7 stars

dir: Bobcat Goldthwait
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The name Bobcat Goldthwait is not one that resonates in the hall of fame of respected comedy directors. The main reason is that there isn’t a hall, alcove or basement of fame of respected directors of comedies, since there are so few of them, so few in fact that they could all fit in a broom closet, bathroom or crawlspace with room to spare.

It’s a name that probably doesn’t come up in common public discourse, or in personal conversations between lovers in bed post-coitally “You really Bobcatted my Goldthwait good tonight, baby”, or a name used by the Pope in his annual chastising pronouncements, or by the Queen in her Christmas address.

In fact, anyone under thirty has probably never heard of him, and those over thirty wish they could forget him and his eardrum shredding voice.

Which is a shame, because his long career as a standup comedian, his brief career as a successful actor in Police Academy films, and the intervening years where he struggled for meaning and money meant that he made the shift over to directing films, with some success. And so here he directs Robin Williams in a flick that looks for all the world like a comedy, again, with some success.

dir: Darren Aronofsky
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Hmmmm.

Darren Aronofsky returns to the well that prompted him to make Pi way back in the day, with a different gender in the lead but the same ultimate problem: madness brought on by sexual frustration. In Pi a maths genius can’t get any, and goes mad (or madder) listening to his hot Indian neighbour have sex. In Black Swan, a sexually- repressed prima ballerina called Nina (Natalie Portman) has to go mad in order to access her dark side to become the most perfect ballerina in the history of Swan Lake performances.

With mixed results. In a way, though she’s won’t and shouldn’t get credit for it, Portman did a Christian Bale and starved herself down in order to play this character. She’s already tiny, but here she’s depleted enough here to have that horrible strained look on her sternum where flesh is supposed to be, and now there’s only bone and tendon.

It’s not for me to judge what actors do in the pursuit of money, critical respect and the adulation of the masses. If it’s okay for Bale to do it in every second flick he does, then why not a chick that probably already weighs about 40 kilos anyway?

dir: Anton Corbijn
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It must be quite a burden, not just being an American, but playing THE American. How do you summarise millions of lives and hundreds of years of complicated history in one movie?

You have The American of the title played by George Clooney.

That distinguished salt-and-pepper hair, those smoky eyes, that smug grin; who else can represent everything from exterminating the natives and calling it manifest destiny to dresses made out of meat and massive planet-sized cars that run on endangered species thrown straight into the fuel tank?

George Clooney, that’s who.

I had heard two main comments regarding this flick: 1) that it was a good flick, and 2) or that it was an extremely slow, extremely boring flick. Well, I was totally sold on those ends of the spectrum meeting somewhere in the middle. Who wouldn’t want to watch a decent flick that’s also tortuously dull?

Is it in truth a dull flick? I didn’t think so. The pace is perfect for the story it’s trying to tell, and I guess the lack of over-editing and jump-cutting shaky cam probably put off those hoping for the hyperkinetics of another Jason Bourne-type flick.

dir: Giorgos Lanthimos
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Oh, what a fucked up family, and, oh, what a fucked up film.

I haven’t had much cause or recourse to review Greek films thus far, in fact it’s never come up. In a decade or so of reviewing (and twenty years of chin-stroking viewing), there’s never been an instance where I’ve watched a Greek flick in a local arthouse cinema, because I can’t recall the last time one got to play. Sure, you can occasionally watch flicks about Mongolian yak herders, or Massai tribesmen, or Inuit fishermen fishing for fish through tiny ice holes, and every single French flick no matter how vacuous or silly, gets arthouse play, but practically nothing from Greece.

I have no idea if the European Union’s poor orphan cousin has that much of a film industry, to be honest. Can’t imagine there’s that much spare cash lying around. Still, arguably the most famous (internationally) director from Greece, called Costa Gavras, who’s a pretentious pill but an accomplished director if I’ve heard or seen one, doesn’t even direct flicks in Greek, preferring the international language of arrogance, being French.

dir: Gareth Edwards
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Monsters. They’re everywhere. Not just under your bed, or bursting out of your closet when you’re not looking, or threatening you on public transport with their odours and with requests for money.

They’re also, apparently, in Mexico, trying to get across the border to the States in order to make some money and eat some quality junk food. These monsters are so terrible that a huge wall has to be built in order to keep them out, away from decent, law-abiding white people.

And then there’s this strange flick some guy made about some actual monsters, as in, giant alien octopi, that have infected Central America with their casual destruction and socialist economic programs.

Clearly, military strongman and certifiable egomaniac Hugo Chavez is the real target here. Whether he is or not, there’s monsters out there, and the going is getting tough.

dir: Robert Rodriguez & Ethan Maniquis
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Like Oscar the Grouch, I, occasionally, love trash. Love it to death. Robert Rodriguez makes some exceptionally trashy flicks. Some I hate, some I love, and the more enjoyable ones are pure, much adulterated trash.

Sin City, Planet Terror and this latest visual and aural amoral atrocity are flicks of his that I’ve greatly, greatly enjoyed. Why? Why these ones and not his parade of other flicks that either bored or actively irritated me? I mean, in all honesty, is there really much of a difference between this and Once Upon a Time in Mexico, which I loathed? Gratuitous violence? Too many characters? Gore on tap?

Yes, yes and yes. And add to that the immensely transparent agenda of arguing against the exploitation and demonisation of so-called illegal immigrants who stream across the border from Mexico desperate for a better life, and you have a live action ‘contemporary issues’ cartoon with a protagonist who is the meanest looking Mexican ever to star in a motion picture made in this part of the galaxy.

dir: Philip Noyce
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And you thought it was about the mineral…

Were you disappointed to find out that Angelina Jolie wasn’t going to be playing this most ancient of food additives? I know I was. Imagine her, sitting on a table, in one of those grinders or in a shaker, just sitting there patiently, waiting for someone to pick her up and sprinkle her onto their food during dinner. The twist is, though, the middle-aged people at the dinner are all on a low sodium diet, due to doctor’s orders, and Angelina Jolie goes sadly unused, uneaten, untasted for the whole film.

It’s a story about longing, about unfulfilled potential, about loss of purpose.

Sure, it’s far more sedate than what’s actually on offer here, but there should be a place for films as deathly dull as the one I just described. Salt, this Salt, is possibly a lot of things, but it certainly can’t be accused of being dull.

dir: Neil Marshall
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What a sweet relief! Thanks for making a decent film again, Neil Marshall.

His last flick Doomsday was hilariously bad, but with Centurion he’s regained his stature (in my eyes at least) as someone who can make decent action flicks. Dog Soldiers was a long time ago. The Descent is his masterpiece thus far (and is not tainted by the cheapie sequel he didn’t direct). Doomsday made me think he was going to turn into a hack on the level of a Paul W.S. Anderson, Kurt Wimmer, Len Wiseman or David S. Goyer: purest of total hacks to a man, which is why I keep going on about it.

dir: Tom Ford
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You may not know who Christopher Isherwood was, or care, or know who Tom Ford is, or care. If you’re a woman, then odds are you know who Colin Firth is, and, depending on your age, you’ve thought he was dreamy ever since he played Darcy in thirteen or fourteen different variations on the role from Pride and Prejudice.

After watching this flick I’d wonder if you care any more about anything anywhere, since it plays out like the longest, tamest, gayest cologne commercial you’ve ever seen. Every scene is set designed and framed to within an inch of its life, and the performances, especially by Colin Firth, and Matthew Goode, as the central couple, are note-perfect.

But I’m sorry to say I walked away from this with barely anything having registered.

The love that dare not speak its name, but these days proclaims itself from the rooftops would seem to be the central premise, since the flick is set in 1962, during the Cuban Missile Crisis, but really, it’s just about love. It’s about loving someone, and losing them after 16 blissful years together, and not being sure how to or whether to carry on.

The love that not only heals and elevates us, but that also hollows us out with its loss.

dir: Shawn Levy
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Some flicks go out of their way to make you wish you were someone or something else. That’s why most entertainment is considered an escape from the mundanity of the everyday. Lose yourself in the fantasy of being some awesomely bicepped highly skilled dancer / spy / seducer / vengeful mutant dentist, and pay us before you’re done, thanks. Not after, before. No refunds.

Other flicks applaud the fact that you, the viewer, are a mundane mediocrity, whose hopes and dreams have been squashed by life, by your own laziness and timidity, and that you are just as you should be. We, Hollywood, wouldn’t want you any other way. Because if you weren’t just as you are, the perfect consumer who can purchase whatever you want, set your life up just as you want, but still always feel vaguely dissatisfied, then why would you be watching Hollywood’s crap? You’d have no need for us and our special magic any longer. And how would we survive?

(Kataude mashin garu)
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dir: Noboru Iguchi

I’m starting to get the knack of this current crop of Japanese violence-fests. It’s not a complicated equation: Ham acting, cheap effects, both physical and computer-generated, and thousands and thousands of litres of fake blood.

I’ve watched a bunch of these flicks lately, and they really look like what they are: cheap movies made by special effects guys who know more about how to put together a prosthetic body they’re planning on cutting into multiple pieces with blood spraying out of it every which way, rather than coming up with a script that makes any sense.

Not that it matters.

I’m getting to the stage where I’m starting to be able to enjoy them. I’m not sure if I’ve figured out whether they’re action flicks, comedies or horror flicks, or a curiously Japanese blend of the three. Whatever the actual genre is, is irrelevant, I guess. All that matters is whether I’m entertained or not.

And I was entertained by this flick, significantly so, compared to the last Fever Dream production that I saw, being Tokyo Gore Police. Or maybe what’s happening is that I’m becoming desensitised to the level of gore, the sheer crazy magnitude of gore on display.

dir: Floria Sigismondi
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The mark of a film succeeding in its job, in this case when it’s based on real events, is usually that after watching it, you know more about the subject matter than before.

Right now, at this moment in time, I know just as much about The Runaways as I did before watching this flick, except for two minor facts: that their manager was a total creep, and that the band members used to lez out at the drop of a hat.

Other than that, it’s not very educational. But then again, it doesn’t really need to be. You could argue that if a flick about the Spice Girls of their era captures the essence of the time (mid seventies, as punk was exploding across the world), and the essence of what made the band noteworthy (that they were a briefly successful all-girl rock band), then it’s achieved its mission.

That’s not what I’m arguing. I said you could argue that. I couldn’t.

Based on this flick, the two major achievements The Runaways are responsible for are a) that it launched the eventual career of Joan Jett, whose most famous single is still a mainstay on golden oldie radio, and b) it gave Kristen Stewart, the notorious non-actor from those godawful Twilight flicks, something to do in between the production of those godawful Twilight flicks.

dir: Christopher Nolan
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I don’t know what to tell you, people. On the one hand, there are parts or elements of Inception that are brilliant. On the other hand, there are whole parts and sections that seem arbitrary and cliché. And on the third hand, pretending for the moment that you’re some kind of three-handed mutant, it has an ending that I’m not sure whether it justifies the two-and-a-half hours spent watching it.

From a spectacle perspective, it’s pretty extraordinary. The sight of a Parisian arrondisement being folded over; the impact of waking someone with water from their induced dreams; weightlessness; dream perspective cityscapes; all of that stuff looks mighty purty. It’s a big budget movie where every element, every frame has been fussed over extraordinarily. Christopher Nolan, who probably can do whatever he wants as far as the studio is concerned after the tremendous success of The Dark Knight, made exactly the flick that he wanted to make. And in terms of coherence and meaning, this is a stronger film than Dark Knight, mostly because it’s not as painfully over-edited.

But then why didn’t I like the film that much?

dir: Nimrod Antal
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You may ask yourself whether the world needs more Predator movies. It’s a legitimate question. Reasonable and fair.

That’s like asking if trees needs more sunshine, or if a man needs more blowjobs.

The world didn’t necessarily become a better place upon the release of the first flick way back in 1987, but it certainly improved the lives of millions of teenage boys who now had something to tape off television onto VHS in order to watch endlessly. Well, something that wasn’t taped because of the prospect of boobs, BOOBS…

It was the truest, bluest action flick of its time, and it unashamedly traded on the steroidic charms of Arnold as well as a cast of lunkheads like Jesse ‘The Body’ Ventura and Carl Weathers, all of whom peaked with this flick where their only purpose is to kill time before they’re killed, so that Arnie could take care of business at the end, unencumbered by girly men or girly girls.

I’ve watched every inch of that flick so many times that watching it again is almost superfluous: If I was deranged enough, or poor enough, I could practically sit in a darkened room, close my eyes and play through the flick in my head, frame by frame, for its entire duration.

dir: The Hughes Brothers
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Another week, another post-apocalyptic flick gets released, meant to chastise humanity for their brutish, selfish ways and profit from our desire for self-destruction. There are so many of these post-apoc flicks coming out that you’d think humanity is obsessed with its own end or something.

Or, alternately, that screenwriters have very limited imaginations.

Hot on the heels of that other mega-blockbuster The Road, which no-one saw, and those that did promptly committed suicide (or at least thought about it a whole hell of a horrible lot), comes another flick where a barren earth plays host to the last scrambling remnants of humanity.

The great difference here, though, is that this is meant to be more fun.

Sure, life on the desiccated plains is desolate, short, brutish and Hobbsian, and cannibalism and general viciousness abounds, but, unlike the dead Earth of The Road, there is some hope here for the species' survival. And that hope travels in the form of a man called Eli (Denzel Washington), who walks West, carrying a book.

Not just any book, but The Book.

dir: Werner Herzog
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Herzog has long been acclaimed as one of the nuttiest directors of all time, so it makes a kind of deranged sense that he would be the one that picked up the mantle no-one else wanted. The Abel Ferrara directed Bad Lieutenant, at least the one starring Harvey Keitel and his penis, is one of my all time favourite films, of that have no doubt. When I watch it even today I marvel at just how demented and heart-rending it all is. How harrowing and still funny.

This is in no way a remake, but I guess there is some kind of thematic connection. That’s being too kind – there’s no goddamn connection. The only connection is that the main cop character is at the rank of lieutenant, and he uses a lot of drugs and probably commits / ignores as many crimes as he solves or pursues.

Keitel’s character was trapped in a hideous (and sometimes darkly comic) downward spiral because of, considering the heavy dose of Catholicism permeating the flick, either his abandonment of God, or his abandonment by God. The bleeding saviour himself appears in front of Keitel, who lets loose with the most disturbing keening / primal howling you’ll ever hear or laugh at in that or any other film.

dir: Johnnie To
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I have to admit, I find this flick pretty… strange. Much as I love Johnnie To’s flicks, and as much as I consider him one of the last Hong Kong directors making movies of any worth, style or significance, that doesn’t always mean I get where he’s coming from.

See, it’s a Hong Kong flick that mostly transpires in Macau, with an aged French actor as the lead, who doesn’t speak Cantonese, who wants revenge. Revenge! Or vengeance, as the case may be, on those who brutally attacked his daughter and murdered his grand children.

Why Costello (Johnny Halliday) wants revenge is almost irrelevant, because the sad fact is as well that, mixing in an element from Memento, Costello has short term memory problems, making his stated intention to seek Vengeance that much harder.

He accidentally stumbles across a team of hitmen, who he enlists in his righteous cause. They haltingly speak English, and he haltingly understands it, but they bond with each other, for reasons not obvious to me.

dir: Marc Webb
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There aren’t that many good romantic flicks. I don’t think it’s the boring case of “They just don’t make ‘em like they used to, and get off my lawn, you deadbeats” beyond the heyday of the Golden blah blah of Hollywood. Romantic flicks invariably suck because they’re invariably crappy, inhuman and lazy.

And yet romance infects its way into almost any other flick and genre you can think of. Romance on its own, though, without the ‘comedy’ support of being at least a romantic comedy? Oh, it’s fucking awful, almost 99 per cent of the time.

That figure is empirical fact, based on years of meticulous research, forensic testing and cross-matching with the FBI’s crime database.

I don’t think this flick is anywhere near up the top of the genre with the few decent romantic flicks of the last couple of decades or so, but it doesn’t completely and utterly suck.

We are told right from the start that though this is a story about love, that it is not a love story, and that it is more about the misery a failed relationship can bring rather than the sheer scope and magnitude of wonderfulness that can occur when everything goes right.

dir: Jason Reitman
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This flick has garnered an incredible amount of positive reviews, awards, nominations, probably women kissing posters of George Clooney in public, dreamily smearing their cheap lipstick all over the glass failing to protect his poster within.

And for what? A guy flies around the States firing people. The end.

That’s it? That’s everything wrapped up in a neat little fucking package?

Perhaps, perhaps, perhaps.

Ryan Bingham (oh, you’re soooo dreamy, George Clooney) is a charming and empty man who spends almost all of his time in the air, flying from downsizing opportunity to downsizing opportunity, and he loves it that way. He hates having to go back to the company headquarters, because it means he’s not in perpetual motion. Like some form of even more soulless shark, he needs to keep moving or he gets frantic.

He has reduced the elements of travelling, like dealing with the customs people, the torments of rental car hire, hotel reservations and those little bottles of booze all to both a fine art and also the stuff of his own life.

dir: Armando Iannucci
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So many swears! This movie has more swearing in it than Scarface! Think of any sweary film you can think of, and this movie has five times the amount of swearing. And that’s a lot.

It’s almost too much. It’s almost embarrassing to admit such a thing, but I was exhausted at the end of this. Partly from having laughed so much, but also from having to concentrate for so long to separate the sometimes quite inventive swearing from the actual dialogue, and then trying to remember how it all fits together, despite or because of the swearing.

Ultimately, this is a comedy. A quite funny comedy. It’s shot in that mockumentary style that has become ubiquitous since the original The Office series, and now is replicated in every corner of the medium. If you don’t know what I mean, I can simplify it quite easily: shakily filmed video mostly of people in office spaces.

dir: Guy Ritchie
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I should probably be ashamed of myself for having enjoyed this flick so much, but there it is. I’ve put it out there. I heartily enjoyed a Guy Ritchie movie, and, even worse, one based on the much beloved works of Sir Arthur Conan Doyle.

When I heard Ritchie was making a version of Sherlock Holmes, and that it would be an action fest, I felt like I’d been punched in the nuts so hard that I was bleeding out of my mouth. Ritchie hasn’t made an enjoyable flick with a coherent plot or even vaguely coherent editing since Lock, Stock and Two Smoking Barrels. Since then there’s been this dire swirling of the same characters, the same over-stuffed plots based on Cockney slang, criminal doings and painful coincidence down a drain of creative bankruptcy, whereby the only decent moments for the viewer seem to occur almost by accident.

Well, someone must have forced Ritchie to calm the fuck down and produce something half-watchable, and I don’t think it was the vengeful ghost of Arthur Conan Doyle threatening to rip his nuts off. Even as tenuous and complicated as this story manages to be, with many a confusing scene that has to be explained in detail later on, it still manages to be far more coherent and easy to follow than anything else he’s ever had his name attached to.

dir: James “It’s my world, but you can live on it” Cameron
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For a flick that cost over 300 million Earth dollars to make, I’m not sure that the investment is always visible on the big screen, be it 3D, IMAX or otherwise. Sure, this flick is already the second most successful (in unadjusted dollars) flick of all time just behind some other obscure flick James Cameron made fifteen years ago. But I can’t really see whether it was worth all the fuss.

For three hundred million dollars, or closer to five, if you believe the sceptics who were hoping Cameron’s hubris would be repaid with failure (who now console themselves by screaming “it’s shit!” instead of “it’s going to bomb!”), you’d think there’d be scenes of Scarlett Johannson, Salma Hayek and Penelope Cruz passionately getting it on in the altogether on the top of a diamond encrusted, plutonium powered aircraft carrier from which Cristal-sipping live killer whales covered in mink coats and platinum bling are catapulted into the sun.

dir: Ruben Fleischer
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You might not have noticed, but there’s been this plague outbreak recently. It didn’t all happen at once. It’s been a gradual progression, until more recently where it seems like it’s overwhelming everything and everyone.

It’s a plague of zombie movies, visited upon the planet as a prelude presumably to the actual apocalypse. It’s a benevolent but capricious God’s way of getting us ready for when the dead finally do walk the earth.

Either that, or there’s just no original ideas under the sun anymore.

Still, if you’re going to do something unoriginal, at least do it well and make it entertaining. You don’t even have to put that much of a spin on it: just make us smile.

Someone came up with the bright idea (many times, in many different forms, from World War Z to Shaun of the Dead to Pride & Prejudice & Zombies) that if you don’t take it seriously, a zombie plague could be pretty funny. What if you make your main character a college age kid who’s a bit of a dick and a nebbish, and actually have your characters enjoy themselves along the way?

dir: Lone Scherfig
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If I was to tell you that this flick is the coming-of-age tale of a private schoolgirl seduced by an older, sophisticated man, then you’d tell me that this is clearly a porno or at the very least a remake of Rochelle, Rochelle, an young girl’s erotic journey from Milan to Minsk.

If I was then to tell you that it is nothing of the sort, and if I apologised profusely for having made a Seinfeld reference in one of my reviews, then you’d probably still not be interested in what is otherwise quite a charming little flick set in the early part of the 1960s.

Based on the memoirs of journalist Lynn Barber, with a screenplay written by Nick Hornby (of High Fidelity and About a Boy fame), An Education is set in 1961, and looks at what goes on in the life of an intelligent but unworldly girl called Jenny (Carey Mulligan), who comes across the path of a charming and sophisticated (from her limited perspective) older man called David (Peter Sarsgaard).

See, you could only get away with setting a flick like this in the 60s. Back in those halcyon days, the creepy setup looks a little less creepy. Back then you are meant to see it a little bit more as people being a product of their times, and acting accordingly. It's still creepy, but, y'know...

dir: Rian Johnson
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Rian Johnson’s first film, Brick, was a noir crime drama worthy of the pen of Raymond Chandler, set in a high school. The dialogue sounded strange in the mouths of actors playing children, but it had style, and a commitment to its set-up that never wavered, perhaps to the flick’s detriment, but no matter.

When I heard that he was making a film about two con artist brothers, I was pleased. Pleased was an understatement. I was ecstatic. For reasons that make no sense, I felt glad that a guy who struggled, fought and agonised over making a flick with no budget (which is what happened with Brick) was getting the chance to move up in the moviemaking hierarchy, and was getting to make more flicks.

I’m still glad he’s making movies, watching Brothers Bloom hasn’t diminished that, but I realise he’s got a fair way to go as a director as long as his films require actors.

Listen to me, offering unsolicited advice to a director who’s achieved stuff I’ve never dreamed of and will never get close to creatively and professionally. How generous of me to criticise him and offer tidbits of wisdom.

dir: David Fincher
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David Fincher almost gets a lifetime pass from me for Fight Club. It’s a film so goddamn good that it elevates him into the lofty heights of directors whom I’ll defend even if they make twenty shitty films compared to their one or two masterpieces. Brad Pitt has no such pass from me, lifetime or otherwise. I have such a deep antipathy for his brand of actoring that he is usually the weakest link (for me) even in the strongest of films.

This flick, right off the bat, I enjoyed, very much so, despite the fact that there is less going on here than meets the eye. The premise sounds like it’s high concept enough, but it’s used more for its ironic sense than anything else. A F. Scott Fitzgerald short story is the origin of the film’s screenplay, but it has been fleshed out and elaborated upon in order to make it a serious, prestige Oscarbait contender, instead of the Twilight Zone half-hour that it probably warranted instead.

In the early part of the 20th Century, a clockmaker grieves over the death of his son in the Great War. He constructs a clock for a train station that runs backwards instead of forwards, with the (poetic, not literal) hope that such a clock going backwards would reverse time and resurrect the many sons who died needlessly, bringing them home to their devastated families.

dir: Neill Blomkamp
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It seems like a brilliant idea on paper. It even seemed like a brilliant idea in the promos and trailers and such. Truth be told it was the first genuine-seeming actual science fiction movie to pique my interest in a long time.

As the film begins, the premise is set out for us very quickly and easily. Twenty years ago, a huge alien vessel appeared above the skies of Johannesburg, South Africa. The aliens, for which we are never given a better title than prawns, are settled into a ghetto / township, all million plus of them.

The ghetto is cordoned off, and twenty years later, as an impetus to the current story we’re supposed to be watching, the organisation tasked with corralling the prawns decides it needs to move the prawns 200 kilometres away because of tensions with the locals. Mostly because South Africans, white or black, don’t want them there. They are seen, despite their hideous appearance, as really being nothing more annoying or dangerous than refugees.

dir: John Woo
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I’m a bit confused. There’s a film called Red Cliffs that’s playing in the cinemas at the moment, which is meant to be an amalgam of two movies John Woo finished last year. But I don’t know if what I watched is what cinemagoers got to see, since I saw something around five hours long.

Now, there are films that are epic in length, others epic in scope, and still others are epic in terms of the boredom they inspire in audiences. ‘Epic’, in and of itself, isn’t necessarily synonymous with ‘good’. Some things are great the bigger they are, and I’ll leave it up to your personal preferences to imagine which ones, but tumours, debts, jail sentences and divorce settlements don’t necessarily improve with increased length, width or girth.

Yet it was viewed at my leisure, at least I can say that. What I saw is what Asian audiences saw staggered over two releases last year when this/these films made more money than Titanic. Only in Asia though. The rest of the world could care less, and rightly so.

John Woo hasn’t made a decent flick in twenty years, so just contemplate for a moment that it has taken him twenty fucking years to make a decent film again despite so many opportunities. To call it a return to form is an understatement.