IN: Review: This was a wonderful little American propaganda film that is both highly creative AND openly discusses the Nazi atrocities before the entire extent of the death camps were revealed. While late 1944 and into 1945 would reveal just how evil and horrific they were, this film, unlike other Hollywood films to date, is the most brutally honest film of the era I have seen regarding Nazi atrocities.

The film begins in a courtroom in the future--after the war is over (the film was made in 1944--the war ended in May, 1945). In this fictitious world court, a Nazi leader is being tried for war crimes. Wilhelm Grimm is totally unrepentant and one by one witnesses are called who reveal Grimm's life since 1919 in a series of flashbacks. At first, it appears that the film is going to be sympathetic or explain how Grimm was pushed to join the Nazis. However, after a while, it becomes very apparent that Grimm is just a sadistic monster. These episodes are amazingly well done and definitely hold your interest and also make the film seem less like a piece of propaganda but a legitimate drama.

All in all, the film does a great job considering the film mostly stars second-tier actors. There are many compelling scenes and performances--especially the very prescient Jewish extermination scene towards the end that can't help but bring you close to tears. It was also interesting how around the same point in the film there were some super-creative scenes that use crosses in a way you might not notice at first. Overall, it's a must-see for history lovers and anyone who wants to see a good film.

FYI--This is not meant as a serious criticism of the film, but Hitler was referred to as "that paper hanger". This is a reference to the myth that Hitler had once made money putting up wallpaper. This is in fact NOT true--previously he'd been a "starving artist", homeless person and served well in the German army in WWI. A horrible person, yes, but never a paper hanger!
What is this review like?
OUT: positive

IN: Review: I thought this movie was fantastic. It was hilarious. Kinda reminded me of Spinal Tap. This is a must see for any fan of 70's rock. (I hope me and my friends aren't like that in twenty years!)

Bill Nighy gives an excellent performance as the off kilter lead singer trying to recapture that old spirit,

Stephen Rea fits perfectly into the movie as the glue trying to hold the band together, but not succeeding well.

If you love music, and were ever in a band, this movie is definitely for you. You won't regret seeing this movie. I know I don't. Even my family found it funny, and that's saying something.
What is this review like?
OUT: positive

IN: Review: Care Bears Movie 2: A New Generation isn't at all a bad movie. In fact, I like it very much. Yes I admit the dialogue is corny and the story is a bit poorly told at times. But Darkheart, while very very dark is a convincing enough shape shifting villain, and Hadley Kay did a superb job voicing him. Speaking of the voice acting, it was great, nothing wrong with it whatsoever. The animation is colourful, and some of the visuals particularly at the beginning were breathtaking. The songs and score are lovely, especially Growing Up and Forever Young, the latter has always been my personal favourite of the two. The care bears, who I do like, are adorable, and the human children are well done too. And the ending is a real tearjerker. All in all, harmless kiddie fun. 8/10 Bethany Cox
What is this review like?
OUT: positive

IN: Review: This was my second time watching the film (via the French-language version as opposed to the first, which was dubbed in Italian) and I feel that it improves on subsequent viewings.

A compelling if slowly built-up character study that's beautifully shot and with the Parisian settings being equally impressive. In the long run, it's not top-grade Polanski and I would rank it at number 9 in his filmography but it's still a confident mix of subtle chills and, surprisingly, often broad comedy. It also features a fine cast, all of whom are in good form, but especially Isabelle Adjani, Melvyn Douglas and Jo Van Fleet.

Even so, I'm a bit baffled by the sudden compulsion for Trelkovsky to 'change' into the previous tenant; apart from the owner of the cafe opposite the apartment building, where he is given whatever Simone used to have without asking him if he wished any different, there is little to indicate (as far as I could discern, anyway) that this is what everybody wanted of him! Okay, so he found Simone's belongings still lying in the apartment but what exactly drove him to wear her dresses and make himself up as her (even if he apparently started doing this unconsciously)? Following his nightmarish visions in the bathroom, the last section of the film (where Adjani all but disappears) is almost anti-climactic - especially the scene where the landlord and the other tenants witness his attempted suicide as if it were a night at the Opera, a concept which had already been used 46 years earlier by Jean Cocteau in THE BLOOD OF A POET (1930)!

The ending, then, is at once predictable and unresolved: just what made the two occupants of this particular apartment jump out of the window?!; I remember this factor bugging me on first viewing as well, and I'm sorry to say it's no clearer now! Mind you, the film's first two-thirds are pretty solid but I wish that Polanski had been less reliant on obscure plot points throughout.
What is this review like?
OUT:
positive