The Snowman and The Snowdog
Dir: Hilary Audus
2012
****
Raymond Briggs's original Snowman is a classic. To even think about doing a modern day sequel is sacrilege or at least so I thought. Luckily with Hilary Audus (who worked on the original Snowman and Brigg's Father Christmas and Where the Wind Blows) it was in safe hands. The story is just as sweat and just as sad as the original and it tackles much of the same issues, primarily that of loss. Have a packet of tissues at the ready, you will cry!

The Snowman
Dir: Dianne Jackson
1982
*****
Raymond Briggs was always a bit of a childhood hero of mine. It seems that the fact that all his stories were actually quite dark was only ever picked up and enjoyed by children. The ending of this story is absolutely devastating and yet it's the bit everyone seems to forget and the bit where parents and grandparents alike would either fast-forward or stop completely so as not to upset the kids. I always appreciated Briggs's harsh realism, Aled Jones's voice less so though. I know I know, it wasn't Aled Jones...

21
Dir: Robert Luketic
2008
*
And the award for most annoying collective cast of young people goes to.... 

Honestly, I'll let Jim Sturgess off slightly as he has redeemed himself since but watching the rest of the cast in this painful 'based on a true story drama' nearly made me pull my hair out. If watching a bunch of smug and arrogant youngsters get rich is your idea of fun then this is the film for you but if you want an entertaining and intelligent film about some kind of clever Las Vegas Casino heist then go elsewhere, this isn't the film for you.

22 Jump Street
Dir: Phil Lord, Chris Miller
2014
****
2012's 21 Jump Street dealt with the fact it was a reboot of an old idea perfectly and it was very popular. 2014's sequel, 22 Jump Street addresses the fact that this not just a reboot of an old idea but also a sequel of a rebooted old idea and does so brilliantly. 21 Jump Street is the address of the Police department the two lead characters work for, many a film would overlook this detail when making and naming the sequel by using the obvious next number. Here, they point out that the department has moved opposite and over the road and building work has begun at number 23 Jump Street (in preparation for a possible third film). It's obvious and subtle at the same time, delivered straight faced and perfectly. The rest of the film follows suit, timing is everything and cliches are played on rather than avoided. Situations are very knowingly repeated from the first film, it's this mix of tongue in cheek humour and giving the audience what they want that makes it such a success. When it's not being clever, it's being very funny.

21 Jump Street
Dir: Phil Lord, Chris Miller
2012
****
The original 21 Jump Street the TV series was one of those ridiculous concepts that could only belong to the 80's. It was stupid but we loved it. The new 21 jump Street is also ridiculous but it knows it and doesn't pretend to be anything other. It actually makes it quite clear that this is a completely unintelligent and unnecessary re-hash of an old idea in the film, which was quite clever and appropriately funny. Tongue firmly in cheek. No one is as surprised as me though at how funny this film is and by how much it actually works. Unless you are an obsessive of the original TV series and have started a religion based on its teachings, you will probably find it funny too.

Jonah Hex
Dir: Jimmy Hayward
2010
**
When it comes to comics, I'm more a DC man (Vertigo) - until it comes to film adaptations that is. When reading my favourite comics, Transmetropolitan, The Boys, DMZ, 100 Bullets, The Invisibles...the list goes on, I think to myself 'They should totally make this into a movie' - then a film like Jonah Hex and Green Lantern come along and you think, actually some things are best left in comics. That said, I've never been much of a Jonah Hex or Green Lantern fan so I'm not that bothered. They messed up with Constantine which was pretty unforgivable, so for now I reckon comics like Scalped and Preacher are safe but Hex was expendable and worth the risk. For all it's negative reviews though, Jonah Hex isn't a terrible film, some parts were quite good and I especially liked the 'Talking to the dead' scenes. Unfortunately the entire film is just completely forgettable..what was I talking about again?

Last Words
Dir: Werner Herzog
1968
****
A half factual/Half myth told to us via an array of talking heads. The more interesting townsfolk are picked to tell said story and early on in his career Herzog lingers just long enough to get his full monies worth from each one. The characters are strange and interesting in their own right, the good story is a bonus. An early experiment from one of the worlds greatest directors. 

A Million Ways to Die in the West
Dir: Seth MacFarlane
2014
***
My star rating is based on the performances and the inclusion of what might be my favorite ever cameo. Seth MacFarlane's performance however, is what I really disliked. The script, delivery and very inclusion of him drags the film down, a good director would have realised this and cast someone else. It's such a shame really as a good comedy Western is long overdue, A Million Ways to Die in the West comes close but much of the written comedy is terrible, leaving just the physical comedy and the naturally funny people with all the hard work. There is a lot to like about it, take out Seth MacFarlane and it's great, it's just a shame it came from him and not someone funnier. That cameo is awesome though, although they missed a trick not having Sarah Silverman's prostitute character sleep with Matt Damon.

Nick Fury: Agent of S.H.I.E.L.D.
Dir: Rod Hardy
1998
**
Marvel made quite a few stinkers before they finally got their act together with Iron Man but to be fair, Nick Fury: Agent of S.H.I.E.L.D. could have been a hell of a lot worse. David Hasselhoff is actually pretty good as Nick Fury and much of what you see in the classic comic is here. I particularly liked the inclusion of the LMDs (Life Model Decoys), something Marvel haven't really used in their Avengers films. The acting is fairly terrible but the story isn't so bad, mainly thanks to it being written by the go-to Superhero writer David S. Goyer. Some of the special effects are awesome and it was nice to see so little CGI for a change. It's old school 'straight to video' b-movie stuff, not great but also loads of fun.

Joyeux Noël (Merry Christmas)
Dir: Christian Carion
2005
*****
Every year during remembrance we hear the words 'Lest we forget' a phrase taken from the poem Recessional written by Rudyard Kipling. I often wonder if we already have, several times over. Indeed, the ceasefire that occurred one Christmas Eve in the trenches of World War I should be a message to all and how we should best remember those that fought, those that had no choice. The British, German and French sides sang, drank, ate and played Football together as well as exchange stories, photos and share mass. Joyeux Noël is a mix of true stories that happened up and down the front line and highlights the insanity of War and the good nature of mankind effortlessly, but then the film makers had one of the greatest stories of modern history at their disposal. Much like in real life, the film is a great example of team work with filmmakers and actors from each of the three countries coming together to tell the story. One of the greatest War films ever made and one of the best alternative Christmas films everyone should see.

The Railway Man
Dir: Jonathan Teplitzky
2013
*****
An astonishing true story of an unlikely friendship between a POW and the guard who tortured him. I've written about my feelings about how the Prisoner of War films are often received in my review of Bridge Over the River Kwai. My Grandfather, who was a POW, took my father and uncle to see Bridge Over the River Kwai as young men and the devastating effect it had on him, due to it being a total misrepresentation of what actually happened, was heartbreaking and unfair. The Railway Man is the true story of Eric Lomax and how he learned to cope with the atrocities he'd seen and experienced. It's the perfect adaptation of Lomax's story, nothing has been added of taken away for cinematic or commercial effect. The direction, performances and overall sensitivity are all of the highest quality. I would argue that Finding Private Ryan is not a great War film, this is a great War film, perhaps one of the greatest ever made and I do wonder if my Grandfather wouldn't agree.

Last Vegas
Dir: Jon Turteltaub
2014
**
Four huge Hollywood actors, one awful script. That's about it. The film started off fine, four friends get together to celebrate one of them getting married and a formulaic comedy of errors ensues. It should have been a light comedy for adults but it's not, it is an insult to all the great script writers that never get published. The whole film is ruined in just one scene as far as I'm concerned as we see four of my favorite actors judge a Bikini contested hosted by Redfoo of LMFAO fame. This is an exercise in big names equal big money and to hell with the story or script. I believe for the most part the actors are having fun in each other's company and you can clearly see this in the film but this is the only reason I could recommend anyone watch it for and to be clear, this is in no way a recommendation.

Locke

Dir: Steven Knight

2014

****

On paper, Locke sounds like the most boring idea for a thriller/drama I've ever heard of. Lars von Trier proved that you don't need a location, loads of props etc when he made the brilliant Dogville, all you need is a great script and good performances. Steven Knight strips it back even further in some respects and just has the one location; the front seat of a car on a motorway. That's it. To be fair though, Haris Zambarloukos's career best cinematography on Locke makes it much more than that and surprisingly it is a visual treat. The story is also so simple, it's not a crime drama and nothing particularly out of the ordinary happens and yet it is one of the most intense films I've ever seen. I mention von Trier, as to me this seems to be the ultimate Dogma film. It's as natural and real as a scripted film could ever hope to be and a huge, if not a subtle achievement.

Keith Lemon: The Film
Dir: Paul Angunawela
2012
*
Keith Lemon aka Leigh Francis was funny back in 2002 when he played various characters on the TV show Bo'Selecta. It was a funny pop at the idea of celebrity and the people obsessed by it. Fast forward ten years and he has become every Celebrities best friend. Likable chap I suppose but for me the jokes have ceased to be funny. Keith Lemon: The Film starts with a double bluff that I think went over most people's heads. The humour is tacky, grubby and far too obvious. Francis seems to be under the impression that celebrity cameos are as good as writing jokes, as this 'comedy' has a wealth of celebrity appearances but no laughs what so ever. even then the celebrities in question are the dregs of British TV (Apart from poor Billy Ocean who was obviously duped). Some scenes make Bucky Larson: Born to be a star look like a masterpiece. Cutting edge comedy to infantile rubbish in just ten years, and yet he is still a huge presence on TV and gets his own film. A sad example of the dubbing down of television and evidence that people will watch anything.

Gozu
Dir: Takashi Miike
2003
***
No one does Horror/Fantasy like Takashi Miike. Often overlooked as just a sick director, there is always meaning to his work. Gozu (Bulls Head) is a surreal journey of strange characters and bizarre situations but it's actually a very clever retelling of classic Greek mythology; Orpheus and his trip into Hell, The Minotaur, Crossing the River Styx to name but a few are represented as are some Buddhist, Biblical and other mythological references. This is all covered in a journey taken by two Yakuza, the Boss and the Henchmen. When the Henchman is ordered to take his beloved Boss to the country to be assassinated things take a turn for the worst once they pass the river (Styx). There are comments on sociological issues and attitudes and Miike really does push the boundaries, purely by showing a different angle to things we consider normal. It is extreme film making, passionate and uncompromising. Supposedly Miike ordered script writer Sakichi Sato to write the film within a week without giving second thought to anything he wrote. It's this bolshie attitude to film making that makes Miike's films so revered and disliked in equal measure. I think the idea is brilliant, the last 15 minutes of the film are a disgusting, shocking but brilliant conclusion. I would have just liked Miike to have spent a little more time on the overall film, the idea is amazing, the execution isn't. At times the direction looks amateur, I don't think this is intentional either, I think the film could have had much more of a visual impact than it did leaving it somewhat of a missed opportunity in my opinion.

Leviathan
Dir: Lucien Castaing-Taylor, Verena Paravel
2012
***
Werner Herzog comments on the beautiful moments Timothy Treadwell captured by chance in his documentary Grizzly Man. The example he gave was a gust of wind that was filmed while Treadwell was out of shot. It was a simple but beautiful moment to enjoy. Leviathan works in very much the same way. Obviously film is a series of moving pictures but sometimes it is living photography, for want of a better description. Leviathan follows deep sea fishermen over the course of approx 24 hours, the sights, sounds and little happenings they encounter as routine really do come to life before the camera. Everyday to them but something quite beautiful to us the viewer, thanks to the wonderful art direction from Lucien Castaing-Taylor and Verena Paravel. A light shimmering across the dark sea, the head of a decapitated Fish taking its last breath, Sea gulls circling the boat searching for scraps, all simple but astoundingly beautiful here. That said, the film does get fairly tiresome, 90 minutes of this actually detracts from much of the beauty and it all becomes fairly repetitive. Filming a tired fisherman falling asleep is not exactly riveting viewing but credit due for some fantastic camera work.

Klown
Dir: Mikkel Nørgaard
2010
**
Klown is the film version of a popular Danish sitcom that ran from 2005 - 2009. The sitcom was a black comedy that, much like Curb Your Enthusiasm, was unscripted and had characters that were exaggerations of real people rather than fictional characters. I saw a bit of Curb Your Enthusiasm in it in that its similar methods of delivery make it feel far more real and so funnier but also more awkward and at times more shocking. Pushing the boundaries is something all Actors, directors, writer etc should aspire to do but certain boundaries are there for good reason. Child nudity and child sex are never, ever funny and often the reaction of shock is mistaken for laughter. It is a psychological fact that laughter is very often a reaction of extreme shock brought on by a disbelief of what one may be witnessing. Showing a child's genitalia and then laughing at its size is not funny, it is shocking, not to mention completely inappropriate. Maybe not so much in Denmark. This is a cultural issue many will struggle with. I found a percentage of the film funny but most of the time I was shocked and a little disgusted. It's not a 'gross-out' comedy, something I detest, but I'm afraid it didn't sit well with me at all.

Klute
Dir: Alan J. Pakula
1971
*****
A gloriously stylish 70's thriller from Alan J. Pakula, his first of what is now known as the Paranoia trilogy (followed by The Parallax View and All the President's Men). There is so much to enjoy here, in my opinion it revived and in many ways reinvented the Noir thriller for the 1970's, a decade whereby neo-noir excelled and is yet to be beaten, in my personal opinion. It's Jane Fonda's best performance in my opinion (I'm not counting Barbarella) and it was such a great choice of film for Donald Sutherland to pick after the brilliant M*A*S*H to really show his range as an actor. Its influence is obvious, everything from the composition, structure and dialogue can be seen in today's thrillers (or at least the good ones). There are so many little things here to also enjoy, a little camera trick here, a sound effect there (I particularly liked the Candy Darling cameo). Everyone likes a twist ending, but only the really great thrillers keep it subtle.

The Unprecedented Defence of the Fortress Deutschkreuz
Dir: Werner Herzog
1967
****
A short film made with the same idea (and with the money made from winning best screenplay) as Herzog's first feature, Signs of Life, The Unprecedented Defence of the Fortress Deutschkreuz is riddled with hidden messages and symbolism. It is a satire on the state of war and peace and the absurdities it inspires, the fear and battle between an enemy that simply does not exist. You could associate it with any war and many a social fear, the overall message is timeless and comes across loud and clear with that little bit of Herzog magic.

To Sir, with Love
Dir: James Clavell
1967
***
To Sir, with Love is based on a true story from the autobiographical novel by E.R. Braithwaite. While the core of the story is adapted well, the film is somewhat spoiled by the film making styles of the time. The acting is sub-standard and as much as I liked the accompanying song, it soon got in the way and was overused (unruly kids one minute, singing to their teacher the next?). That aside, I'm sure many aspects of the rough central London school rang true, particularly in attitude. The film's real strength comes from the debonair performance by Sidney Poitier, heightened maybe thanks to being surrounded by younger and less experienced actors but there is a resonance in his very presence that demands the viewers full attention. I also liked seeing a bit of old London, the apartment my Brother-in-law's Dad now lives in that used to be a sugar mill in particular. Dated, with a few glaring cracks but original and still relevant in many respects.

Ten Tall Men
Dir: Willis Goldbeck
1951
**
Ten Tall Men is part gong-ho French Foreign Legion adventure and part Abbott & Costello comedy but not as good as either. It's dated, really dated. The problems encountered behind the scenes might explain some of what is wrong with the picture but nothing can really excuse the terrible script. Compare it to some of the other films released at the same time; A Streetcar named Desire, The African Queen, Strangers on a Train, Ace in the Hole, The Lavender Hill Mob, to name but a few, and I wonder if the content was dated even then. It is not without charm however, I really like Robert Clary for instance and the supporting roles from the motley crew made up of John Dehner, George Tobias, Nick Dennis and Mike Mazurki were welcome light relief when the story got a little too serious for its own good.

The Punisher
Dir: Mark Goldblatt
1989
**
The Original Punisher film is a cheesy 80's action film with Dolph Lundgren in the title role. Lundgren is Frank Castle, a cop gone rouge, how can you tell he's bad-ass? He's got stubble on his earlobes, that's how! It's the 80's, cue rock-synth music, a grunting muscleman, Jeroen Krabbé being villainous, Louis Gossett Jr. being cool, comedy side-kick (Barry Otto in a very curious role), Yakuza's in suits, in depth explanations of what Yakuza means, etc etc. It's love and hate really, I love the cheese but hate the adaption. The character deserves better but that said, the comics have only got really good since the film came out.

Batman: Under the Red Hood
Dir: Brandon Vietti
2010
****
Brutal, graphic, violent... just like in the comics. Brilliant. The story is pretty sound too. Those who remember when Mask of the Phantasm came out and the buzz and excitement that surrounded it should check this out. It's not as groundbreaking as Phantasm was visually (although it's visually great) but it is one of those films whereby you have to remind yourself that it is an animation. I loved it, and John Di Maggio as the Joker, amazing, who would have thought?

10 Rillington Place
Dir: Richard Fleischer
1971
*****
A frighteningly real version of events with meticulous attention to detail and based on fact rather than heresy. It's quite a terrifying account of the murders committed by John Reginald Christie, played brilliantly by Richard Attenborough. This isn't just to feed those who have a morbid appetite, it also shows the inadequacies of the British justice system at the time and is a most devastating statement on capital punishment, the sole reason Attenborough signed on to play the lead role, a part he otherwise would have avoided. It is interesting to note that both Timothy John Evans and Christie were hanged by Albert Pierrepoint who also acted as an unofficial adviser. Pierrepoint himself became an opponent of capital punishment. The history of the case makes for good reading too, I actually used to work not far from where Rillington Place once stood, it's unrecognisable now but that's almost more reason not to forget what really happened.

In a better World
Dir: Susanne Bier
2010
*****
A fantastic film with two main interweaving stories. Susanne Bier started off as a Dogme 95 director, a manifesto I was a big fan off but it did have a limited shelf life - what has come from the movement and from it's directors are more focused, meaningful and realistic films. In a better World is a perfect example of this. I'm really glad it was nominated for an Oscar but it still doesn't seem to have given it the publicity it deserved as I still don't know many people who have seen it. I still think Biutiful should have won but it's a deserved winner and better than most of the non-foreign language fans nominated. Isn't it time to get rid of this category?

The Great Ecstasy of Woodcarver Steiner
Dir: Werner Herzog
1974
****
A short but sweet documentary about one of the greatest sportsman of our time; Walter Steiner. Even though this is a bit rough around the edges, bad editing doesn't really bother as a wave of euphoria takes over. I could watch Herzog's slow motion shots all day long. The lingering shots, the fascinating character, the unbelievable achievement, it's classic Herzog.

Attack the Block
Dir: Joe Cornish
2011
****
Attack the Block is a story of redemption shown through the eyes of a few young hoodies who are under attack from extraterrestrials in a south London Council estate. What a fantastic idea! I think the film has been largely misunderstood by many of its critics, this isn't about race or class, it's about redemption. Joe Cornish is from London, as am I, and anyone who lives here will tell you that no matter where in London you live, there is a council block within a few roads from where you live, that is if you don't live in one yourself. Joe Cornish is writing about what he knows and where he comes from. Inner City vs. Outta space, the idea of aliens invading a neighbourhood like this instead of either landing in some middle-American cornfield or blowing up the White house is very refreshing. I think the issue a lot of people have though is with the kids themselves, Moses being the ultimate anti-hero. There are a lot of kids around London like the ones in this film, many of them no where near as nice or as intelligent but also others unfairly stereotyped. It's certainly a problem that needs fixing. There is nothing quite as infuriating about being intimidated by a 12 year old kid and there is nothing as frightening than a 12 year old kid with a knife you doesn't care about anything. This makes it hard for us to cheer our 'Heroes' on in this film, for the most part I was hoping the Aliens would kill them all but then that wouldn't be very nice. Redemption and sacrifice may seem a little far fetched biased on the characters but it was a nice way to end the film and not an impossible concept in real life. Maybe I (and many others on imbd forums) have looked for a depth that isn't actually there and maybe it's just a cool idea - no one bitched like this with the original Assault on Precinct 13 which is essentially what this film is, albeit in saaaaaaf Laandaaan. I fear the London riots of 2011 may have put an end to any future love also. 4 stars because I like the idea and I think it's a great directional debut, it's just not as good as it sounds, although I'd take this over Super 8 any day! One thing though, no Adam Buxton cameo?

The Muppets
Dir: James Bobin
2011
*****
Are you a Man or are you a Muppet or a Muppet like man or a Manly Muppet? The answer to this will effect your enjoyment of the film. I grew up on the Muppets and they represent something quite sacred to me - I'm not alone. This one is for the fans. For far too long I've seen my childhood favourites 'return' or become 're-imagined' for a new audience but this one was going to be the one that really counted. The relief that I felt after seeing this in the cinema, mixed with the nostalgic feelings it invoked almost made me want to cry like a baby. The great songs are back too, thanks to the genius idea of hiring Bret McKenzie from The Flight of the Conchords fame. Okay, let's put things into perspective though. Jim Henson died over 20 years ago and Frank Oz retired from Muppet duties over 10 years ago. The Muppets could have died 20 years ago or faded out 10 years ago but they didn't, Henson's legacy lived on - not always successfully it has to be said but you're never going to beat the first 3 films and Christmas Specials - that's a fact we're all just going to have to get over but you know what, Steve Whitmire has been doing a great job since 1990, he was trained by Henson and has kept the dream alive, along with the other great performers, notably Eric Jacobson and Dave Goelz who has been there since the beginning. The spirit of Jim Henson is very much alive but not just with the Muppet performers, but with the fans like Jason Segel who left any ego he may have had to one side, stepped up for the fans and made a film for us. The Muppets are back, they didn't really leave but they are back on form, Rolf the Dog and The Electric Mayhem are back though after a bit of an absence in the last few films, Pepe is there but takes a modest side step - shame Rizzo was absent but apart from that, this Muppet fan couldn't be happier. That's not entirely true, I'd be happier if The Muppets weren't Disney owned - sell your plastic lunch boxes and pencil cases but make more films, use your investment and lets bring back the Muppet show, release Muppets tonight on DVD and get the kids into this - thus making the world a better place, and yes, I truly believe the Muppets make the world a better place. Damn it, I'm welling up again....

Eden Lake
Dir: James Watkins
2008
***
Forget Aliens, Piranha, axe-wielding masked mental patients and disease-carrying monkeys, its Ferrel kids that scare me the most. Kids who don't give a flying toss about circumstances, what happens to themselves or others, who aren't scared of repercussions of their own actions and have absolutely no emotion attached to their actions or remorse. I see them every day, hanging about on street corners, London saw quite a few of them in the Summer of 2011! That is what essentially makes this film a scary one but unfortunately, they cast the wrong kids. I also think they cast the wrong leading lady, unless of course they were going for a pathetic, annoying and useless character!? Fassbender was good though, as were 'The parents' - who in some ways were even more frightening than the kids. That is also to the films credit, it blames the parents, which is fair for the most part I think. The overall message got through but the circumstances really didn't need to go as far as they did to be scary, in fact it was a frightening film until it all got a little bit silly. The finale however, was suitably terrifying, unpleasant and important  even though it might not have been everyone's first choice of ending.

The Gauntlet
Dir: Clint Eastwood
1977
**
I've read somewhere that this film is essentially an urban-domestic parable about the soldierly fallacy of the Vietnam War and a reaction to the police force highlighting the issues with their conformity, mechanised compliance and nihilistic indulgences. If that is the case though, why make it so light hearted when it really needed to be serious throughout? To be honest, I think this was a just misguided idea that developed into a crap film. I was loving it for the first 5 minutes, the 70s being my favourite decade for film but unfortunately the few things I dislike about 70s movies took over. The script is awful, the acting is dreadful and the story is stupid and doesn't work or make sense. You could probably think of many theories as to why a film made in that era is/was anti-Vietnam, many people have/do but I honestly think the majority of them are completely wrong. I do like Clint Eastwood but I find that the films he directs often lack the depth he desired, he is much more of a conformist than he thinks he is but like I said, I'm still a fan!

Black Pond
Dir: Will Sharpe, Tom Kingsley
2011
****
Complete lack of publicity aside, I think those who knew about Black Pond's existence, may have been put off by the fact it marks the return of Chris Langham. All I will say about him is he has always made me laugh in everything he's been in. However, had I known Simon Amstell was in it, I might not have bothered. Luckily, he doesn't spoil it and Langham's presence doesn't detract from the message of the film. Normal people can sometimes act in abnormal ways and also extraordinary ways. There is an edgy humour in this film, most of the times it works and when it does, it works well. The description and poster of this film are very misleading. It is not about a 'Murder gone wrong' and don't expect any comedy 'What do we do with the corpse' scenes. This is a dark comedy but also a really poignant and quite remarkable film, the last scene and indeed the last line said by Langham's character not only explains the point to anyone who doesn't get it but it also delivers such a powerful and uplifting message, it makes the whole film worthwhile and certainly worth sitting through. My only criticism is the dodgy cast, it's 50% great acting and 50% not, but it's definitely a good film, probably one of the best films no one saw in 2011.

Destination Moon
Dir: Irving Pichel
1950
****
Not just ahead of its time but also fairly accurate vision of the first Moon landing. The story doesn't rely on science-babble, everything from breaking through the Earths atmosphere to weightlessness is pretty much as it is. It makes a few mistakes but they are only innocent ones. I think it's most accurate portrayal is that of the success of American propaganda, the real reason why the project gets backing in the film is pretty much how it was when they did actually go to the Moon 19 years later. A great film that reminded me of watching these great old 50's movies when I was a kid (when they were only 20 or so years old).