Warning! Spoilers!
In the growing popularity of post-Armageddon films to come from Hollywood, there has to be a gimmick, a twist to the tale to make another version seem more original. In the case of The Book Of Eli, this gimmick is certainly a clever, if slightly predictable one. Sadly the rest of the film, save for one or two moments of potential brilliance, does not live up to the expectations that you may have after watching the trailer or seeing the cast list.
Eli (Denzel Washington) walks the land of ruined America, armed only with a very large machete and a backpack containing, among other things, the only surviving copy of the King James Bible. He is heading west; a voice has told him he will find the place for the book there. Along the dangerous path, he walks through a town ruled by Carnegie (Gary Oldman), a cruel dictator type who, like Eli, knows of the power of the words in his book and wants then for himself...
There's no denying the anticipation one feels about a film starring Washington and Oldman, two heavyweight actors - sadly, it feels for a lot of the time that they're sleepwalking the parts, that this is just another day job for them. Substantially better is Mila Kunis in the role of Solara, the young girl who joins Eli on his journey. Having only heard Kunis in Family Guy as the put-upon Meg, and seen her in That 70s Show, it is probably going a little too far to describe her performance as a revelation (no pun intended), but it is still more impressive than the two leading men. The film is also enlightened by brief but hilariously strange cameos from Michael Gambon and Frances de la Tour as two deranged survivors living on a farmhouse packed to the brim with automatic weapons.
When the action happens it is fast but far between. The scenes are played out well, with plenty of gunfire and explosions and even in a couple of cases decapitations to keep an action buff happy. But the scenes are sandwiched in to a script that relies heavily on deep, meaningful, and often somewhat preachy dialogue about the nature of the Bible and words. Though there are a couple of rather excellent twists towards the end, it is marred by a rather strange final ending which seems to want to evoke the final scenes of the excellent Aronofsky film The Fountain (2006), but fail sadly.
There will probably be many people who go to see this film and are surprised at just how religious it actually is. Perhaps that was not the true intention of the film's directors, the Hughes brothers, whose last film was (ironically) the adaptation of the graphic novel From Hell (2001); perhaps what they are trying to do is to look at what we look to for hope when there seems to be absolutely none left, and how powerful inspirational words can be. Unfortuatley, their reliance on the Bible squashes these intentions, and I think a lot of people will leave the film very disappointed.
6/10
Tuesday 26 January 2010
Wednesday 20 January 2010
Love Your Inner Loser!
Thank the good Lord for Glee.
I'm always excited about new years and new seasons on television - we've got a lot to look forward to over here in Blighty. Next week sees the return of some of my favourite dramas, Shameless and Skins; a brand new season of Doctor Who is on it's way; and there are some excellent one-off dramas on the horizon too. I'm always looking forward to the shows that come over from the States too. The Big Bang Theory has started again over here, and I'm interested in the first episode of The Good Wife, to be shown here on Saturday. Nurse Jackie has been another glorious find too.
But the pick of the crop so far has been Glee. I gotta be honest, I was never expecting to like it as much as I do. It looked a little too twee for my taste, a little too High School Musical. How wrong I was. This show has been described as the anti-High School Musical, and rightly so - somehow I doubt any of the HSM franchise would feature a line as darkly funny as "You think this is hard? Try living with hepatitis, that's hard!" screeched through a megaphone to a pack of cheerleaders.
Glee is about the losers, the dreamers, and the always hopefuls. For pursuing what you love the most. In this case, a glee club: singing in a harmonised fashion with some simple dance steps thrown in for good measure. They are the sub-basement of school life, lower than even the kids playing 'Dungeons & Dragons'. For now, at least.
Okay, so some of the elements of the show are a little predictable. You've got the star quarterback who has a wicked voice, and you have the very likely romantic relationship between him and the club's loser star female; but then it throws it right back in your face with the quarterback having major issues in...shall we say, holding back his excitement?
What really sells Glee, though, is the music. Taking classic songs, both contemporary pop/rock and old musical favourites and presenting them in an infectious glee club style has already sent many songs into the Billboard top 100, and does wonders for the original versions too. Case in point: the Glee version of "Don't Stop Believing" is currently at Number 5 in the UK charts and heading further up, breaking into the top 3 at the mo. Journey's version, albeit already helped by its use in last year's (shudder) The X Factor, was Number 6! Versions of Rhianna's "Take A Bow" and even, I'm predicting, Kanye West's "Gold Digger", will only serve to do exactly the same to the already great originals.
I've only seen two episodes and I'm already addicted. Glee is funny, warm-hearted and very loud, with an ability to seem fresh despite it being based on a formula we've seen a lot of over the last twenty five years or so. It's just what our television screens need in this rather bleak time - it's bright and colourful and absolutely rocks! It also won the Golden Globe for Best Television Programme - Musical or Comedy at this year's awards. So there you go - Hollywood Foreign Press loves it, so thats gotta mean something.
Laters.
I'm always excited about new years and new seasons on television - we've got a lot to look forward to over here in Blighty. Next week sees the return of some of my favourite dramas, Shameless and Skins; a brand new season of Doctor Who is on it's way; and there are some excellent one-off dramas on the horizon too. I'm always looking forward to the shows that come over from the States too. The Big Bang Theory has started again over here, and I'm interested in the first episode of The Good Wife, to be shown here on Saturday. Nurse Jackie has been another glorious find too.
But the pick of the crop so far has been Glee. I gotta be honest, I was never expecting to like it as much as I do. It looked a little too twee for my taste, a little too High School Musical. How wrong I was. This show has been described as the anti-High School Musical, and rightly so - somehow I doubt any of the HSM franchise would feature a line as darkly funny as "You think this is hard? Try living with hepatitis, that's hard!" screeched through a megaphone to a pack of cheerleaders.
Glee is about the losers, the dreamers, and the always hopefuls. For pursuing what you love the most. In this case, a glee club: singing in a harmonised fashion with some simple dance steps thrown in for good measure. They are the sub-basement of school life, lower than even the kids playing 'Dungeons & Dragons'. For now, at least.
Okay, so some of the elements of the show are a little predictable. You've got the star quarterback who has a wicked voice, and you have the very likely romantic relationship between him and the club's loser star female; but then it throws it right back in your face with the quarterback having major issues in...shall we say, holding back his excitement?
What really sells Glee, though, is the music. Taking classic songs, both contemporary pop/rock and old musical favourites and presenting them in an infectious glee club style has already sent many songs into the Billboard top 100, and does wonders for the original versions too. Case in point: the Glee version of "Don't Stop Believing" is currently at Number 5 in the UK charts and heading further up, breaking into the top 3 at the mo. Journey's version, albeit already helped by its use in last year's (shudder) The X Factor, was Number 6! Versions of Rhianna's "Take A Bow" and even, I'm predicting, Kanye West's "Gold Digger", will only serve to do exactly the same to the already great originals.
I've only seen two episodes and I'm already addicted. Glee is funny, warm-hearted and very loud, with an ability to seem fresh despite it being based on a formula we've seen a lot of over the last twenty five years or so. It's just what our television screens need in this rather bleak time - it's bright and colourful and absolutely rocks! It also won the Golden Globe for Best Television Programme - Musical or Comedy at this year's awards. So there you go - Hollywood Foreign Press loves it, so thats gotta mean something.
Laters.
Tuesday 19 January 2010
The Assasination Of Jesse James By The Coward Robert Ford Review
Warning! Spoliers Alert!
There are perhaps few films in which the basic synopsis of the script can be summed up in the title. One thinks of lesser fare than this, certainly (Zack And Miri Make A Porno, for example) or rather interesting Spanish translations of titles (classic Family Guy joke here, top prize for whoever gets the reference first). With this film, the title does just that - it is about the assassination of the notorious Western criminal by one of his associates, Robert Ford, who ends up being defamed in the history books as a coward, and the time line leading up to the aforementioned event. Simple.
But not quite, for, as with most great films, there is always something more, another message that the film is trying to say. And this is a great film. A really great film.
Visually, it's stunning. The bleak Western landscape perfectly captures the mood of the story, with slight out of focus shots beautifully helping to add to the unhinged portrayal of the anti-hero James by Brad Pitt. This is one of those films where you suddenly remember that Pitt, the second half of 'Brangelina', can act occasionally. It's a fantastic performance, showing James as an out of control beast, but also with some very quiet melancholic foreboding, as if he knows he's living on borrowed time.
It's matched, and perhaps even bettered, by a superb performance by Casey Affleck as Ford; Affleck is a dreamer, a man refusing to grow up, whose fantasies of riding with the James gang and being the criminal's best buddy seem to have corrupted his naive innocence. When the cold-blooded reality sinks in of the true nature of Jesse's work and Jesse's character, it becomes unbearable. There are other terrific performances in the film, not least from Sam Rockwell as Ford's older brother, whose own gullibility is soon swallowed up by fear, and a short but mesmerising turn from Garret Dillahunt as Ed Miller, whose paranoia costs him his life and lights the fuse for James' own fragile sense of trust to be shattered.
The script is well paced, exploring the story like a history documentary with Hugh Ross' calm narration. There's no point in hiding the ending - the title's given it away already. Instead, the script is full of explanations, showing why Ford did what he did, and leaving it up to us to determine whether or not it was a good thing and whether or not he really was a 'coward', as suggested in the ballad sung by one of the film's co-composers, Nick Cave. He and Warren Ellis do a fine job with the score, leaving it subtle and calm, and adding to the quiet life out in the wilderness.
Overall, the film is about fame and the hunger for fame. James is famous for his notoriety, a man who, like the characters played by Woody Harrelson and Juliette Lewis in Natural Born Killers, becomes famous for all the wrong reasons. Ford wants the same kind of fame, but when he gets it in the aftermath of his role in James' death, he finds it stifling and unsatisfying, and over far too quickly; the fame of a coward does not last as long as the fame of a 'hero'. And so the film speaks volumes for us today, in this age where we've lived through the last decade as the Decade of 15 Minutes, the decade where anyone and everyone can be famous for as long as Ford was, and can still find it as he does.
A fantastic film.
8/10
There are perhaps few films in which the basic synopsis of the script can be summed up in the title. One thinks of lesser fare than this, certainly (Zack And Miri Make A Porno, for example) or rather interesting Spanish translations of titles (classic Family Guy joke here, top prize for whoever gets the reference first). With this film, the title does just that - it is about the assassination of the notorious Western criminal by one of his associates, Robert Ford, who ends up being defamed in the history books as a coward, and the time line leading up to the aforementioned event. Simple.
But not quite, for, as with most great films, there is always something more, another message that the film is trying to say. And this is a great film. A really great film.
Visually, it's stunning. The bleak Western landscape perfectly captures the mood of the story, with slight out of focus shots beautifully helping to add to the unhinged portrayal of the anti-hero James by Brad Pitt. This is one of those films where you suddenly remember that Pitt, the second half of 'Brangelina', can act occasionally. It's a fantastic performance, showing James as an out of control beast, but also with some very quiet melancholic foreboding, as if he knows he's living on borrowed time.
It's matched, and perhaps even bettered, by a superb performance by Casey Affleck as Ford; Affleck is a dreamer, a man refusing to grow up, whose fantasies of riding with the James gang and being the criminal's best buddy seem to have corrupted his naive innocence. When the cold-blooded reality sinks in of the true nature of Jesse's work and Jesse's character, it becomes unbearable. There are other terrific performances in the film, not least from Sam Rockwell as Ford's older brother, whose own gullibility is soon swallowed up by fear, and a short but mesmerising turn from Garret Dillahunt as Ed Miller, whose paranoia costs him his life and lights the fuse for James' own fragile sense of trust to be shattered.
The script is well paced, exploring the story like a history documentary with Hugh Ross' calm narration. There's no point in hiding the ending - the title's given it away already. Instead, the script is full of explanations, showing why Ford did what he did, and leaving it up to us to determine whether or not it was a good thing and whether or not he really was a 'coward', as suggested in the ballad sung by one of the film's co-composers, Nick Cave. He and Warren Ellis do a fine job with the score, leaving it subtle and calm, and adding to the quiet life out in the wilderness.
Overall, the film is about fame and the hunger for fame. James is famous for his notoriety, a man who, like the characters played by Woody Harrelson and Juliette Lewis in Natural Born Killers, becomes famous for all the wrong reasons. Ford wants the same kind of fame, but when he gets it in the aftermath of his role in James' death, he finds it stifling and unsatisfying, and over far too quickly; the fame of a coward does not last as long as the fame of a 'hero'. And so the film speaks volumes for us today, in this age where we've lived through the last decade as the Decade of 15 Minutes, the decade where anyone and everyone can be famous for as long as Ford was, and can still find it as he does.
A fantastic film.
8/10
Tuesday 12 January 2010
Apocalypse Now?
There's definitely something pessimistic in the atmosphere in Hollywood. Though big-budget, large-scale disaster movies have never really disappeared (instead returning as forms of aliens attacking, be they serious or non-serious), recently the focus seems to be more and more on the end of the world as we know it. 2012, The Road, The Book Of Eli (out this Friday and one of my Top Ten Of 2010) - and more are on their way.
What gives? Why all of a sudden are we so obsessed with Armageddon? 2012 makes a little bit of sense - it's timely, with now just two years to go until the Mayan predicted catastrophe. The Road makes sense too in a way; filmmakers jumping on the Cormac McCarthy bandwagon after the massive awards success of No Country For Old Men.
But The Book Of Eli and co...now there's a bandwagon jumper, right? It just seems that, having done every and any kind of disaster imaginable, both fictional and non-fictional (one could easily argue that the gripping United 93 is a disaster movie), we've run out of them and now have to look to the Big Daddy of them all. The end of everything. Well, that's jolly, isn't it.
Still within these kinds of films, there is at least one certainty. People wouldn't dare make them without at least some kind of hope, some survival. And at the end of the day, in theory, that's what Armageddon will ultimately bring - survivors, a heck of a lot of them too, mark my words. Some we'll know why they survived, others we'll have no bloody clue - just like any good disaster movie.
Sit back and enjoy the ride. But ask yourself this: will I be a survivor? And if not, how can I become one? I'm going to say that you can take these questions anyway you want - I don't expect a lot of people to take them religiously, but that's fine, that's your interpretation. That's what makes us all unique and brilliant. And, in the end, that's what will ultimately mark us out as survivors.
Laters.
What gives? Why all of a sudden are we so obsessed with Armageddon? 2012 makes a little bit of sense - it's timely, with now just two years to go until the Mayan predicted catastrophe. The Road makes sense too in a way; filmmakers jumping on the Cormac McCarthy bandwagon after the massive awards success of No Country For Old Men.
But The Book Of Eli and co...now there's a bandwagon jumper, right? It just seems that, having done every and any kind of disaster imaginable, both fictional and non-fictional (one could easily argue that the gripping United 93 is a disaster movie), we've run out of them and now have to look to the Big Daddy of them all. The end of everything. Well, that's jolly, isn't it.
Still within these kinds of films, there is at least one certainty. People wouldn't dare make them without at least some kind of hope, some survival. And at the end of the day, in theory, that's what Armageddon will ultimately bring - survivors, a heck of a lot of them too, mark my words. Some we'll know why they survived, others we'll have no bloody clue - just like any good disaster movie.
Sit back and enjoy the ride. But ask yourself this: will I be a survivor? And if not, how can I become one? I'm going to say that you can take these questions anyway you want - I don't expect a lot of people to take them religiously, but that's fine, that's your interpretation. That's what makes us all unique and brilliant. And, in the end, that's what will ultimately mark us out as survivors.
Laters.
Friday 8 January 2010
Michael Clayton Review
WARNING! SPOILERS!
If you're looking for an intelligent, sharp, edgy thriller about big corporations, law firms and the little people, then this is the film for you. If that's not your cup of tea...well, then, obviously...yeah.
George Clooney is the title character, a "fixer" or "janitor", hired to clean up the mess when one of the most infamous lawyers around (Tom Wilkinson) goes off his medication and puts an important law suit into jeopardy. At first Clayton thinks the same as anyone else: that his friend and mentor is just feeling the after-effects of his condition. But when the man later turns up dead in slightly suspicious circumstances, Clayton realises there's a lot more to the case then meets the eye...
At first the plot moved a little too quick for me. You've got to give the film your entire concentration, otherwise you'll be lost very easily in all the fast-talking dialogue. However, I soon got back on track and thoroughly enjoyed the remainder of the film. Clooney is in his usual fine form, a perfect straight man to the wonderful wild acting of Wilkinson and the nervous twitching of Tilda Swinton's character, who is more involved in everything then she would like to be. However, one cannot help feeling that we do not see enough of her character. And there is a very good hangdog performance by the late great Sydney Pollock, who was also one of the producers on the film.
The script is tight as the plot thickens throughout, throwing a mini-twist that, though perhaps slightly predictable, does not make it any less satisfying. Overall, a perfectly fine intelligent picture, though you do need to give it your full attention to give it credit.
7/10
Laters
Thursday 7 January 2010
RIP Sgt Pepper.
The album is dead. Long live the album.
All throughout 2009 the slow disease was spreading, quietly, stealthily. The "bird flu" of the album, the Internet and downloads (both legal and illegal), all helped to start nailing the coffin lid shut. Sure, there was fightback; there was resistance like any body puts up when faced with a sickness like this. But the signs were not good. Now all we have left are the survivors, fighting valiantly by day and hiding from the infected by night, like something out of 28 Days Later or a George A Romero film.
During the last year, single sales have risen by 32.7% to a record 152 million, with 98% of those being digital downloads. Artists such as Lady GaGa, whose brilliant "Poker Face" was the top selling single of last year, have benefited hugely from this. Christmas also helped, what with so many people being given mp4 players and iPods. As for the album, it's having to try and fight back with downloadbable versions of itself. And what are we left with in terms of physical albums on CD that you can actually hold in your hands and place inside a stereo system? Susan Boyle's I Dreamed A Dream is the top selling album of last year. Hang on...just going to go and get the shotgun and take this sick animal out back...
Okay, so maybe it's not all as bad as I'm making it out, but it is an undeniable fact that the single is the new king of music, the great survivor in the digital boom, in the Age of Information. The golden age of the album - where an artist would release one single as a teaser before giving us all the juicy goodness of the other songs and often making the rest of the singles released somewhat obsolete.
It's not necessarily a bad thing. A couple of years ago I got the debut album by SugaRush Beat Company for Christmas on the back of two of their songs, which I thought were quite a soulful, funky kind of music. Imagine my disappointment when I played the first track and heard a loud cacophony of drumbeats and electronic whines that showed why we haven't heard any more from this group. I would have preferred for my parents to have bought me just the two songs now rather than that rubbish again.
There are, in my opinion, two ways in which the album could survive. Although "SuBo" (shudder) has been the top seller, close behind her was the aforementioned GaGa, whose brilliant The Fame just keeps on delivering. GaGa is such a creation, such an artist, that one could almost mistake The Fame for being (whisper) a concept album. Just like the glorious Sgt Pepper by the Beatles or 3 Feet High And Rising by De La Soul, it seems like an event album, something fresh and original. This does not mean that albums should all revert to this. I'm a huge fan of them - I got at least two albums by single artists for Christmas this year: the latest offerings from Jamie Cullum and Nerina Pallot. But none of these would have been top sellers (least of all, sadly, Nerina, who is brilliant but completely underrated).
The other way the album can survive seems to be compilation albums. The Now series is still going strong - I've had nearly every single one since Now 36 when I was eleven years old! Most of the time it saves money for yourself, because then you don't spend it on the actual singles, knowing you'll get them anyway for a fairly reasonable price. This does also mean, however, that once more you aren't paying for a regular album. No win.
The last post is about to be played. It's the last gasp for the soldiers in the ranks. It seems like the only thing left to do is something drastic - to go over the top. And we all know how that usually ends up.
Rest In Peace, Sgt Pepper.
Laters.
All throughout 2009 the slow disease was spreading, quietly, stealthily. The "bird flu" of the album, the Internet and downloads (both legal and illegal), all helped to start nailing the coffin lid shut. Sure, there was fightback; there was resistance like any body puts up when faced with a sickness like this. But the signs were not good. Now all we have left are the survivors, fighting valiantly by day and hiding from the infected by night, like something out of 28 Days Later or a George A Romero film.
During the last year, single sales have risen by 32.7% to a record 152 million, with 98% of those being digital downloads. Artists such as Lady GaGa, whose brilliant "Poker Face" was the top selling single of last year, have benefited hugely from this. Christmas also helped, what with so many people being given mp4 players and iPods. As for the album, it's having to try and fight back with downloadbable versions of itself. And what are we left with in terms of physical albums on CD that you can actually hold in your hands and place inside a stereo system? Susan Boyle's I Dreamed A Dream is the top selling album of last year. Hang on...just going to go and get the shotgun and take this sick animal out back...
Okay, so maybe it's not all as bad as I'm making it out, but it is an undeniable fact that the single is the new king of music, the great survivor in the digital boom, in the Age of Information. The golden age of the album - where an artist would release one single as a teaser before giving us all the juicy goodness of the other songs and often making the rest of the singles released somewhat obsolete.
It's not necessarily a bad thing. A couple of years ago I got the debut album by SugaRush Beat Company for Christmas on the back of two of their songs, which I thought were quite a soulful, funky kind of music. Imagine my disappointment when I played the first track and heard a loud cacophony of drumbeats and electronic whines that showed why we haven't heard any more from this group. I would have preferred for my parents to have bought me just the two songs now rather than that rubbish again.
There are, in my opinion, two ways in which the album could survive. Although "SuBo" (shudder) has been the top seller, close behind her was the aforementioned GaGa, whose brilliant The Fame just keeps on delivering. GaGa is such a creation, such an artist, that one could almost mistake The Fame for being (whisper) a concept album. Just like the glorious Sgt Pepper by the Beatles or 3 Feet High And Rising by De La Soul, it seems like an event album, something fresh and original. This does not mean that albums should all revert to this. I'm a huge fan of them - I got at least two albums by single artists for Christmas this year: the latest offerings from Jamie Cullum and Nerina Pallot. But none of these would have been top sellers (least of all, sadly, Nerina, who is brilliant but completely underrated).
The other way the album can survive seems to be compilation albums. The Now series is still going strong - I've had nearly every single one since Now 36 when I was eleven years old! Most of the time it saves money for yourself, because then you don't spend it on the actual singles, knowing you'll get them anyway for a fairly reasonable price. This does also mean, however, that once more you aren't paying for a regular album. No win.
The last post is about to be played. It's the last gasp for the soldiers in the ranks. It seems like the only thing left to do is something drastic - to go over the top. And we all know how that usually ends up.
Rest In Peace, Sgt Pepper.
Laters.
Monday 4 January 2010
Top Ten of 2010!
So here's a list of the ten films I'm most looking forward to next year (2010), in no particular order except alphabetical.
Alice In Wonderland - Tim Burton. 'Nuff said.
Harry Potter And The Deathly Hallows: Part One - The last film in the series was one of the best since "Prisoner Of Azkaban". It's going to be darker and darker still.
Inception - Christopher Nolan's never made a bad film in my opinion, so I'm looking forward to this one. Not that we know what's going on in it yet.
Kick Ass - Looks hilarious, but also a welcome reality check for all the superhero films that are beig made (with the possible exception of "Iron Man 2", which isn't on the list because I'm still to watch the first one!)
Paul - Simon Pegg and Nick Frost are an excellent duo of actors/writers. Looking forward to their first proper foray into Americana.
Prince Of Persia: The Sands Of Time - Probably will be the summer's biggest blockbuster, next to aforementioned "Iron Man 2". Two words for me: Gemma. Arterton.
Scott Pilgrim Vs The World - Not read the graphic novel this is based on, but I'm already looking forward to discovering them.
The Book Of Eli - Another post-apocalypse film, but this one has Denzel Washington, Mila Kunis and Gary Oldman as the bad guy. Excellent.
The Expendables - It's going to be rubbish, but WONDERFUL rubbish. Stallone, Statham, Lundgren, Willis and Schwarznegger. No Seagal, though...shame.
Toy Story 3 - Could be brilliant. It is Pixar, after all. But is it one sequel too many?
So there we go. I'm sure there are others more deserving and, probably, as this year, some I will actually find myself more excited to watch then the ones on here.
Alice In Wonderland - Tim Burton. 'Nuff said.
Harry Potter And The Deathly Hallows: Part One - The last film in the series was one of the best since "Prisoner Of Azkaban". It's going to be darker and darker still.
Inception - Christopher Nolan's never made a bad film in my opinion, so I'm looking forward to this one. Not that we know what's going on in it yet.
Kick Ass - Looks hilarious, but also a welcome reality check for all the superhero films that are beig made (with the possible exception of "Iron Man 2", which isn't on the list because I'm still to watch the first one!)
Paul - Simon Pegg and Nick Frost are an excellent duo of actors/writers. Looking forward to their first proper foray into Americana.
Prince Of Persia: The Sands Of Time - Probably will be the summer's biggest blockbuster, next to aforementioned "Iron Man 2". Two words for me: Gemma. Arterton.
Scott Pilgrim Vs The World - Not read the graphic novel this is based on, but I'm already looking forward to discovering them.
The Book Of Eli - Another post-apocalypse film, but this one has Denzel Washington, Mila Kunis and Gary Oldman as the bad guy. Excellent.
The Expendables - It's going to be rubbish, but WONDERFUL rubbish. Stallone, Statham, Lundgren, Willis and Schwarznegger. No Seagal, though...shame.
Toy Story 3 - Could be brilliant. It is Pixar, after all. But is it one sequel too many?
So there we go. I'm sure there are others more deserving and, probably, as this year, some I will actually find myself more excited to watch then the ones on here.
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