Another documentary from the now infamous director Michael Moore, Fahrenheit 9/11 discusses American internal security issues after the twin tower incident several years back.

Despite being somewhat informative and, in places, frightening, the main points are made through conspiracy theory-like circumstantial evidence and conjecture. Certainly the points made stand up (why were the Saudis allowed to freely leave the country when no-one else could?) but the reasons given are based on relatively flimsy evidence.

The tone of the film is also more patronising than should be expected from a serious documentary, dumbing everything down to the point of childishness.

It still remains a watchable film, but not one to be taken as absolute truth.

While many sequels of late regurgitate the original’s jokes but louder (see the Austin Powers sequels for a prime example), Shrek 2 is original and funny. Taking place not too long after the first film, the story doesn’t feel like a contrivance to get the characters back together for another adventure; a logical extension, rather than an embarrasingly tied together mess.

That’s enough analysis though. Primarily this is just a fun film to watch, with charm oozing from every perfectly thought out detail (the BK and Starbucks in Faraway land). The parodies and jokes are aimed at all levels, the “Cops” scene being particularly memorable.

All in all, a great film, only hampered by the slightly slow middle. Certainly one to see (like anyone won’t have by now).

While lacking the usual charm and oddities that are hallmarks of the Coen brother’s output, this remake of the classic The Ladykillers still retains their unique influence. Beginning with some beautiful shots of the settings, this film shows more of the pairs artistic flair than previous (less mainstream) efforts.

Tom Hanks is perfectly cast as the odd Professor with the plan to rob a casino, while the supporting actors do an admirable job in the face of his scene-stealing performances. Hanks reels off pages of dialogue, intoned perfectly, without a hint of pausing. Impressive stuff.

The film itself is enjoyable as a lightweight comedy, but lacks the laughs of “The Big Lebowski” or “Fargo”. Although they should be proud of themselves, remaking such a well-loved film and doing a good job of it is admirable, you can’t help but miss the strange outpourings of the Coen’s original works.

There’s something about William H. Macy: he plays losers better than anyone else. Hopefully that’s a compliment to his fine acting ability.

In The Cooler he plays a gambler who loses so much he is hired to stand next to winners in a casino, causing them to dry up. His plan to leave this lifestyle is complicated by the appearance of a love interest and the usual Hollywood conceits.

Although well acted, there’s nothing particularly new about this film. It’s certainly not dull but it is predictable, even the slowest among us should be able to see the twists coming as soon as they are set up.

So, enjoyable but entirely forgettable.

This is just a short post to say that the lack of posts will largely continue. Still in Nottingham, and net access is not freely forthcoming. I’ve no idea what’s being going on in the blogosphere (I’d guess something to do with syndication, some angst from the Live Journal types, and more about how hard XML is), so I will update a few times this week with film reviews. It’s not much, but it’s all I can really get away with for now.