this. After I had enjoyed most of the first Beverly Hills Cop movie I had high hopes for this one as well. To see Danish Brigitte Nielsen in a big budget movie was also some sort of weird attraction to me at the time and I thought that I could at least have some fun seeing some banter between her and Murphy, but the expectation was far more attractive than actually seeing it. They do share scenes but there are only lame suggestive remarks from Murphy and Nielsen's character is so devoid of humour that you have a nagging suspicion that she was only cast as some sort of deal with Stallone (Nielsen's hubby at the time), since he was to star in the first movie. There is a poster of his Cobra character, to further heighten the suspicion.

The scenes mostly take place in smoke-filled rooms and you can hardly see any faces clearly. The main villain, played by Jürgen Prochnow, is such a anonymous character that you wonder why he even took the role. Was it because being in an Eddie Murphy film was so popular at the time that you just had to do it? The three Beverly Hills cops also reprise their roles here but the Lieutenant (now promoted to Captain) only has a couple of scenes and it is really totally unbelievable that Murphy's character and the Captain are discussing going on a fishing trip (could you even picture Murphy with a fishing rod?) So what we have is slam-bang action scenes with wisecracks that mostly fall flat and I almost forgot the totally annoying cameo by Gilbert Gottfried (one of Murphy's fellow SNL players) as an accountant named Sidney Bernstein. Take this as a warning: Expect extreme agony through most of the running time and please do not wait to go to the bathroom if you are watching at the same time, it is not worth the wait.


A father and son travel around the world making a film about other fathers and sons that they find along the way. The interviews illustrate the dynamics of the relationships between fathers and sons and are often touching and enlightening.

There is some sentiment and tenderness in this film so not every person (especially male) may be comfortable with all of it--but it doesn't venture into the arena of being a coerced trip down saccharine (artificial sweetener) lane.

According to the filmmakers (on the commentary track of the DVD) they didn't coach the people in the documentary to say anything specific about their father or sons. Most fathers and sons just seemed to want to use their interview as a vehicle for expressing things they were not normally permitted to say or express. A lot of the power of this movie comes from the sense of personal meaning that these fathers and sons bring to each other and that we're allowed to watch.


This is actually two movies: The extensive editing credits suggest that combining the footage into one film must have been challenging. On one hand we see a travel movie with some entrancing, too brief glimpses of good cinematography. Diced among it is another movie about the emotional friction between a father and son. Scenes of painful confessions and tears are followed by jarring shots of a highway or the departures board at an airline terminal. The filmmaker, Chris Roe, is to be commended for his honesty, in that he lets his frequent whining scenes remain in the movie. I could have done without any of the frequent references to the expenses of the trip, and would like to know more about the father and his background. And what about the wife and mother that the father recently divorced, but is silent about, and how the other two brothers fit into the picture? Nevertheless, this movie is definitely worth watching for any son or father.


While this documentary lost its focus toward the end (when the son--filmmaker Chris Roe--became a bit whiny), I found it insightful, touching, and often funny. The interactions between fathers and sons in different countries was very interesting, and surprisingly entertaining. While many of the interviews did border on maudlin, there were several fathers and sons whose cultures dictated a colder or more macho relationship. Well done, and should hit home with both Boomers and their Gen-X offspring.


I watched this film with my father and it was truly a worthwhile experience. The documentary is about a father and son who travel around the world and the development of their relationship as they talk with other fathers and sons in various countries. This is a great movie to watch because everyone needs a father, biological or not, and one often loses sight of how important the influence of a father can be. At times it will make you laugh, at times it will make you cry, and occasionally you will laugh and cry simultaneously. It was just a great experience for me and my father to watch together.


Final Fantasy VIII was regarded as "flawed" by many Final Fantasy fans upon release. The truth is, they were too busy re-playing Final Fantasy VII to realise exactly what had just be created.

Final Fantasy VIII is not only my favourite game of all time, it's probably the best. To try and explain it right now is very hard, not because of a complex plot or difficult scenario: but because whatever I say will not compare to how much of a masterpiece it really is.

I will however, point out some finer points: The characters are the most in-depth, perfect and different individuals you will ever meet in a video game. They're so developed, they seem real. They interact with each other based on their feelings, and you never for a minute feel like they're video game characters. Best of all, they're likable to a point in which you wish you were part of their gang. I cannot express my "true" thoughts on how much I worship the characters of Final Fantasy VIII: it would be impossible for me to comprehend.

The music is an absolute masterpiece. It's perfect and beautifully crafted. I purchased the soundtrack, and I listen to it on shuffle everyday for a few hours. It always suits the scene or setting, or builds up tension, suspense or just plain excitement. It's awesome.

The plot is not basic. It's complex. It's amazing. It's definitely un-flawed, and people are now starting to realise exactly what's so good about the 8th chapter in the Final Fantasy saga.

If you could have one game to play forever, I strongly recommend this. It's my choice, and I complete it at least 3 times a year to ensure I never forget about it: although that's not very likely.

Overall: The greatest game of all time, without a doubt. A definitive gaming masterpiece for FF fans alike. Pure perfection. (10/10)


I've grown up wanting to play other people... to slip into their lives and see how they're different-- and similar-- to myself. I didn't actually get involved in pen-and-paper RPG's until I graduated from college, and haven't found many computer or console games that have been of any interest to me...

That is, until I played one of the Final Fantasy games. The first game I played was FFVI (which was, what, III in Japan?) and I was hooked. I loved the characters, and I was annoyed when the couples at the end didn't work out the way I wanted them to. ;) But I loved the way everything meshed together, and it wasn't simply a matter of running from point a to point b and beating up anything that got in your way.

Then I started playing FF8, and I was completely blown away. Just the opening graphics stunned me, and I hadn't even *started* the game itself yet. I haven't quite finished the game yet (I started over 'cause I got confused over an aspect of the Guardian Forces, so I got to a battle that was impossible for me to win, and I couldn't get away from it.) but I've made it through 3/4 of it, and all I can say is that I've *NEVER* seen a video game that made me cry... but this one accomplished it.

I look at the game as an outsider to the industry... I hate the fighting games where you do nothing but face off against an opponent in the ring. I see no point to them. The run-around-with-big-guns-and-blow-things-up games do nothing for me either. I like the games that are more like puzzles and that make you think about what you're doing (like Tetris, Mah Jong, things like that). However, FF8 gets the highest rating I can give a game, because I find it fascinating and beautifully made. Others who have played bazillions of other games find things wrong with FF8 left and right, because it's different from what they're used to... Since I went into it with an open mind of sorts, however, all I can see is the overpowering beauty and emotion of the characters, animation, and design.


Squall Leonhart, a courageous young man, who gets his training skills at the Balamb Garden. Because of his lack of trust in anyone, Squall isolates himself from everyone in the Garden. His excellent fighting skills soon makes him a SeeD, an organization who goes against the sorceress, who soon comes into the picture and tries to destory and take over the world. Now it's up to Squall and his new friends to try to stop the sorceress from destroying the world. Yet that's not all - soon Squall learns the meaning of true friendship and surprisingly - LOVE. And who is Laguna Loire and Ellone?

Joining Squall in his great adventure are:

 - Quistis Trepe - the SeeD instructor who, like Squall, suffers from loneliness, and becomes an older-sister figure to Squall and the other SeeDs

 - Zell Dincht - a fun-loving SeeD who loves wild and risky adventures, and is one of the best fighters in the Balamb Garden.

 - Selphie Tilmitt - a SeeD with a cheerful, spunky, and bouyant attitude who also has great fighting skills like Squall and Zell.

 - Irvine Kinneas - a ladies man originally from Galabia Garden (Balamb Garden's rival Garden), and sharpshooter who soon has a thing for Selphie, yet secretly has a sensitive and caring nature.

 - Rinoa Heartilly - the princess of the Timber Owls, an anti-government orginazation who calls for the Seeds for help, who at first had a brief fling with Balamb Garden bully, Seifer Almasy, but soon falls helplessly in love with Seifer's arch rival, Squall.

All I can say about this game is "WOW!"

Can you believe the life-like graphics and animation on this game? Some say that "Final Fantasy VIII" is the weakest of the sagas (because of it's storyline), but I loved the storyline! The storyline is mostly, I think, based on life...explaining how a gifted lonewolf like Squall could learn to open up to his friends and the girl of his dreams especially. This story a long life lesson for all loners who feel isolated, and Squall's personality is an important part in the story and how his attitude changes, is even more important.

As you read the dialogue, you can easily see what each of the characters are feeling...whether it's love (i.e. Squall and Rinoa), fear, courage, hopefulness (i.e. Zell and Quistis), sorrow, or happiness (i.e. Irvine and Selphie).

Not to mention, the dialogue can also be pretty hilarious. Seifer's comment on Zell and Squall for example:

"This is great! I have a chicken-wuss and a guy who just reached puberty in my squad!"

"Final Fantasy VIII" is the first FF game I ever played, but on the other hand, it's very easy to. A LOT easier than "Final Fantasy VII". I even beat the Omega Weapon, which is the toughest monster on the game. Plus, the plot and storyline isn't as difficult as the 7th.

Final Fantasy VIII has the best animation and kind of crosses over into new technology for video games and even Japanese Animation! :)

TIPS: **Squall and Zell are the strongest fighters in the game** and **Squall, Zell, and Rinoa have the best limit breaks** And DON'T FORGET to get **AURA** magic, and DO NOT spend it all in one battle - or you'll be SORRY!!!!


Final Fantasy VIII is the apex of fantasy RPGs. Not only does it take place in a world we can believe and understand (a somewhat futuristic world that is fairly peaceful but still militarized), but it features characters we can feel akin to, for the first real time in the FF Series. These characters are very real; they have problems, ambitions and fears. They love and hate. They experience real hope and true despair. Final Fantasy VIII is truly the last great love story of the 20th Century... a story for the ages.


Squaresoft's (now Square-Enix) highly anticipated "Final Fantasy VIII" released in February of 1999 in Japan, and later in September 1999 for the United States and Europe. It got mixed reviews, but one thing is for certain, it definitely was a starting map for the way games are done today.

The first time I played this game, I was totally blown away. It's also become one of my most treasured and beloved games of all time. The romantic and emotional storytelling the game presents is superb, and will definitely leave its mark on you forever. This game is so incredible, that you might actually break into tears at the end.

Telling the story of lone wolf Squall Leonhart, who is looking forward to joining an elite military organization named SeeD. His life takes a drastic change when he meets the warm-hearted and gentle Rinoa Heartilly. However, this developing friendship is attacked when an evil sorceress named Edea gets involved into the lives of The World, with her own plans that could shift the balance of power everywhere. SeeD is dispatched to eliminate her, which is where Final Fantasy VIII begins.

Featuring music by the astonishing and refreshing Nobou Uematsu, which will simply blow you out of your shoes. Adding to the game's soundtrack is Faye Wong's "Eyes On Me", which holds a special place in my heart and is the song which got me into Faye's music. An underrated Final Fantasy game, in which deserves a big round of applause. Two big thumbs up.


Final Fantasy VIII, is, as the name suggests, eighth in the phenomenal Final Fantasy series. I won't say it's the best. It's impossible to point to one of these games and say, "THIS is the best one." There's something for everyone in all of them, and someone who adores one may hate another, easily.

I will, however, say without shame that this is my favorite Final Fantasy.

It's a hit-and-miss game. Either you'll love every aspect of it, or hate every aspect of it. That said, I'll take as objective an approach to this game as I possibly can. So, to the actual review.

GRAPHICS: Looking back, with games such as Devil May Cry, Castlevania: Lament of Innocence, and Final Fantasy X to compare it to, VIII's graphics seem a little... square. Literally. But the cutscenes are still absolutely gorgeous, and for the time, this was top-of-the-line. And even looking back, the worlds are still beautiful and the creatures you fight are still realistic-looking (well, as realistic as a giant plant with great big tentacles can be). The somewhat dated graphics of the actual gameplay don't really detract from the rest of the story, though, so I'll still give them a 9/10.

GAMEPLAY: Hard to get into, even for players who know the other Final Fantasies. I hate to admit it, but even if you mastered everything about the Materia system of VII, you might still get a headache learning the Junction system. But the rest of the gameplay is easy to understand, and once you get the hang of the Junction system, the game quickly becomes as easy or difficult as you wish. This game is unique in that your characters stats are whatever you want them to be - You set the right magic to the right stat, and make it happen. Or, if you want a challenge, go without. It makes for great fun. The biggest flaw I have with the game is that it's long. It's 4 discs long, and to play the game out fully can take upwards of 60 hours. Not for the faint of heart. But still, 8/10.

STORYLINE: This should be a novel. And a movie. One of the most complex plot lines in this series, intriguing and fascinating to no end. You start off as Squall, a young man training to become part of an elite mercenary force, SeeD. From a mission to help a small resistance faction overthrow the government to skipping through time to fight a powerful sorceress, you watch Squall's character open up to his friends, and become a great leader. Absolutely stunning. 10/10.

CHARACTERS: The problem I found with VII is that the characters weren't entirely realistic. Not so with VIII. Final Fantasy VIII's characters feel so human, as though you could walk into a bookstore and run into Quistis, or get served at a café by Zell. They're people you'd know, and over the course of the game, you come to understand them, the little nuances of their characters, the things that make them real. The characterization was flawless, which was good considering the plot is so character-driven. 10/10.

OVERALL: Enjoyable, with a strong plot line, incredible characters, and good graphics. Certainly worth checking out. Like I said, though, not everyone is going to like it. The game focuses very strongly on Squall's character, and the love story is a major part of the plot. If you enjoy a good Adventure/Romance, then this is clearly for you. If not, rent it or borrow it and see if you like it. All you'll lose will be a space on your memory card and the hours you would have spent re-playing Symphony of the Night for the twelfth time. It's a great game, and well worth playing. 9/10.


FF8 is definitely one of the biggest classics in the series. The story starts off with a group of students in a military school: we have Squall, the main guy who is a loner and a bit moody; there's Zell who likes to use his fists for a lot of things & Selphie who is perky and always has a positiver attitude. We also meet Quistis (their smart and incredibly hot instructor), Rinoa (Squall's love interest) and Irvine (a ladies man) along the way. Good points: Story: The story is one of the best in the series and is mostly what i play the game for. there are a few clever plot twists that will make the story even more interesting.

Characters: All the characters are likable enough (Except Irvine maybe) and they all have good interaction with each other.

Setting: The places are very nice to visit, particularly the ones on the Esthar continent: Esthar City (a hi-tech metropolis), Tears Point (a place with statues and nice art) and Lunatic Pandora (find out for yourself) Summons: The summons (called Gfs) can be found in different circumstances: some have to be fought, some have to be drawn from enemies and some can only be obtained through special conditions and there are a number of secret ones as well.

Bad points: Battles: the system on this is a little slow paced and the drawing system just isn't that great Development: the junction system on this is a good idea (junction GFs to use magic, etc) but it makes the characters too powerful and therefore makes most boss fights easy. However, you don't have to use the junction system as much so it doesn't really affect the game too much.


Its truly a RPG. I remember the day i bought this game. I told to myself,"Wow, what a tittle, Final Fantasy, i should try to play this game". Yes, i'm only 9 yrs. old when i bought and finished this game, and its my first FF game ever played. And now I'm 14 yrs old now. I like this game. It change my personality a lot. Its a good game with many emotions attach to it. Its simple as this,a girl change the whole life of the boy. It's hard to give a negative comment about FFVIII. Maybe in junction system. Its confusing at the beginning but as the game move deeper, you will learn how to use it. And the graphics, its much cool than FFVII's pixels blocks. And the cut-scenes, it was portray really good. And the replay, many unanswered questions left in our mind. In short, this game really shook the whole world of RPGs...


FF8 is by far my favourite to date of the Final Fantasy games. Taking cues from the superior FF7, FF8 has upped the ante on the storyline quotient. There is more story here than most RPGs could shake a stick at. The designers definitely went all out on this one. Gone are the polygon characters of the 7th game as well, replaced by the more realistic looking characters that will dominate the later episodes of this series. Squall Leonhart is the hero's hero. He is cool, brooding and even a bit cocky at times. The opening cinematics had me from the second that they started as they are the coolest this series has ever had. Loved the sword duel at the start there with Seifer. Everything about the game says perfect in my mind.


Firstly I'm a fan of this saga,and played it from the fifth installment,and I'll buy a ps3 just for this saga(and for metal gear solid too)Many people says that FF VIII is the weakest of the series.Why?Is it because it tells a perfect love story?Or is it because it hasn't got a perfect villain like Sephiroth?I love this game so much,cause Squall is a lot like me,and he gives me more courage to open up people after I've finished the game,and after that;life become more beautiful than ever for me.Just this enough for me to say,that's the best game I've ever played,but other characters,their relationships,graphics,astonishing and flawless FMV's(best opening and ending movies for a game by so far),musics("eyes on me"rocks!)and above all it's real emotions that characters felt in the game,OK,other FF's are great too(especially FF7)but this one has a special sense for itself,more humanist and more romantic,between darkness and light,poetic and has a strong view about life and death.So just play it through the end,you'll understand what I mean.bye 10\10


I have to grant at the start that this game is quite different from the other Final Fantasys that i've played (all but #5). Every game goes through an evolution, and this is the case with this one. One of my favorite changes is the Salary system. Many people complain, but be honest: How many dragons, or mechanical weapons carry a pouch of gold, or gil? I mean, really, where would they put it? How are they going to spend it? This makes no sense. Plus, with the characters actually having an occupation, they should get paid for doing their job. They are mercenaries. Mercenaries get paid. Simple. I think it is a refreshing change.

It would be pretty hard to dispute the fact that the graphics are beautiful. They are. The CG scenes are the most incredible i've ever seen.

I'm a guy, but somewhat of a romantic at heart, so i was overjoyed when i learned that this was going to be a love story. The sole problem is: I don't like the girl in the love story. She bugs me. Squall, on the other hand, i can accept. He's a cold bastard at times, but seems to undergo a lot of development. And if you think about it, he's only 17. So is everyone else, except the adults, Edea and Cid.

I do have problems with the magic system. I like the Junctioning of Summoned Monsters (or Espers, or GF, whatever), but the magic thing bugs me. Personally, i'd prefer to go back to FFVI where you learn spells from the Esper.

Everything is an experiment, and i'd get tired of playing the exact same game over and over, so i like the changes, and i love the Card Game...this is the single coolest side quest in a game ever.

To sum up...I love this game. It is a worthy addition to the Final Fantasy family, and i'm looking forward to conquering it (on disc 4 now)


Before I completely tear apart this abortion, let me come out and say that this game should not be praised at all. Whoever applauds Square for this game isn't experienced in (a) the world of writing or (b)the field of video games. Now, I've been playing RPGs for quite some time, and I know a tasteless game when I see one.

Graphics: Much like that of FFVII's style, Final Fantasy VII's graphics are 3-dimensional. However, there are still so many flawed aspects. For example, the characters are deprived of facial expressions. (2/10) Sound: The musical collection of Final Fantasy VIII veers away from the norm. Although the theme of this installment was a nice touch, the rest of the soundtrack was bitterly mediocre in comparison to that of its predecessors. (4/10) Plot: Do I really need to explain how dull this game is? I suppose so, then. -sigh- Well, after the first disk, you're left with a cheap plot. In reference to the events, I'll put them in order from 1 to 5.

1 - The supposed genius--Squall--becomes a SeeD along with his moronic friends.

2 - Squall meets his apparent girlfriend, Rinoa, and drifts away from the interverte-lifestyle little by little.

3 - After totally pwning the insipid blob (Edea) and her lackey (Seifer) Squall realizes that his job applies to murdering the sorceresses of this wretched fantasy.

4 - After beating Edea's butt again, Ultimecia controls Rinoa's fail!Mary-Suish body.

5 - Squall and friends gain control of their Sue and beat Ultimecia's butt. Yeah, I said butt again. =OOOO That's about it. The developers decided on tying in some other events . . . but that idea kinda died. R.I.P. Good idea? (1/10) Playability: Remember the Junction system? Do you ever recall the amount of time that you spent spamming your character's stats with efficient spells, such as Ultima or Aero. But to punish these actions, you must first equip your faithful GF to any of the characters. How long does this process take again? Fifteen to twenty minutes at least.

In fact, the Junction system is so time-consuming that you resort to actually turning off this game after this process is completed. The gameplay isn't stimulating, as well.

Value: Relatively low.

Overall Rating: 1/10 I hope that this review will fix the crappy rating that this game scored. :D


Let me start out by saying that I grew up with Final Fantasy and (even though I dislike most of the games, especially FFVII) the PS1. I had played and beaten FFVII and hated every bit of it. I thought the dialogue was cliché and poorly written, the backgrounds kindergarten crayon-style looking and the overall game play to be very boring. As a kid I got FFVIII for Christmas, played it and beat it. It took me over a hundred hours to do it, but I did it! That was the most intriguing part though! Every other game I had ever played was beaten in a couple of hours and barely played again. Final Fantasy VIII gave me something I had never seen before in a video game...a challenge.

Not to mention epic beauty and dialogue that still fascinates me today. When I was maybe thirteen or so I lent this too a friend and he lost the third disc so for a long time I was replaying the first two discs or just crushing Ultimecia as best I could in the finale of the game. I had the PS2 at the time and spent a lot of time playing Tekken Tag, Devil May Cry and the GTA games. Yet I always kept the PS1 hooked up...until it broke. Also, my copy of FFVIII which I received the year it was released (1999) was in pretty haggard condition. Unfortunately I was without my favorite game for about four or five years! One day while speaking with a friend, he mentioned he had found a working PS1 emulator for the PC. What did I do? I found the PS1 emulator and pirated every FF for the PS1. Illegal yes, but totally necessary for a FF addict. Plus the PS2 FF's left a bad taste in my mouth, all of them missing the greatness which was FFVIII. Being eighteen at the time when I started to replay FFVIII I was more intelligent and had a better understanding of how all the junctioning worked (when you're ten years old and just looking for fun this can prove to be the most confusing thing ever). Playing it again I was brought back in time; the epic beauty, the to-this-day unparalleled cut scenes and the infinite possibilities with junctions and GF's (Guardian Forces). I always have wondered why they never brought that aspect back to any of the later FF games. It was what made the series unique instead of MP which always runs and you never have enough ethers for the last battle!

Now, being nineteen years old and having played some of the finest RPG's out there like Oblivion, Fallout 3, and Star Wars KOTOR. Being nineteen and having played some of the finest action games out there like Prince of Persia: The Sands of Time, Call of Duty, and Batman: Arkham Asylum. This is still the greatest game I have ever played. A video game epic on a level that no PS3 or Xbox 360 insert has achieved. With a love story that feels real and that actually moves you and evokes your emotions. Characters that live in a world of fantasy but are similar to people we all went to school with and an ending that deserves GREATEST FINALE OF ALL TIME AWARD! If you have never played this game, go out and get it now! Or played it and just rushed through it so that you'd be able to say you played all the FF games, play it again! You will not be disappointed when you take a hundred hours and play this game straight down to the bone core and suck all the marrow out of it.

Best Game Of All Time.


I had first played this game in the year 2000 and i thought then, what a great game, now, almost 7 years on i still think it is one of the best RPG games. Of the three Final Fantasy's (i think) that came out on PS1 i think VII and IX were n o match with 8. The storyline of this game is, i think one of the greatest from the Final Fantasy series and the graphics for a 1999 PS1 video game, well it is just amazing. As I said the PlayStation 1 format is great, but the PC format isn't as good. The graphics on the PS1 format are precise, but the PC version is blurred, the sound during the CGI clips is distorted and the world tour on disc 2 has glitches and if you go to some places, freezes. If i were to choose to remake any game of the FF series, this would be it. My favourite. Final Fantasy VIII.

Other games which i would recommend would be FFX or FFXI.


Final Fantasy 8 is a superb game. This isn't a where you can just shoot 'em up, blast 'em down and be done with it. This is a deeply involved game with a nice plot that you mustn't view as a movie. Picture it instead as a novel, a novel that you have to sit down, appreciate the plot and the characters as you watch the plot develop over its grand four-disc length.

I'm not going into the plot, as you can just read the quotes above to get your details there. I will say it has an amazing soundtrack and great graphics, and some nice dialog as well.

If you balk at the fact that it becomes a little unbelievable at times...remember that FAN-tasy equals FUN-tasy and then be on your way.

Oh, and if you can, get it for PlayStation, not PC.


For all the crap that Final Fantasy VIII got by not being a 'fantasy' game, it truly is a unique and outstanding game that is undeniably unforgettable in the best selling video game Final Fantasy series.

First, for a video game done in 1999, Final Fantasy VIII's FMV (Full Motion Videos) graphics were awesome! From the intro I was already swept up on my feet, hanging on to every last detail of the garden, brilliant fight scene, and glimpses of Sorceress Edea to the last and final ending FMV, which was completely worth the hours of gameplay. What's impressive was that for the intro, you're treated to an amazing training battle between Squall and Seifer, where both of them slice up each other's face...graphic but an awesome and def memorable fight scene.

Second, the score is awesome! Again, the intro with 'Liberi Fatali' to 'Eyes on Me' to 'Man with the Machine Gun' to 'Fithos Lusec Wecos Vinosec' to 'the Oath', really the orchestration and score is moving and beautifully done! Worth buying the soundtrack!

Third, need I mention the terrific FMV graphics again? Yes, there is a drawback to the game, the ingame graphics for FFVIII are terrible compared to FFIX and FFX, but you overlook these and you begin to appreciate the intricate plot lines and character developments. One of the most beautiful locations you go to is Esthar city, it's really breathtaking. Another FMV is the awesome Dollet clip, terrific graphics of machines and Squall's escape: it's one of my favorite scenes next to the dance clip!

Finally, the story and its characters. You have your main character, Squall Leonhart, as the taciturn and reluctant hero and lone wolf who is, in my opinion, one of the best looking RPG characters there ever was, who's specialty is the kick butt Gunblade. The detail is amazing! Then you have your supporting characers, like Rinoa Heartilly (Squall's love interest), Zell Dincht, Irvine Kinneas, Quistis Trepe, Selphie Tilmitt, Laguna Loire (Squall's dad), and Seifer Almasy (Squall's rival and nemesis).

FFVIII is a classic love story. The hero is aloof, yet underneath that tough guy act is a vulnerable 17 yr old, who tries not to care about anyone and the heroine turns his world upside down! After series of rescues and all, the ending FMV (one of the most memorable RPG endings of all time) will definitely sweep you off your feet and conclude this classic love story.

The FFVIII story is set in a futuristic world full with sophisticated technology where an evil sorceress corrupts the world's largest military power through manipulation and deception, enslaving mankind to do her bidding. And it's up to a small, loose-knit group of SeeD graduates led by Squall and he must become the leader he never wanted to be, and defeat this sorceress.

Yes, again, it didn't have your 'fantasy' elements like dragons and magic, save Sorceress Edea, but in a way, FFVIII is a 'fanasty'. First of all, it's set in the future, that's already your step to 'fantasy'. Next, the futuristic weapons and machines were wonderfully done, believe me, you'll come to appreciate the dollet scene, where Squall's on the sub and the wind is blowing in his face: terrific! The thing was that Final Fantasy fans were disappointed in FFVIII because it was no longer set in the 'past' like the previous FF games, but I think it's a nice change and definitely an awesome change, because it set the groundworks to FFX. The battle costumes to Squall's signature fur jacket outfit and Gunblade to Rinoa's blue costume with angel wings on the back...I loved it! Fans and new players should appreciate the captivating the story line, (great looking) characters, beautiful FMV, and moving soundtrack of Final Fantasy VIII. It was also a breath of relief for me, because the charactes were finally tall (at least compared to the other FF characters and just down right kicked butt)

So, despite the complaints of FFVIII being to futuristic and the not so great inplay graphics; the music, FMVs, plot, and characters will make up for it and blow you away!

10/10 GREATEST GAME I've ever seen, next to Final Fantasy X and VII, although I think FFXI will be just as awesome! Buy the game and play it out, it's worth the time and the money! Final Fantasy VIII ****/**** Stands alone as an awesome RPG game and in the FF series.

What's amazing was that after the game's release was a sudden fad when people went crazy over the Rinoa angel wings, Squall's Lion symbols, and the beautiful song: Eyes on Me.


This is the second best game ever only beaten by Final Fantasy VII me and my brother disagree now again he thinks that Final Fantasy VII is the best game ever which I agree with on some points but, the ending for this game is the best.

I downloaded the end because I still have not got there yet im at the first battle for the 4th disc.

The main story is about war surround by a love story between Rinoa and Squall (Rinoa has the best outfit in the game) Seifer is also a good character. the good thing about this game is that there are more female characters the Final Fantasy VII and the baddies are woman (Seifer is not classed as a bad guy because he redeems himself at the end of the game)

The FMV sequences are a lot more advanced than Final Fantasy VII and the detail is much greater. The end sequence looks like the best in the game and I own Final Fantasy IX and I am half way throgh disc one of four and I have found this one of the more boring games the FMV's are even better than this game but there is no story.

Squall reminds you of Cloud and Rinoa reminds you of Aeris because of the way they are to each other and you can tell that they are desined to be together. I think that Seplhie and Irvine should end up together and that Seifer and Quistis should end up together and then Zell could end up with the girl that like him from the library which is a side storyline which is good and gives you the chance to get to know more about the characters and what they like.

Another good scene is the dance after Squall passes his final exam to get into SEED. He dances with Rinoa and is terrible until he looks into her eyes which is quite sweet. The look she gives one couple who bump into them when they dance is funny.

Laguna and Raine have a very short but sweet relationship and you feel sorry for him in the end sequence because he still misses her a lot and they were married and are the parents of Squall.

So to sum up Final Fantasy VII and VIII are by far the best RPG games ever made and they beat each other in different ways this game wins by FMV sequences and the love story that ends happy unlike Cloud and Aeris. The ending is the one of the best parts of the game and quite long and you feel sorry for Squall when you see him cry and Rinoa cries when she sees him. But the very last scene of the game sees the two of them finally sharing a loving kiss and you get to see Seifer laugh and Edea happy with Cid and the rest of the gang having a laugh with each other and Zell stuffing his face full of food and ends up choking and having to be saved by Selphie and Quistis.


This is the second best game ever only beaten by Final Fantasy VII me and my brother disagree now again he thinks that Final Fantasy VII is the best game ever which I agree with on some points but, the ending for this game is the best.

I downloaded the end because I still havent got there yet im at the first battle for the 4th disc.

The main story is about war surround by a love story between Rinoa and Squall (Rinoa has txhe best outfit in the game) Seifer is also a good character. the good thing about this game is that there are more female characters the Final Fantasy VII and the baddies are woman (Seifer inst classed as a bad guy because he redeems himself at the end of the game)

The FMV sequences are a lot more advanced than Final Fantasy VII and the detail is much greater. The end sequence looks like the best in the game and I own Final Fantasy IX and I am half way throgh disc one of four and I have found this one of the more boring games the FMV's are even better than this game but there is no story.

Squall reminds you of Cloud and Rinoa reminds you of Aeris because of the way they are to each other and you can tell that they are desined to be together. I think that Seplhie and Irvine should end up together and that Seifer and Quistis should end up together and then Zell could end up with the girl that like him from the library which is a side storyline which is good and gives you the chance to get to know more about the chracters and what they like.

Another good scene is the dance after Squall passes his final exam to get into SEED. He damces with Rinoa and is terrible until he looks into her eyes which is quite sweet. The look she gives oone couple who bump into them when they dance is funny.

Laguna and Raine have a very short but sweet relationship and you feel sorry for him in the end sequence because he still misses her a lot and they were married and are the parents of Squall.

So to sum up Final Fantasy VII and VIII are by far the best RPG games ever made and they beat each other in different ways this game wins by FMV sequences and the love story that ends happy unlike Cloud and Aeris. The ending is the one of the best parts of the game and quite long and you feel sorry for Squall when you see him cry and Rinoa cries when she sees him. But the very scene of the game sees the two of them finally sharing a loving kiss and you get to see Seifer laugh and Edea happy with Cid and the rest of the gang having a laugh with each other and Zell stuffing his face full of food and ends up choking and having to be saved by Selphie and Quistis.


Final Fantasy VIII is probably the most underrated of all the Final Fantasy games. It had the unfortunate luck of following VII, which was the first title in the series to be created in a 3D style on the Playstation.

While FF8 does have its drawbacks, it's still a better game than FF7 in a lot of ways. The combat system is more interesting, and allows a deeper level of character customization. This is the only game in the series that requires you to draw magic spells from your opponents in order to use them. The graphics are understandably better, being a later installment, but the level of difference between FF7's cartoony, exaggerated characters and FF8's more realistic look is astounding.

Speaking of the characters, there is a much deeper level of complexity to them than found in FF7. Throughout the game, we see into Squall's thoughts. While he's the protagonist, it's obvious right off the bat that he's not the most likeable guy in the world. He doesn't really care about being a hero or doing the right thing like Cloud in FF7. He just wants to be left alone. None of them are as simplistic as Barret, who looks and talks like Mr. T with a gattling gun for an arm and a chip on his shoulder. The level of the story is much more personal. Perhaps too personal for a lot of players' tastes, as it focuses primarily on the relationship between Squall and Rinoa. The world is at stake, but at the same time, there's something much more personal about it.

FF7 will always have its place as a favorite of the Final Fantasy series by many players, but for the reasons stated above, as well as some others that I might not have thought to mention, I feel that FF8 is actually the better game, and is vastly underappreciated by the audience of RPG players.


This is probably the most beautiful, involving game I've ever had the fortune to play! The areas look magnificent, the characters are extremely likeable and colorful and the fight scenes are excellent! The plot is very imaginative and clever, making you become absorbed in this spectacular game. Now, I've said it once and this matter still troubles me...why wasn't the movie as good? The movie should have come up with as good a plot as this and should have beautiful sets with real cast members surrounded by brilliant special effects and monsters. But instead we got a good, yet dissapointing movie adaptation. Oh well...I still have the proud memory of this great game! FF10 looks great! Final Fantasy 8 gets 10 out of 10 definatly!


Quite simply the best RPG ever developed by Squaresoft. Amazing visuals, brilliant story of love, hate and war, plus believable characters. It surpasses Final Fantasy VII by a long shot. Squall Leonheart has been called an 'unlikeable character' but he has issues we can all relate with. Rinoa is simply beautiful and a great heroine. A great cast of back up characters adds to the brilliant depth of the story. Well done Squaresoft.


I am probably one of the Few people who did not Immediately dislike this often dogged game. I found the DRAW/Junction system to be Fascinating, and mightily enjoyed the Story, once it got going. I can see where some may have problem with this...I know I do...but, it is a TRUE example of the designers inventive nature that they even DARED to make it in such a manner. The music is much more complete than in the previous game, the design of EVERYTHING is much more realistic, which fits the style the game is trying to achieve. The cinemas are among the best in all of Gaming, not just for the technical boundaries they push, but for the ARTISTRY involved. This may have been the first game where I could FEEL a directors presence, and it Enchanted me. Hats off to SQUARE.


This Final Fantasy is one of the best to date. Great summons, amazing cinemas and the best storyline of any video game and alot of movies lately. The relationship between the characters is just amazing and streches throughout the game learning more and more about their past until, in the end, it all comes together perfectly. But the best part has to be the connection between Renoa and Squall. The emotions of the two are clear but watching them to see what happens next is the best part. And the games theme song Eyes On Me will bring a tear to your eye.


Final Fantasy VIII is, by far, the best game I have ever played. The realness of the characters is astounding. I am in love with all the guys, especially Squall and Seifer.

The storyline is phenomenal... Seifer and Squall are two rivals attending Balamb Garden, run by Headmaster Cid and NORG. Their teacher, Instructor Quistis Trepe, is later relieved of her teaching duties and becomes a SeeD, along with Selphie, Squall, and Zell.

Laguna is the father of Squall, the SeeD.

That is all


The Final Fantasy series was never one of my favorite things to play. But when Final Fantasy VII hit the PlayStation, I was addicted. But a few years later, when Final Fantasy VIII came to American shores and I piked it up, I was blown away. It was just awesome, the graphics to the storyline, even the music. The game was everything I wanted in an RPG. A must own for fans of genre. Even though most people wanted the FF series to go back to their roots, taking out the modern edge, I personally enjoyed the fact that it was somewhat modern. It's easier to relate with.


Although it is hated by most long time FF fans, I find 8 to be one of my favorites. With incredible graphics (the characters are a far cry from the blockyness of 7) and a new magic system, 8 also has an intreguing storyline that follows young squall around the world. Plus, the gunblade weapon is one of the coolest new weapons around, and the new limit break system makes for cool divergences from normally routine battle (if you have ever seen Squall's 'Lionhearted' limit break you know what im talking about.) Plus, it has truly the hardest enemy I have ever fought, the Omega Weapon, much harder than the final boss to say the least. Over all, it's a great game, and out of the whole series, it ranks number 2 in my book.


It goes to show that Final Fantasy VIII even appears on a movie website. Actually, there's no site better fit to host FFVIII than imdb, because that's what it is, an interactive movie. A realistic cast striving to find truth in an artistically orchestrated world makes this the game that has finally bridged the gap from games to movies, and burned the bridge from games to cartoons.


People of course are not going to like some plot aspects. How did Squall suddenly fall in love? Where did Ultimecia come from? Who in their right mind would elect Laguna president? Yet, I believe the point of this game was to showcase Square's amazing FMV technology, proving that it will be around to entertain gamers for a long time.


Ok that's a bit unfair, but out of seven, eight, and nine it just isn't as good as the other two. I found the plot to be pretty involving but i can't say the same for the magic system which i found to be useless (the magic doesn't do anywhere enough damage). However this is really the only fault with it.


Final Fantasy VIII is quite unlike any other computer game. The narrative and careful attention to plot resembles that of a film, as opposed to that of some 'childish' video game. Unlike Final VII the protagonists are actually shaped like humans allowing the player to identify with the relationships that develop. With over 100 hours of gameplay through beautifully crafted levels this game fails to strike boredom, even after completion.

A truly great game 10/10.


I can understand why people react so aversely to this film, but, in Birth's defence, it's quite a demanding a piece for it to suit everyone's tastes.

Granted, the plot is slightly unpalatable, and yes, there are instances when the film appears to veer into senslessness, but, unless you want a clear-cut resolution, this cannot quite be written off as shoddy work on the part of anyone involved. Most of the complaints made about Birth have come from people who cannot get past the plot elements of the film, namely, the flirtation with pedophilia. It is uncomfortable, quite so, but that precisely is the point... Moreover, it's worth noting that the characters themselves find it repelling, and that there is nary a sexual undercurrent between Sean and Anna.

I believe one could argue, very strongly, that this plot device is merely a catalyst to throw Anna's psyche into relief. In the end, whether the boy is Sean or not proves irrelevant; the film is less about a bizarre happening than about the extreme psychological test it brings about. It's intense analysis of love, grief, need and the leaps of faith...

Given this set-up, the execution is flawless. What the screenplay does, quite beautifully, is convey silent emotions; it understands, better than most films, that communication is often non-verbal, and in this situation, when the very thing at stake is reason, it is logical that the characters would be at a loss for words. If any given person were to be in Anna's situation...what would they do? How would you react if someone close to you were living through this?

Jonathan Glazer's direction is splendid, building up a somber, airless mood and coaxing superlative performances out of the entire cast. Kidman's performance is somewhat mannered, yet she completely, effortlessly inhabits a difficult role; it is a brave, piercing, bravura performance. She captures Anna's desperation and fragility, but also her privileged lifestyle and upbringing, and the mad undercurrents grief has brought about. The so-called opera scene will be, years from now, considered a seminal moment in her career. Bright is chillingly effective, registering an intensity that is somewhat unsettling, and the supporting turns--which, with limited material flesh out characters, build histories and express emotions that the screenplay only implies--are sterling, especially in the case of Bacall and Howard.

Technically, the film is a marvel. Two things are worth noting: Harris Savides' wonderful cinematography (there are at least three iconic sequences in the film), which creates a look and a mood that is at once foreboding and exquisitely beautiful, and Alexandre Desplat's splendid score, which underscores the drama without becoming obtrusive and blends symphonic melodies with a hi-lo undercurrent that creates an odd womb-like effect.

Lovely, heartbreaking, unforgettable.


The premise of the death of a prominent scientist coinciding with the birth of a child and the two "souls" merging ten years later was an intriguing one. But despite the effective cinematography, especially the exterior scenes in New York City, there was a central problem to this film.

The major problem was in the characterization of the child. The main character Anna (Nicole Kidman) becomes attached to the 10-year-old boy who claims to be her deceased husband. Anna then develops an obsession with the child, throwing her engagement to Joseph (Danny Huston) into confusion.

If only the child had some personality and had been able to convey some of the charm of the deceased husband, it might have been possible to become engaged in this film as a supernatural thriller. (When Anna and the boy meet privately in Central Park, the site is Sean's death scene. A more appropriate spot would have been a special part of the park where the couple met in life--not the place where Sean died.) Throughout the film, the boy only asserted ad nauseum that he was the husband "Sean" without giving Anna any hint of the "soul" of her former husband. If only the screenwriters could have developed sensitively and insightfully the characterization of the child, this film could have been stunning.

The credibility gap was too wide for us to believe that Anna would actually begin to love the child as the reincarnation of her husband. It was also too difficult to believe that Joseph, Anna's family, and the child's parents would permit him to literally move into Anna's apartment.

The most effective scene in the film was the moment when Anna's sister-in-law Clara (Anne Heche) confronts the child with her own secrets pertaining to Anna and Sean. The entire film might have resonated this level of energy if only the little boy had been given a personality!

It is unfortunate that this little kid could not have been paired with Linda Blair's character in "The Exorcist." Now that would have been a perfect match!


Birth. If you haven't seen the movie yet, don't read the following. If you have seen it, please note this clarifying explanation: Strange that critics, especially critics of the end of "Birth" forget that one important line: when little Sean says to Clara in the bathroom "don't tell Anna." Little Sean says that before Clara even explains a word about her identity. That means, ob course, that Sean knows exactly who Clara is: his secret love affair in his former incarnation as Annas husband. But he does not like his own behaviour in his former life, and he does not want Anna to know. That's why he claims to be a liar. But in truth he really is the incarnation of Annas husband.


From the haunting opening to the heartbreaking ending... this film is an absolute masterpiece. Everything from the acting to the cinematography is stunning. It is extremely unfortunate that more attention was focused on the now infamous bath scene between Kidman and Cameron Bright. The scene is uncomfortable, no-doubt, but it is supposed to be. At no point is Anna (Nicole Kidman) completely relaxed in the company of this child who claims to be the reincarnation of her dead husband. The inclusion of this scene and the later 'kiss' scene simply add to this feeling of confusion and raw emotion that Anna is experiencing. What better way to tap into viewer emotions than to have a 10-year-old tenderly kiss a grown woman - it's an idea that is guaranteed to evoke strong feelings! The fact that we do not dismiss the reincarnation idea as completely ludicrous owes much to the fantastic acting - not just by Kidman but by the supporting cast also. Lauren Bacall is truly wonderful as Kidman's sarcastic mother. Kidman & Bacall are a fantastic double act, with their performances bouncing off each others perfectly. Both Kidman and Bacall have said that they feel like mother and daughter off-screen, which is evident in this movie. At times, you feel like a fly-on-the-wall watching a supporting but disbelieving mother trying to help her heartbroken daughter. This adds yet more to the personal, emotional tone of the picture. Anne Heche gives her best performance in years as the friend-with-a-secret. Cameron Bright is a real talent and is even more impressive when you realize how little dialogue he actually has. Through facial expressions and actions he acts jealousy, pain, hatred and love wonderfully well for such a youngster. However, it is Kidman who yet again shows that she is one of the best actors of our generation. She is along side Meryl Streep as someone who astounds us time and time again... If ever one scene could represent her astonishing talent, it is the 'Opera-scene'. The camera stays on Kidman's face for nearly a minute - in this minute, every emotion Anna is feeling is expressed through Kidman's face. It is stunning and, if any scene should have overshadowed this incredible movie, it should have been this one! Kidman is astoundingly good - the final scene is truly one of the most heartbreaking scenes I have ever sat through. The ending I mentioned doesn't explain everything to us - how Anna ends up is left to our own imagination. This is by far the most moving, though-provoking, superbly acted movie of the year. Anyone who gets the chance should see it and if the Academy (Oscars) ignore this - they really are as arrogant, small-minded and stupid as they seem!


This movie was a masterpiece in every way. I initially left with a sour taste in my mouth after viewing the ending. I then watched the movie again and caught some of the more subtle cues, words and actions happening in this movie.

The Kubrickian opening scene was beautifully shot and evoked this powerful sense of a journey about to unfold. There are several scenes where Nicole Kidman delivers quite possibly the most powerful performance she has ever delivered and without the use of her voice. She pulls this off so well and it gives a good sense of what the rest of her performance has in store. An unsung hero in this film is the young child actor Cameron Bright. His performance was equally as astonishing. He was able to convey the adult mind intermixed with the mental faculties of a child. This Mr. Reincarnation was accurate down to the smallest details of how his actions should be as an adult while also displaying how his vehicle was still that of a child's. He was conflicted and equally abound with thought as Anna, Nicole Kidman's character. The duality was shown towards the end specifically when they were both shown taking portraits.

The musical score by Alexandre Desplat blends so extremely well with this movie and conveys even more powerfully those scenes where voice is not available to convey each of the actor's unheard emotions. The opening shot is one of the best examples of how well it completes the movie.

I believe you'll have to have an observant eye and an open mind to fully appreciate this film. The ending may seem unfulfilling or open ended but in a sense it is quite conclusive. The ending does leave enough room to view it in different ways however.

In short, I recommend this film to those who can fully appreciate films that make you think and which offer a beautiful composition of both music, images and story.


If you see Birth, go in realizing it is an art-house film, not a mainstream thriller. If it didn't have Nicole Kidman in it, this film would be playing in less than 10 theaters in the country. But because of Kidman, it is playing in your local cineplex but this is not a film for the cineplex crowd. If you are looking for something like The Others, The Sixth Sense, or Ghost; do not see this film.

Birth is a film where atmosphere means more that dialog. This is not a fun film. The people in the film are very deadpan and do not smile; especially the child. Much has been made of the bath scene but that is actually one of the least radical parts of this film. The thing that will upset most people are the long close-ups without any dialog. Also, the conclusion does not tie up as many loose ends as a mainstream film. This film wants the viewer to think about it afterwards.

Nicole Kidman and Lauren Bacall are great but for me, Anne Heche almost stole the film with her small part. Also, the music is atmospheric and a real treat if you like symphonic music.

This is a beautiful film to look at and listen to. The story will keep you guessing which direction it is going to go. Whether you are happy with the outcome or not will probably depend on your expectations. Go into this film with an open mind. 9/10


Ever notice how many people just mimic somebody else? It seems to be one of the leading characteristics of human beings, who often act like glorified chimps. When one person claims the little boy in the film "has no personality," several others must chime in with exactly the same sentiment. The kid was supposed to be fully cognizant of his past adult incarnation, and as such, he acted more like an adult than a child, hence his apparent lack of "personality." In fact, he handed in one of the most convincing performances I've seen from a child actor in a very long while, because 99% of the time, the children of celebrities are precocious, annoying and predictable. Thankfully, the filmmakers made a thoughtful selection and didn't pick one of them to fill this rather demanding role. The milkshake scene was jaw-dropping and the bathtub sequence truly awkward and discomfiting, but they were done believably. No wonder this flick didn't get much publicity. Child welfare advocates would have been defecating in their shorts.

What was intriguing about the story is that the kid successfully wooed this woman away from her fiancée despite all the odds stacked against him, but given a twist in the plot, suddenly claimed he couldn't be who he thought he was and walked away from the whole situation. This odd and confusing movie, nonetheless, had some interesting elements and was photographed quite well. The long closeups, in particular, were especially effective. What a luxury it must be to use up so much expensive film on subtle changes in an actor's expression. The Wagnerian score was good, too. Nicolle Kidman has been involved in several interesting projects to date. There was "Dead Calm," "To Die For," "Cold Mountain," "Eyes Wide Shut," and now this. How old is she? She looks just as good as she did many years ago. Liked that short haircut, Nicolle. It's one thing to be gorgeous at 22, when most women are at their most alluring, but for a beautiful woman to age so gracefully is rare.


This movie is very much in the tradition of Kubrick. It's quiet, it's dramatic, sophisticated and beautifully shot. The ending is ambiguous; open to interpretation. Cameron Bright is convincingly haunted as the possible re-incarnation of Anna's (Nicole Kidman) deceased husband. Birth reveals the ways in which love and the removal of that love can traumatize us. I did not realize who the director of this film was until after I finished it. I was pleased to see that Mr. Glazer has also directed Sexy Beast which is another excellent film and one of my personal favorites of the past 10 years or so. I strongly recommend this to anyone who enjoyed Sexy Beast or the work of Kubrick.


I watched Birth for the second time the other night. There are movies I've loved the first time, then thought on the second time around, hmmm, maybe not as good as I first thought - State of Grace, Fight Club, for instance. There are movies I hated the first time, and hated just as much the second - Lost in Translation and In the Cut come to mind. There are movies that I hated at first, but later came to think were quite good, e.g. Sin City. And there are movies that were magnificent the first time, and even more magnificent the second. Birth is one of these.

This movie, more than any other, reveals the lack of credibility attaching to the Academy Awards. There are always injustices, whereby the most deserving walk away without the prize. In the acting category alone, I can think of Gary Oldman in State of Grace, Cate Blanchett for Elizabeth, Russell Crowe for A Beautiful Mind, Naomi Watts for 21 Grams (hmmm, a lot of Aussies and Kiwis in there - I wonder if there's a message in this). But the greatest travesty of all is not just that Nicole Kidman didn't waltz away with the award by a mile or two for this movie, but wasn't even nominated. One of the great pleasures of this film is watching her sublime performance as she moves gently from suppressed grief to insane grief. She's the one carrying the movie, and takes part in so many outstanding scenes - the lingering shot at the concert hall, trying to explain the situation to Clifford (the best man at her marriage to Sean) during which her declining mental state starts to reveal itself, the scene in the bathroom when she reveals her insane plan to run away with the boy only to find that he's a liar, the boardroom scene in which she tries to tell Joseph that none of it was her fault (probably my favourite scene), the heartrending scene at the beach.

The movie also reveals the hypocrisy, cowardice and basic stupidity of the film establishment. It's possible I've missed it, but no critic savaging this movie and its premise seems to have cottoned on to the fact that Anna was going mad, although the movie makes it blatantly obvious. Rather they like to concentrate on the couple of brief scenes in which the boy climbs into the bath with Anna, and later kisses her on the lips, both handled with taste, discretion, and restraint. Aaaah, shock, horror! The scenes are described as being disturbing, unsavory, of questionable taste. And yet for a film like This Is England, in which a much cruder relationship between a young boy and an older girl is explored ("you look like a four old, but kiss like a 40 year old!") the relationship is described as "cute".

This, without a doubt, is one of the finest films I've seen, containing possibly the greatest performance of all. A 10/10.


How long can a woman grieve the husband who died prematurely? In fact, that question is posed by the writers of this intriguing film, but they never answer it, as they have left it to us, the viewing fans of "Birth", to reach our own conclusions. Our answer would be that Anna will love Sean forever!

Jonathan Glazer, an amazing new talent, has followed his previous film, "Sexy Beast" with this new movie written for the screen by an impressive team, namely, Jean-Claude Carriere and Milo Addica, helped by the director himself.

Much has been discussed in this site about the film, which makes a valid point into making us believe a young boy, who might, or not, be the real Sean, is the real thing, or just an opportunist, who happened to be at the right place, at the right time. Anna, the woman who suffered the great loss in her life fights the boy when he appears, then, as everything points into the right direction, or what she wants to believe, and she gets answers that have been inside her head all the time, she accepts as natural a situation that by all accounts if far from normal.

Nicole Kidman, with dark short hair, gives a subtle performance as Anna. Ms. Kidman's contribution to the film is amazing; she goes from denial to a complete state of acceptance. There are moments when we, as the viewer, feel the pain Anna is feeling. Her sequence at the concert when we watch her face, as all the emotions are seen in her face, is one of her best moments in a film. Also the last sequence when we watch her at the beach, after she has married Joseph and is seen wandering in the water crying is another clue we get from her.

Cameron Bright, the young actor, makes Sean comes to life, no pun intended. This young actor has an innate talent for getting inside the skin of the characters he is portraying. There is not a false move from the way this actor tackles to convey the idea he is Sean, and that's all there is to it!

Anne Heche, as Clara, holds the key to solving the mystery of the situation the arrival of young Sean has created. The family is in turmoil. This well to do family, who is at odds, first believing, then seeing what it has gone to Anna. We don't see what Clara's role is in the story until the end. Her character has been made to seem ambiguous throughout the movie.

Danny Huston, who we admired in his recent role in "The Constant Gardener", who plays Joseph, the man that has made Anna agree into marrying him. Joseph cannot deal with the changes Anna is going through, so he bolts from her life, as one expects him to do. It's bad enough to have been competing with the ghost of a dead former husband, but it's too much to have a ten year old rival.

Laruen Bacall, Arliss Howard, Peter Stormore, and the others in the cast give good performances under Mr. Glazer's direction.

The moody musical score by Alexandre Desplat is elegant, somber, and mysterious and sets a perfect mood for the film. The elegant cinematography by Harris Savides, with its dark tones and cloudy skies serves the film well. Ultimately, this film clearly shows us a director, Jonathan Glazer, who never bores the viewer in the always chooses the stories he wants to present for our pleasure.


I like Movies. I have sat through some awful tripe because I feel that, like people, everybody has a good side. So I wait for films to show me something mildly visually compelling - a moment's genius amidst an otherwise pointless mess of celluloid rubbish. Most of the time, I am able to take solace in the fact that even Matrix Revolutions had at least a few seconds of high-speed visceral action, despite the unfathomable script and plot.

Birth, on the other hand, was the filmic equivalent of a VERY long wait. I have had more fun standing at a bus stop, with the flu, in the rain.

Besides the technical issues - the alarmingly regular appearance of boom mics, and the plot holes - the kid sean's inexplicable ability to point out Lauren Bacall as the Xmas Humbug, Birth's script is virtually non-existent and ponderous kubrick style tracking shots sap the very life blood out of the viewer so that they are lulled into a hypnotic half-slumber. I am sure that detectives have been faced with a rash of mysterious deaths where victims have been found on their sofas, dribbling out of the corner of their mouths, eyes open, gazing zombie-like to the end credits of 'Birth'.

This film could have been squeezed just as meaningfully into a 2 minute short. If you take out the scene where we are forced to look at Kidmans' face at the concert for an age, the straight-repeated scenes (standing in for flashbacks) and the lengthy silences filled with supposedly drama-filled facial expressions which DON'T lead us to an explanation of the plot any more than a stray fart in a lift - you would be left with ''Hello I am your dead husband in a child's body, no I am not I am a misguided teen with a boring life and I've pieced together a bit of information about you to try and see your boobies in the bath'. DEEPLY suspect bath scene by the way!!

Oh - and nicole kidman reminded me of a loveless and neurotic icy-frigid Aunt - not a hint of a deeply emotional soul who still pines for her long-dead hubby. 10 years wasn't it? I would have been able to understand her acceptance of Sean mark 2, if we had been shown, just for a moment or two, some scenes featuring her previous 'deep' relationship with Sean mark 1.

All you art-house types should really stop looking for a deeper meaning in this movie. It's a lazy piece of film making and I half expect that the director has a hefty reliance on downers.

Side note:- That fella who plays Kidman's husband is seriously scary-looking. I reckon he'd be a good 'devil'.


There are, perhaps, more salient comments to be written, in addition to the first review of this film, shown above, but it would be for a completely knowledgeable person in the field of psychology to write them. In viewing this film multiple times, I was struck by a new facet of the character of the film's principals each time I viewed it. Like a beautiful and complicated piece of music, one sees something new at each viewing; in one viewing the look on "Joseph's" face as he stands at the window waiting on "Anna" to arrive to look at a new apartment, and realizes she will NOT be there, that she is indeed immersed in "Sean"; in another viewing the changes in Anna's" expression as she is 'rescued' by Joseph on the beach--at one point there is an instantaneous look on her face signifying her realization that life with Joseph, and WITHOUT Sean, will be devastating for her. Her look of misery in this ending scene of the film is heart-rending, and unforgettable.And, of course, as the screen goes to black we are left only with the eternal sound of the sea, as the breakers crash softly against the sand.


Alexander Desplat, the splendid composer of "Birth" starts us off in a such away that I though I was in for a real treat. Then Nicole Kidman, with her astonishingly beautiful, intense, intelligent face. Elegant fades to black, scrumptious cinematography. Then what? As soon as 10 year old boy makes his appearance telling her, them and us who he is, the film stops and dwells on that point without knowing where to go. Round and round and round again. Among the writers of "Birth" is listed the great Jean-Claude Carriere with amazing titles to his credit. I don't believe for a minute that he had anything to do with the appalling structure of this mess. The most frustrating feature of this film is that it promises a memorable journey within the first ten minutes and then ignores it, ignore us it cheated us. I really want to blame someone for this, who shall I call?


Remember the movie "Sixth Sense " well "Birth" is a bit like it, trough the plot is different of course- and so are the actors. In Six Sense we have two stars Bruce Willis and Haley Joel Osment, while in "Birth "we have Nicole Kidman and Cameron Bright ( who is actually a pretty good actor judging by his filmography ) . The acting was fine  and the only think that I didn't like was the scene at the theater, when for like 30 seconds or more I was watching the face of Nicole Kidman  I got what the director was trying to emphasize in that scene , but 10 seconds or so would have been just enough. Birth is a good Mystery film, because it really keeps you interested in the story. It is full of symbolic of life and dead and has a lot of meaningful scenes. I was surprised to see that is has an R rating for sexuality  as there is just one sex scene, fairly short and honestly the movie would have been even better if it wasn't in it. The soundtrack was good  made of classic music and suspense  typical for this genre  trough I felt that some scenes could use some more music on the background.