My first impression would be this is Beowulf only with all the good bits of fighting Grendel and dragons intact, making it one thrill ride from start to end. Written by Frederic Lanoir and Arthur Qwak, the two of them had created a fantastical landscape that becomes a character in itself within their story, with its ever changing environment made up of small spheres of land floating around, which can either be wastelands, or globes of greenery.

The story's a simple one, which tells of a land which is cowering in the expectation of a mighty dragon's unwanted visit to plunder and destroy, and the resident knights have all but been annihilated. Enter the king's granddaughter Zoe (Marie Drion) who gathers Lian-Chu (Vincent Lindon), a huge brute with immense strength but truly a gentle giant, and his partner-in-arms Gwizdo (Patrick Timsit), who balances the partnership with his cunning brain. Lian-Chu and Gwizdo (together with their pet creature which too proudly spews incipient fires) share a common dream of owning a farm land and spending idyllic days tending to their farm animals in retirement, but in order to do that comes the requirement of being financially free, hence their career in monster-extermination which doesn't exactly pay off.

That's basically the whole gist of it, but what makes this film a spectacle, is its CG graphics, which is solidly rich, detailed, and an eye-popping marvel to behold. It has some wonderfully crafted set action pieces that were painstakingly designed to draw you into the thick of the action,, and during those fight sequences, there's nary a boring moment. Photo-realistic moments of non-existent landscapes make you put aside the fantasy of make-belief, and it's easy to be in awe of the landscape which goes beyond the usual three-suns and a kaleidoscope of flying thingamajigs (here's having at you George!) And I couldn't get enough of the finale battle as well, though the usual brick-bats will find some fault at the indestructibility of the principle characters.

I guess this film had opened my eyes that there are many more computer-animated companies out there around the world that have quality in their product to match that of Pixar's. And this is definitely a movie that the local filmmakers of Zodiac: The Race Begins and Legend of the Sea can learn from  to keep the story effectively simple, and let your moving artwork do all the talking. Definitely highly recommended!


This movie took my breath away at some points, I simply loved it!

I admit that the character dialogs and storyline could have been done a bit better, but hey, this is just a simple (short) story of a couple of guys trying to slain a dragon, there's nothing more to it!

The overall design, atmosphere, the beautiful landscapes... it's all just magical!

They've put a lot of love in this movie. Character designs were great and funny. A bit Tim Burton-ish if you like. I can recommend this movie to anyone interested in great design, displayed in a simple small, but lovely story.


After watching the trailer I was surprised this movie never made it into theaters, so I ordered the BluRay. I had a great time watching it and have to say that this movie is better than some major animation movies out there. Of course, it has its flaws but I can still really recommend it. The animation is well done, very entertaining and unique and the story kept me watching it all the way to the end. Some of the backdrops are just drop-dead gorgeous and you can see the French talent behind it. I thought that Forest Whitaker's performance feels a bit lifeless but that is how the character Lian-Chu is depicted in this movie. So overall, thumbs up, I liked it a lot and I hope it is successful enough for all the studios involved to continue making great movies like this. I would recommend to give it a chance and be surprised how great a movie can be with such a small budget. Hektor alone is worth watching the movie since some of his moments are Stitch-like hilarious.


My 3 year old loved it. I loved it, my wife loved it. So 10 out of 10 from our family. As for violence level? Not really that violent, mostly of the slap stick variety. Nobody truly dies, no gore, no blood, no torture, so it certainly is appropriate for children, much more so than many Saturday morning cartoons.

This movie really takes the idea of CG movies where it should go.

First of all beautiful graphics, textures wonderfully done, with true depth, not trying to be realistic, but forming an artistic whole. The moss on the stones, the rust on metal, the reliefs on the wood and the stone, everything adds to the whole.

Character modeling, unlike many contemporary CG movies, is quirky, not cute, again within an artistic whole. The faces may look less malleable than in some other movies, but the characters are more puppet-like than human-like. I think that is a good thing, it lends veracity, how strangely it may sound, it is easier to suspend your disbelief.

Hair, fur, clothing, on par, at least with the likes of Pixar. Just note in the opening scenes when Lian-Chu is fighting the giant slug; Gwizdo is in front of some farmers, and all of them have detailed clothing which caused me to pause the movie just to admire it.

The setting. Far beyond the likes of Cars, and even WallE. Space has been done many times, but the fantasy environs of Dragon Hunters are only comparable with some scenes in Never Ending Story and Lord of the Rings, but again it is an artistic whole, and with lots of good ideas thrown about effortlessly. Magnificent vistas like the scene in Monsters Inc. where they ride all the doorways through its storage facility, or WallE where we see the immense trash towers he made, abound in this movie, everything is grand, yet never dwelt upon; it is just the background the whole way! The interlude where they walk through the area with the fantastic falls. The Chinese wall, the islands floating in the sky. The Broccoli in the sky? That is truly where I believe CG should go, make something which takes your breath away, and do it again and again.

The sound is good, the music is varied and not only epic, and thankfully without any vocals, and purely original for the movie.

Animation is quite good. Lending its inspiration to cartoons, especially some good use of stretch and squeeze. Sometimes not that realistic, but the 3d models are not realistic either.

Characterization is well done too. Lian-Chu the gentle and uncertain giant is gradually growing in confidence basking in the attention of little Zoé.

Gwizdo the wily manager of Lian-Chu redeems himself in the end, while Zoé isn't really changed at all, but who wants that cute child to change anyway? I at least loved Lian-Chu more than any other recent character since Sulley in Monsters Inc.

The internal strife in the group gets ironed out by the external pressures, just as it should in a proper fantasy story.

The story is mostly reminiscent of the Never Ending Story, especially how the world brakes apart. The monsters are pretty standard fare, except the flocking one. It lacks the emotional impact of WallE, which is the really strong point of that movie, but it is a much more fun ride, and lacks the annoying musical scene replaying in the former one, and has action from the first scene. This movie is what you want to watch for a fun and exciting time.

The whole movie has, as I've mentioned a whole vision, which seems to have been followed rigorously throughout.

It seems, that the setting is ready for more adventures, and I for one would hope so.

One side note, the French actor doing Lian-Chu sounded a bit like Jean Reno at first, but I'm happy it wasn't him, though he is one of my favorites. Nice to hear a new, to me, voice.

I give it a max rating, a bit surprised at the mediocre and low ratings by some; I have tried to address some of the concerns made by two of the reviews with the lowest vote. Approach this movie as an adventure, and as a European movie, not opposed to Hollywood, but different.


What people fail to understand about this movie is that it isn't a beginning, middle, and end, it is just the conclusion of a 26 episode long TV series. So remember that when you all talk about how the world wasn't explored enough. That was all done in the TV show.

As great and stunning as the visuals are, I think the ***SPOILERS*** argument between Lian-Chu and Gwizdo near the end of the film was what really made me love this movie. Seeing characters I had followed through 26 episodes fight like that was agonizing, and seeing Gwizdo walking sadly off by himself amidst the floating ruins while Lian-Chu sharpened his blade was almost tear-jerking.

Then we got a total contrast with Lian-Chu fighting these insanely awesome dragons (Which had been featured before in the series) while Gwizdo is babbling insanely and indirectly threatening to kill Zoe. *Shudder* I'm surprised that this particular scene hasn't been mentioned more in the warnings. Any kid that has a lick of sense will be able to see that Gwizdo wasn't himself and was fully intent on strangling that little girl. It was enough to bother me, and I'm 15.

The world is amazing, the plot is a lot better than most multi-million blockbusters, and it was a nice way to see some of my favorite characters go. Check it out. :)


Dragon Hunters has to be the best-looking animated film I've ever seen. It was jaw-dropping. The film is about a couple rogues in search for some cash, their weird furry blue dog that pees fire, and a girl who dreams about becoming a knight, and they are sent on a quest to go to the ends of the earth to kill the world gobbler, an impossibly immense dragon. But honestly, it doesn't even matter what the film is about. Because, it is jaw-droppingly gorgeous. The gravity in this fantasy world is different, so blocks of architecture and spheres of land float around amidst cathedrals and castles and villages alike, and there are forests of floating lily pads. The world is so creative, so uniquely beautiful, with a sort of muted storybook look to it. The world looks like a set of gorgeous paintings. The monsters are visually stunning as well, like a fire dragon comprised of a swarm of evil red bats. Some of the plot isn't too original, like the main protagonists wanting their farm a la Of Mice and Men and never seem to be able to make it in the world; but the gorgeous graphics, some seriously sinister scenes, and emotion-evoking dialog makes this film spectacular.


This is a CGI animated film based upon a French 2D animated series. The series ran briefly on Cartoon Network, but its run was so brief that its inclusion as one of the potential Oscar nominees for best animated film for this year left most people I know going "Huh?" This is the story of Lian-Chu, the kind heart muscle, and Gwizdo, the brains of the operation, who along with Hector their fire farting dragon,he's more like a dog. Travel the world offering up their services as dragon hunters but never getting paid. Into their lives comes Zoe, the fairy tale loving niece of a king who is going blind. It seems the world is being devoured by a huge monster and all of the knights the king has sent out have never returned or if the do return they come back as ashes. In desperation the king hires the dragon hunters to stop the world eater. Zoe of course tags along...

What can I say other then why is this film hiding under a rock? This is a really good little film that is completely off the radar except as unlikely Oscar contender. Its a beautifully designed, fantastic looking film (The world it takes place has floating lands and crazy creatures) that constantly had me going "Wow" at it. The English Voice cast with Forrest Whitaker as Lian-Chu (one of the best vocal performances I've ever heard) and Rob Paulson as Gwizdo (think Steve Bucsemi) is first rate. Equally great is the script which doesn't talk down to its audience, using some real expressions not normally heard in animated films (not Disney nor Pixar). Its all really well done.

Is it perfect? No, some of the bits go on too long, but at the same time its is damn entertaining.

If you get the chance see this. Its one of the better animated films from 2008, and is going on my nice surprise list for 2009.


The world of the Dragon Hunters is a 3D gravity challenged world. Planetoids, bits of buildings and strange flat plants float around in the atmosphere while the ground towards most of the characters are falling is nowhere to be seen. It is a world reminiscent of Neverending Story, when the Nothing came to eat the world away.

Funny enough, the villain here is the World Gobbler, as well. This time it is a huge skeleton dragon with fiery eyes. The heroes are a big yet taciturn warrior, an annoying and greedy sidekick managing the entrepreneurial side of the duo and a strange useless animal. They are joined by the most talkative little girl in the world who, to my chagrin, did not die a horrible painful and hopefully early death.

The animation is great. The voices and the sounds are top notch. Too bad the story is as simple as one can possibly imagine. They go to stop the World Gobbler, they reach him almost immediately, they defeat him. The end. No real character development or story twists. Not even the ones I would expect from a movie with such a plot.

Bottom line: it's a cute thing to watch, kids would probably enjoy it, but that's about it. No depth to this world (pun intended).


When you start watching this animation-masterpiece, you quickly notice, that it's a European production. Although the Europeans have (sadly) integrated some of the clichés you would normally find in an American production of this kind, most are missing. One of these is that there is an overwhelming evil that only our (very few and very unlikely) heroes can vanquish. Another is that one of the group is only in the business for the money, is greedy, runs away when the heat is up but somehow gives in to his better nature. This movie would have been better off without both.

The movie is based upon a TV-Series that was out four years before the movie. Unlike the movie, the TV-Series is a cartoon and not a computer animation. At first I thought the computer would kill the charm and character of the plot but I was quickliy convinced: Whoever did the animation knew his or her stuff! Although the characters are obviously fictional (in stills they don't even look real), they seem as alive and sentient as the audience following their quest. Making characters who by "normal" standards could be considered deformed (those micro-legs could never carry that giant body let alone make it jump) so alive and lovable is more than "just a highlight"! The creation of the world is another masterpiece. Not so much because of its looks but because of the inventiveness of it. The world our heroes travel is not solid like our own but is made of many pieces of land varying in shape and size that seem to be floating in mid air. When a person steps on a smaller fragment of ground, it nods a little bit as if feathering from the weight. In some cases up and down no longer apply but our heroes still manage to get a foothold somewhere. Although the world of floating islands is completely surreal, in this movie it is absolutely believable and after a short time it doesn't seem any weirder than running into a car somewhere in New York.

I wrote that the looks of the world aren't as breathtaking as the idea. As true as that might be to my mind, the quality of the world, the characters and the attention to details is staggering. Although the faces of the characters have relatively few attributes, emotions can be read as clearly as in Sean Connery's or Dustin Hoffman's face. The world around the characters is wonderfully colourful and no two settings are alike. The background is always in motion, something is always going on which makes the world seem even more alive. If you stop the movie and look at the background you will be surprised how many details you can find.

The existence of Hector actually puts the cherry on top. Hector is a furry little "thing" (possibly the equivalent of a dog in our world) who is totally lovable and extremely funny. Although he isn't really important for the main plot, he would be missed like Scrat would be in Ice Age. The really cool thing about Hector is that you need to speak Gibberish to understand him.

If the movie is so great, why didn't I give it 10 stars? Well, the plot in itself was rather thin. Two hunters are sent out to rescue the world from a really bad dragon who wants to swallow the world, isn't really original. That in itself wouldn't be much of a problem. What I missed was the background information. What kind of a dragon was this and why did it look that way? I love mythical stories but if they get too thin then they seem to be written after the movie is finished in a feeble attempt to give the whole thing some depth.

Another thing I didn't like was Zoé. Although a little girl like her could be considered adorable, she was somewhat of a pain in this movie. She seemed pretty resistant to all types of learning about reality, kept dreaming of some hero from a story book and basically slowed the others down. She would have been OK if she had developed a little more and a little earlier in the movie - or had been less of a girly to start with. To me the idea of this girl who was there to twist the story a little backfired on the writers.

All in all, this is a really good movie for just about all ages.


"Some day, we'll walk in the rays of a beautiful sun. Some day, when the world is much brighter"- The 5 Stairsteps "O-o-h Child"

Movies about Black teenagers usually involve inner city gangs dealing drugs or committing violence to a hip-hop soundtrack. Films about the everyday problems of ordinary inner city teens are hard to find, yet there is an undiscovered gem that I would like to recommend. Our Song, by Jim McKay is about three girls in the Crown Heights section of Brooklyn who learn that their high school will be closed for asbestos removal and must decide on their future direction, one that may involve going their separate ways. The story is told from the point of view of a 15-year old, not from an adult reminiscing about the past as in most coming of age movies. Avoiding the mandatory street slang and excessive use of F-words, it delivers an honest and loving portrait of three friends at a crossroads in their life. The girls: Lanisha (Kerry Washington), Joycelyn (Anna Simpson), and Maria (Melissa Martinez) are in their sophomore year at the local high school. They are active members of the Jackie Robinson Steppers, a real-life marching band whose rehearsals for a Labor Day parade provide discipline and purpose to their lives.

Similar to David Gordon Green's George Washington but less stylized, the film showcases non-professional black and Latino actors with Kerry Washington as the standout. While the performances have some amateurish moments, I became so involved with the story that I forgot the girls were even acting. Maria, whose father is in jail, has learned that she is pregnant by Terrell, a local student. She wants to have the baby in spite of the fact that she is only 15 and knows that Terrell is probably not going to be of much help. Joycelyn works in an up-scale dress shop but dreams about becoming a singer. In a very poignant scene in her bedroom, she pretends to be talking to her fans, then lies down in bed to recite one of her poems. She is close to Lanisha and Maria at the beginning but drifts off to make friends outside of the neighborhood. None of the girls receive much support at home and Maria is too afraid to even tell her mother about her baby. Yet, the single moms are not typical movie deadbeats or alcoholics. They are warm and loving parents whose time with their children is limited because of the pressure of supporting the family.

Lanisha's parents are divorced but she is able to visit her father, a doorman in a luxury apartment building and talk about music. Her mother is comforting when Lanisha learns that a friend in the neighborhood has committed suicide, a somewhat melodramatic plot point in an otherwise realistic film. As the summer winds down, the girls drift apart and each decides on a different course. There are no big dramatic moments, however, only the sad recognition of the inevitability of change. Though we do not have blinders on about the frustrations that may await them, we identify with their hopes and dreams without dwelling on the negative. Our Song is an emotionally satisfying film about growing up in the projects that refuses to see life in any terms other than possibility.


I reflect back to the days when I held my boyfriends hat to smell him into existence in my time alone when I was 16. The little moments of this film are so accurate and right on pace with what is going on in the minds and hearts of young girls during those coming of age teenage years. Now at my age I want to preach to them about their decisions and how life during those times are not as important as it all seems in those moments. That if they can be patient in their youth and wait to experience the hardships of life both external and internal that life would be so much sweeter. But then again young people today are faced with some variables that I never had to deal with a youth.

The three main characters well played by all three actors (Kerry Wahington - Lanisha, Anna Simpson - Joycelyn and Melissa Martinez- Maria) give us the very believable depiction of a piece of reality for young girls living in impoverished situations. They have impoverished family lives all being raised by single mothers with expectation of Lanisha whose father is present but not actively supporting her day to day. The have impoverished educational systems and lack direct contact with achieving role models. These situations powerfully affect them and is their reality but all this is of no great depressive concern to these young women in their day to day. They except their plight and focus on the same things young girls all over the world are concerned with. Finding true love in a male, having good friends that you can depend on, gaining some respect/love and responsibility from parents and enjoying life. This is were this film cross the race, age and gender gap imposed upon it by its characters and the setting in which it is stamped.

The Director and writer McKay explains on the DVD how each of scenes got into his head, by just observing young people of that age that lived in those types of neighborhoods. Plus you add three up and coming actresses who are not so far removed from that time in their own lives that you get a real good synergy of reality and acting at its best. The one thing I know about (African Americans and Hispanics) is that there is always a spiritual family member or neighbor that is in the foreground or near ground believing in a better day and better life and future in spite of the present situation and is role modeling that to some extent. This was never touched in the movie in order not to preach and I understand that but it also narrows the culture to having no hope in anything other than themselves.

The HOPE FACTOR: I now think about my future and where I have come from and say as Lanisha did ` Today is a good day.' Yes poverty still exists, racism, sexism, and any other ism that we can added. Yes some of each of these young girls actions perpetuate the isms and are self-destructive, everything around them is impoverished but NONE of those actions past or neither present nor their environment leaves them without hope for a bright future. I was left with saddened hope of each of the characters and a deeper desire to be a role model in the life of some young girl on the edge of making a destructive decision. I suppose that is the value of film it should not only entertain but cause each of us to think, reflect and then act in some positive way to make this world a better place.


Jim McKay has made one of the best films you will see all year.The quiet simplicity of this film draws you in from the opening shot and never lets go.There is not one false note in the entire film.Not one.Everything works.The hand-held camera is never distracting and always where it should be.The three young ladies whose lives we follow are always real.There isn't a single beat where the audience is reminded we are looking at actresses performing a role.These are just real girls trying to find themselves.There is no political agenda,hidden or otherwise.This is cinema at its most basic,and although it will probably only be seen by a handful of movie-goers,it deserves a much wider release.A special hats off to Hugh Hefner for providing the film-makers with the grant money needed to get this important film made.I can't wait to see what Mr. McKay does next.


After seeing this film at the SF Independent Film Festival, I couldn't wait to hear about how to get a copy. Jim McKay gave a talk (Q&A) about the film afterward which presented his ironic situation: how to get distribution for a film which portrays minorities (women, non-whites) working on resolving controversial issues (teen pregnancy, teen motherhood, racial identity, single-mother households), and how to write a faithful script on all of these topics being a mid-thirties white male. The multi-racial, multi-gendered audience of mostly-adults raved about the film's fantastic storyline, detailed characters, and fantastic portrayal of "real teen life." Most of the teens, however, had left the building--leading me to think this is a film best seen by adults with kids, as a starting point for discussion rather than, as many adults there felt, "a film teens should see because it's about them." Hence, distribution questions--how do we get our hands on it? The Internet (retail) would be a great path--this is a film that will be buried, like "Pups" or other radical modern teen films--and McKay seemed responsive. As for his credits as a writer/director, McKay was _extremeley_ sensitive and detailed in his work--allying himself to the Crown Heights neighborhood in which the film is set, working with actors to portray characters in their own vision of what they think should be--with the results being disarmingly realistic.


`Our Song' gives us the lives of the three teenagers Lanisha, Maria and Joycelyn - best girlfriends hanging at the end of summer. Adolescent summer - even if we don't know the signals and landmarks of this particular terrain, Crown Heights, Brooklyn - is/was the same for us all. A lazy respite from the pressures and tumult of school. Welcome heat and idleness.

But if this experience of adolescence is universal, the inner city of the 90s is a different place than most of us know - maybe as foreign a country as any. Young bodies carving new silhouettes...beckoning new territory...the maze towards adulthood. The young mind coming into itself, speaking for itself, saying this is who I am, this is who I want to try to be. It is/was always thus. But this is how it plays out in Brooklyn in the late 90s.

Jim McKay is the writer/director of this film project but he acknowledges all who have shouted suggestions at him. The opening title slide `A film by' seems to list everyone in the universe. It's a gesture but by the end of the film, we know it to be a genuine one. [The closing titles also have some of the most on-the-money and appreciative credits I've read.] The vivid sound recording by Jan McLaughlin deserves to be especially noted. McKay's a modest leader who knows who is telling this story - it's his three graces Lanisha, Maria and Joycelyn. They're the real thing, their interactions have the fire of real friendship and the focus of reality. This ain't no music video shorthand telling of teenage life. It has the seriousness of the long unblinking stare.

Hanging out with them, we don't quite feel included but we do feel privileged to be listening in. These are real voices speaking with plainness about the crises and dullness of daily life. We are witness to the modern math of teenage life - how its problems are interpreted, calculated and summed and solved. Small scenes illustrate large thoughts throughout. Lanisha hangs with her dad at his security job - it's the only way she gets to spend time with him. We see the love that exists between them but also the failures of family and fatherhood. In a connected scene, Lanisha defends her dad to her mom, and we see how desperately she needs to love them both and for them to love her in return. Later, the three friends lay in the dark sharing visions and dreams - and we remember how crazy/funny kids are and more tragically, how realism hammers idealism these days. And at the end, Maria simply walking down the street is a short story in itself. We see her gather up the courage to hold all her fears and doubts at bay. She demonstrates for us the strength one needs to have to be able to embrace the fragility that makes life livable.

`Our Song's greatest gift is that we really feel deeply the terribly ephemeral nature of friendship - how, one day, alive and enlivening, that intimacy can, in the next, just turn and drift away. It's awful, but that's just the way it is, isn't it?


This is the first American film to successfully adopt the naturalistic style used by Europeans, particularly the French and Belgians, for at least a decade, and isn't it about time? Following three high school girls in the Crown Heights neighborhood of Brooklyn during the last days of their summer break between freshman and sophomore years, it does what all good art should: it discovers the universal in the particular. Even though the girls' preoccupations are outwardly conventional--boys, sex, popularity, money, freedom, and clothes--we glimpse how their whole lives are being shaped, the universal interface between character and destiny.

The naturalism is whole, complete. The film breathes, stays in the moment, inhabits real time. The story tells itself. The medium and its artifacts, for once, are not the message. The film unwaveringly, truthfully conveys the childhood perspective of its characters; it does not impose its own adult meanings or morals. Details emerge of their own, are never pushed, and thus seem all the more real and powerful for their understatement. Even though great pains have been taken to capture the authentic social reality of Crown Heights, part of the largest Black ghetto in New York City and one of the most dangerous violent places in the US, the subject is childhood in the ghetto, not the ghetto itself.

Documentary footage of the practice sessions of a marching band, the Jackie Robinson Steppers, punctuate the film at regular intervals with an explosion of color, movement, and sound. Otherwise, the camera stays very close, very intimate, a patient, sly, and unobtrusive observer. The language is rich, spontaneous, the acting transparent. Some scenes standout, such as the girls lolling about, each revealing her deepest fantasies. Lanisha's confession of her acceptance of a death by random violence is the most shocking, one of the deepest scars of the ghetto. Her sharing with her mother her confusion and fear before the stark challenges of adult life is equally moving, and beautifully, unsentimentally affirmative.

Social realities are respected, not propagandized: All three girls are being raised by single moms, only one, Lanisha, has a father active in her life (and, not coincidentally, of the three she is the most emotionally stable and empathetic to others, and the one with the most self-respect). Two of them suffer from asthma, a disease disproportionately prevalent in the inner city. Gunfire, an accepted daily occurrence, only momentarily interrupts their conversation. Only one of the girls, Joy, feels hope for, feels she has control over the future, while the other two to varying degrees have already accepted despair.

This is by far the best dramatic American film I've seen in years. See it, see it, see it.


I saw this film earlier today, and I was amazed at how accurate the dialog is for the main characters. It didn't feel like a film - it felt more like a documentary (the part I liked best). The leading ladies in this film seemed as real to me as any fifteen year-old girls I know.

All in all, a very enjoyable film for those who enjoy independent films.


Our Song is a marvelous example of passionate, movie making at its aesthetic best. It is, in fact, a genuine wonder of a movie; a penetrating and insightful work of art that chronicles the lives of three young inner city (Crown Heights, Brooklyn) girls during a particular summer in their lives when the perplexities of their approaching adulthood will compel each of them to make a number of difficult, life altering choices that will likely re-define who each of them is, as well as how they will continue to relate to one another in years to come.

Jim McKay's writing/direction is graceful and uncluttered. There is no sappy, gratuitous sentimentality nor are there cliché ridden solutions in this film. What we see here seems, at times, to be heart breakingly real. There is a naturalism - a credibility, if you will - in Our Song that surpasses that of other giants in this genre, including American Graffiti and Cooley High.

Much of the credit for the film's spirit goes to its principle actors. The combined presence of Melisa Martinez (Maria), Kerry Washington (Lanisha), and Anna Simpson (Joycelyn) is dazzlingly powerful. It would be easy - and, of course, blatantly obtuse - to dismiss, as some apparently have, the performances of these three as apathetic or unemotional. In fact, their quiet charm, their instinctive sense of dignity and their raw, sometimes unconventional intelligence, throughout the film, are absolutely riveting. One would have to be completely "out of touch" with, or completely indifferent to, the behavior of teenagers to miss the resounding authenticity in what these three young ladies bring to the screen. Likewise, the supporting cast, particularly Marlene Forte as Lanisha's mother, compliments the work of the three girls as well as the overall tone of the film.

Our Song is a film not to be missed - by anyone of any age.


I tuned into this by accident on the independent film channel and was riveted. I'm a professional actor and I was flabbergasted by the performances. They felt totally improvisatory, absolutely without affectation. I could not tell if it was scripted or how it was shot and waited until the very end to see credits and then spent a half an hour on the IMDb to find this film. Do not miss it. I see that the writer-director also did a very fine film called Everyday People which I enjoyed a lot. The shame of the film business is that projects this excellent do not get the distribution and advertising that they deserve and live under the radar. This film deserves to be flown high and proudly. I urge people to look it up and watch it.


Bravo to Czechs, their once-powerful movie industry seems to awaken from post-Communist slumber.

The Loners is a comedy done with all the elements you would expect to see in a modern "hollywood" production minus the garbage that seems to get attached to the genre over the past several years. Superb soundtrack, excellent visual editing, beautiful Prague cityscape, to mention but a few.

The story is actually comprised of several sub-stories that frequently intertwain and overlap, an is in essence a collage of destinies, fates, desires... It follows a group of urban youth-to-mid-thirties people through a variety of situations ranging from daily life and leisure activities to careers and obsessions. And it IS hillarious. There's actually a point in the movie where the entire theatre I was in (about a 100 people in a small art gallery) laughed non-stop for about 40-50 seconds. How often do you experience that with modern hollywood productions?

Although the entire main cast is excellent (especially the upcoming Macedonian star Labina Mitevska in the role of an immigrant facing the all-too-familiar hardships) I have to single out Jiri Machacek for his superbly believeable portrayal of Jakub, a constantly stoned bohemian whose brain is severely affected by the stuff he smokes landing him in a plethora of funny situations.

Conclusion: don't miss this one! It's got a lot to offer.


This movie is gorgeous. It's real and down to heart, but at the same time totally crazy. The characters are easy to fall in love with, because they have so many different minds, but each of us could refer to at least on. In Canada, we don't have many movies from Eastern Europe, and for the few I have seen, Loners is one of the best. It's very funny, and magic. If you want to see something new and refreshing, go see Loners.


Saw it as critic at the 49. Internationales Filmfestival Mannheim Heidelberg.

As every film that I know and Zelenka is involved in it is simply genious.

I love his way of combining different stories and characters.

His *Knoflikari* and the truly magic *Powers* (part of Regina Zieglers *Erotic Tales IV*) are definitely worth being checked out. Go and get it, folks!


Ying, a Chinese girl who speaks Czech, invited us to screening of a Czech movie (with English subtitles) in the Department of Visual and Environmental Studies (VES). It was the first time I saw Samotáři (Loners, 2000) and it was pretty good.

Much like in many other Czech movies, the seven central characters seem to have a pretty difficult, dirty life; the web indicates that this theme was popular among the U.S. movies in the early 1990s. Their relationships are breaking up, combining, and recombining. Another typical feature of the Czech movies is that neither of the characters is designed to be a universally negative one and neither of them is a permanently positive character either. Also, you can see how the characters judge the features of others depending on the context; that's a very realistic feature of the movie's psychological analysis.

Ondřej is a talented and married young surgeon who has two daughters. Nevertheless, you learn that he has only studied neurobiology to prove how much he loved another woman, Hanka. He is so obsessed that he repeatedly dresses up as a plumber to get into Hanka's parents' house - a house that he repeatedly burns.

Meanwhile, Hanka has a very mixed relationship with her parents. She just decides - by tossing up a coin - to break up with Petr who works in a private radio station. Hanka does not view her parents' bourgeois life as a good example but seems rather unsuccessful in creating a better environment. But she is a very flexible figure, as far as the type of her boyfriends go.

For a while, Hanka seems to have serious plans with Jakub, an innocent drug addict whose memory seems to be rather devastated by the drugs. However, the friends from his band inform Jakub that he already has another girlfriend. Hanka is disappointed and returns to her parents.

When Hanka and Petr break up, it is organized by Robert, a matchmaker who also works for a travel agency where his job is to show the life of ordinary Czech people to Japanese tourists. Robert - who also provides Jakub with marijuana - is never serious about anything and he usually sleeps with many different women; eventually, his mother dies in a hospital and he has his own ways to deal with the depression.

Vesna (a Slavic word for "Spring") who came to Prague from Macedonia works as a barmaid - and you won't learn whether she came to Czechia in order to see her dad or UFOs. She seems pretty confused but sometimes helps the other characters from their problems.

Petr works in the radio station and he is the only one who likes his job - a job that he eventually loses. He announces to his audience that he broke up with Hanka - which is how Ondřej learns about the news that make him very happy.

Finally, Ondřej's wife Lenka is always ready to forgive him and stabilize their marriage - even after Ondřej asks a magician to make him disappear so that Ondřej can try to capture Hanka again. (The magician pays his debt because he is a brother of a victim of an important car accident - Jakub and Hanka bring the victim to the hospital and Ondřej saves his life.) Lenka also works for the travel agency - as a translator - and eventually she has to translate some hysterical scenes for 20 or so Japanese tourists who are shooting their movies during Hanka parents' dinner.

The seven characters interact in interesting and exciting ways that would be natural if Prague were smaller by four orders of magnitude. Given the actual size of the Czech capital, it looks a bit unlikely that all these events would take place among seven people, but it is fun.


This movie is very underrated. It's highly imaginative, creative and clever. It's just plain fun and in my opinion this film tops the first one. But the film was forgotten when it first came out, and became even more overlooked as the years passed. "Bill & Ted's Bogus Journey" also bombed at the box office, whereas the first one was a pretty good hit and very popular.

I think the problem may be that this film was just released a couple years too late. In 1991, Bill and Ted already seemed "so '80s". Even though the '80s were only a couple years ago back at that time, the landscape of the music and style for kids had changed so radically with gangsta rap, hip hop, Pearl Jam, Nirvana, grunge and the Seattle sound. Bill and Ted with their Ozzy Osbourne, Van Halen and Guns N' Roses music along with their '80s style seemed so out of place and very outdated in '91, and I think that's one BIG reason the film bombed at the box office. Nobody but surfers were still saying stuff like "excellent!" and "bogus!" in 1991. "Gremlins 2" which also came out in the early '90s suffered a similar fate of being a good film that bombed at the box office because it was too associated with the '80s. The transition from the '80s to the '90s was a much faster change then now with the '90s and '00s. 1991 was nothing like 1988 or 1989, whereas right now, 2002 and last year 2001 still looks/looked like 1995 or 1996.

If only "Excellent Adventure" which was made in 1988, was released THAT YEAR instead of 1989, and "Bogus Journey" was made quickly and released in 1989, then it too would have probably been just as wildly received as the first.


One of the most underrated movies I've seen in a long time, Bill & Ted's Bogus Journey is the second hilarious adventure of Bill S. Preston Esq. and Ted Theodore Logan, aka Wyld Stallyns. There are two ways to look at this film: First, you see dumb dialogue, far fetched plot, juvenile idea. OR.. You see brilliantly downplayed idiots who yet again find themselves in a situation too big for their brains. Throw a Bruce Willis or a Arnold Schwarzeneggar into this plot and it becomes a big blockbuster movie. Bill and Ted go into the story with the same level of sincerity, only it's Bill and Ted. This is a tricky fence to balance on, but when you watch the movie not as a throwaway screwball comedy, but as an adventure featuring two guys who have no business being in an adventure, it becomes so much more.


I admit it's very silly, but I've practically memorized the damn thing! It holds a lot of good childhood memories for me (my brother and I saw it opening day) and I have respect for any movie with FNM on the soundtrack.


When I was a kid, I totally loved both Bill & Ted Movies. The other night, Bogus Journey was on and since it was at least 5 years since I last saw it, I decided to tune in. AND I LOVED IT ALL OVER AGAIN! This film is still funny after all those years. 'Excellent Adventure' is better, but this one rocks just the same. Sure, some of the perfomances are a bit cheesy, but hey, this entire film is cheesy in a cool way. Plus it features the coolest personation of Death ever in a movie! Concluding: Totally like non bogus movie dude! Way Excellent! STATION!!!


I wouldn't dare say this film is better than the original, but it is very good in it's own right. The comedy in this film is just as good as the original though, there are so many scenes that get me laughing just thinking about them.

The story in this film is even more bizarre than the original, but that's what makes it so great. Peter Hewitt does a great job directing this film with a great cast. The core cast from the original film returns to their characters in this film and all do a fantastic job with their roles. I don't care what anyone says, I think Keanu Reeves is a great actor! I really enjoyed his portrayal of Ted in both of these films as I did Alex Winter's Bill. I was very happy to see George Carlin returning to the role of Rufus, very cool! Hal London Jr, who plays the part of Ted Logan's father does a really good job. The scene where Ted possesses his fathers body and Hal London Jr begins acting like Ted is a great scene, and he pulls it off impressively well. I can't forget to mention William Sadler as Death, he completely made the movie for me. The rest of the cast is quite good as well.

If you liked the first installment of the Bill and Ted series, then I would hope you would like this film as well. But, don't expect it to be as good as the original. I really hope you enjoy the film, thanks for reading,

-Chris


It was only on my second viewing, years later, that I realized two things about this movie: 1) I enjoyed it immensely, and 2) that because its execution is decidedly sharper than the premise itself warrants. I had laughed my way through the movie before it occurred to me to renew my initial protests--valleyspeak and loogies and airheadedness (even *good*-natured airheadedness) just aren't inherently funny, especially when drawn out to feature length. But though the movie's momentum does begin to sputter out towards the end, Reeves and Winter and Sadler (and Hal Landon Jr. in an unforgettable scene) display such a remarkable sense of comic timing throughout that even the more clumsily-scripted jokes (e.g. Ted failing to recognize a certain inhabitant of Hell) work as effortlessly as the witter ones (e.g. the challenge). And the teaming of Winter and Reeves clicks so well that the teaming of Bill and Ted (who spend only one scene separated in the entire movie, disaster if they're not well-matched) appears utterly unstrained.

(Side note: I found the first movie to be only sporadically entertaining--sightly different comic sensibilities there, it seems.)

I give it a 7.75. Surprisingly good fun.


I got the first Bill and Ted movie for christmas and I had to get the second when I saw it in a store. This one was (I think) just as funny as the first but a much wierder story. It was funny how they had their own personnal hell and how they had to play death. The funny thing was that they played him in stupid little games like clue. The only thing I'd change is Station and Death being in the band but other than that it was great.


The first film had little ambition so nothing sticks to the screen. It was a bad version of 'Back to the Future' with zero charm. Once accepted that Bill & Ted are nitwits, the joke can only get hammered at the audience for so long before it breaks.

This is a surprise. This is your only spoiler warning...

By today's standards, this is more fun. This was shunned upon release, sad considering that more talent is involved than the first time. We get the photographer of 'Face/Off', the editor of 'Fugitive', a production designer from Burton's early work, and the sound designer of 'Matrix'.

The writers made up for their shallow first outing with something deep. Since this was shunned by the fanbase and public, the director probably decided the style was too extreme. It's not, it fits the material. Like 'Death Becomes Her' and 'Catch-22', this dares to be smart, but we like our movies "simple" so we don't buy it. Probably since this dared to be different is why it took 12 producers to pull it off. What's so good?

--Nice self-reference towards Keanu; from airhead to Messiah. See also Arnold Schwarzenegger.

--Joss hates his creations as much as he hates their counterparts, he makes his own hatred. The Evil B&T and the "good robot usses" have the same vocabulary as their originals: lesser copies and depreciation of language.

--The "duality" motif. Nowhere else is this evident than in the photography styles, lots of high and low angles. They even use Roy Brocksmith from 'Total Recall' to emphasize the point.

--The "choices" motif. I don't know where this started in the genre (maybe 'Ghostbusters'), but it's used pretty well here. It even boils down to the 7 games against death--Battleship and Club.

--Film self-reference, even present in the game against Death (Clue). This is smarter than Tarantino or Brooks. Notice the Premier magazine cover at the end: "Bill and Ted: The Movie." Ironic also how Death and Nomolos were villains in the 'Die Hard' and 'Lethal Weapon' sequels.

I still have some minor nits, but nothing compared to the original. Music and film are different mediums so it makes no sense why many scripts revolve around the former--particularly in the teen market. Carlin is a great comedian, but in these movies he's wasted. Also, for all the daring this effort shows, even cracking gay jokes, they can't kill a cat?

So, despite looking like a Nickelodeon production, this is incredibly interesting. From this movie we got Beavis and Butt-Head. "We're in Heaven and we just mugged three people."

Final Analysis = = Midrange Material


Anyone who doesn't think Bill and Ted's Bogus Journey is one of the greatest movies of all time needs their head checked. It somehow manages to be both completely inane and no-brainer, but also terrifying knowing and clever at the same time. One of those rare films that actually improves upon it predecessor, Bogus Journey can be enjoyed again and again. Notable highlights include the duel with Death and the ending, which is highly "emotional". Keanu wants to forget all that Matrix rubbish and get down to doing what he does best, Ted Theodore Logan in Bill and Ted: The Return.


What can I say? I know this movie from start to finish. It's hilarious. It's an strong link to my past and will change the way I view film in the future. Hypothetically speaking :) The down-fall? There's no Socrates Johnson!


My Take: A goofy, yet imaginative mess.

Keanu Reeves (Yes! That Keanu Reeves) and Alex Winter return as the two punk-rock idiots in this sequel to the time-trotting adventure comedy BILL AND TED'S EXCELLENT ADVENTURE, now a cult classic. In this sequel, Bill and Ted are given much more to do than travel through time. They might as well travel Heaven and Hell too! During the beginning of this sequel, Bill and Ted are preparing for a "Battle of the Bands" competition which may make them more famous than ever. Meanwhile, many years in a futuristic civilization, the time-wizard from the first film (the always watchable George Carlin) is running a university praising Bill and Ted's names. There, an evil tyrant (Joss Ackland, from THE HUNT FOR RED October) plots to get rid of the two idiot rock-stars once and for all. So he sends two identical android replicas (In the words of Bill and Ted: Robot Us's) to do the dirty job.

There after, Bill and Ted experience death and must find their way through Hell, with inhabitants that happens to include the duo's worst memories, and then through Heaven in an attempt to get back to earth to save their girlfriends... and their show. Along this whacked-out voyage, they play board games with none other than Death (William Sadler, from DIE HARD 2), reminiscent to a similar moment in the 1957 foreign film classic THE SEVENTH SEAL, aid help from a couple of intelligent alien beings and more.

BOGUS JOURNEY's array of exuberant special effects gimmicks aren't up to to-date standards, and even some of the humor and the for-the-time look and feel are somewhat dated (to be honest, the film also feels like it was released on the wrong year, even for the 90's). But with it's no little lack of imagination and a lively turn by both the performances and direction, BILL AND TED'S BOGUS JOURNEY is fun, imaginative, and yes, bogus.

Rating: ***1/2 out of 5.


In the sequel to the brilliant Bill and Ted's excellent adventure, Bill and Ted are under threat from the future, as the evil Chuck De Nomolos sends two evil robots, disguised as Bill and Ted to earth to kill human Bill and Ted, in order to change the future.

In a great comedy pairing, Winter and Reeves excel to deliver delicious humour to the audience in this entertaining sequel. Though lacking the sharpness of the first, Bogus Journey still has the great catchphrases and dialogue from the leading pair, not to mention an hilarious performance by William Sadler, who brings a humorous side to the figure of depth, the grim reaper. Watch for the games sequences, the best moment in the entire film, but one of many great techniques used to justify the genre.

Though still packed with humour, this film has a more dramatic film towards it, with stakes being more serious and situations more risky.

This gives the film great dimension and another lovable feature. The creators also stretch the boundaries of the fantasy genre and the use of realism, with hell and heaven being heavily symbolic and present in the plot. The fantasy genre is again spot on with the use of that amazing time travelling machine, though again somewhat confusing at points with the use of timing, and objects and situations being placed before it happens in the present, as is evident in the final couple of scenes.

The first watch I hated this sequel, but the second time was a real joy as I appreciated the jokes and story more, and though the jokes and plot aren't as strong as its predecessor, Bogus Journey has enough feel good motives, jokes and a fairly steady plot to make it a good natured family film.


Bill and Ted are back, only this time an evil dude from the future has sent back an evil Bill and Ted to destroy them, thus destroying 'Wyld Stallions' and the basis for human society in the future. This time Bill and Ted have to travel through the afterlife 'Totally Bogus' and save humanity 'Excellent'

With much of the same zany humour and some wonderful new characters like the grim reaper, station and robot Bill and Ted (stations creation) Bogus Journey once again entertains, and is worth watching for its soundtrack alone.

7/10

A most triumphant sequel

Party on Dudes! Hehe


Bill and Ted's bogus journey is possible the most excellent film I have ever watched. Though the acting and scenery etc is poor, who cares. The story line is brilliant and the jokes and words they come up with are most excellent, the ideas are great as well. I recommend anyone to see this classic. The best part is obviously when they 'melvin' death, i was cracking up for 10 minutes and missed the next part of the film. This is so much better then the first one, which was great as well. Possibly the funniest movie of all time!!!!! I think the best parts of the film however, are when Bill and Ted shout excellent and play the guitar solo, it was hilarious. Rock on Bill, Ted and Eddie Van Halen, bring out a 3rd film!!


1991 saw the release of the two best sequels of all time: TERMINATOR 2: JUDGMENT DAY and BILL & TED'S BOGUS JOURNEY. Out of the two, I've always liked BILL & TED'S BOGUS JOURNEY a bit better. TERMINATOR 2: JUDGMENT DAY is the better made, but there's just nothing like Bill and Ted. Besides Chris Farley and David Spade in TOMMY BOY, it's hard to think of a greater comedic duo than Bill and Ted. They are one of a kind.

Seemingly influenced by National Lampoon's O.C. and Stiggs, Bill and Ted were created by Ed Solomon and Chris Matheson, two incredibly talented writers who invented the duo while performing at a local theater in L.A. back in the 1980s. The two quickly began writing a screenplay about two and before long BILL & TED'S EXCELLENT ADVENTURE was born. The film, shot in 1987 and released in 1989, became a big box office success and an instant cult classic. It wasn't long before work began on the sequel. Stephen Herek, the director of 'EXCELLENT ADVENTURE' wasn't keen on working on the sequel since he considered it to be too mean-spirited and unlike the first one so Peter Hewitt, making his feature film debut, was brought in to direct the sequel. There couldn't have been a better director for the job. BILL & TED'S BOGUS JOURNEY is marvelously directed. It's filled with its own unique style and energy that can't be matched.

What makes 'BOGUS JOURNEY' one of the best sequels ever is that it while it is darker than the original, it is just as fun. It doesn't change the characters like most sequels do. Bill and Ted are the same lovable characters that they were in the first film. This is because it was written by the original writers. Most sequels are not written by the same writers as the first one, but since 'BOGUS JOURNEY' had the same screenwriters, it ended up being just as good as 'EXCELLENT ADVENTURE' if not even better. Just like the first one, 'BOGUS JOURNEY' is absolutely hilarious, well written, fun, and above all, original. It's filled with spectacular special effects and fantastic comedic performances from Alex Winter, Keanu Reeves, and William Sadler. It's an unforgettable 'journey'. 10/10


When will people learn that some movies are made for fun and are not necessarily out to change the world? If you realise this then expect to have heaps of fun while watching "Bill and Ted's bogus journey." This is a movie that is heaps of fun to watch, Keanu and Alex make a great on screen team reprising their characters from "Bill and Ted's excellent adventure" with even more 'style' then they had in 1st movie. It's not rocket science but it's great for a laugh, the characters being extremely like-able and the story-line being so radical you have to laugh. Don't expect 'deep-and-meaningfulls' just expect pure fun!


Oh, come on, learn to have a little fun. When I was a kid, oh, this movie was Oscar-worthy to me. I thought it was absolutely hysterical. One of the best movies I had seen.

Now, it's a little stupid, but come on. If you enjoyed "Excellent Adventure", you should most likely have fun with "Bogus Journey". This was the movie before "Dude, where's my car?". Only this one is actually funny. Like I said, it's just a good time. It shouldn't be taken seriously and if you enjoyed the first one, you should like "Bogus Journey". It's just a funny movie with some memorable characters. For your enjoyment only, watch it, let go, and remember that it's a silly comedy. That's all.

7/10


I realize that alot of people hate this movie, but i must admit that it is one of my favorites. I happen to like it better then its predeccesor and happy to like it better than alot of movies.

First off, I think that people never give the story any credit, much like Back to the Future, Time Travel is hard to write, and in this movie they included Time Travel and a Spiritual Journey.

I also feel that Keanu and Alex were on there best performances in this movie, they looked cooler, acted cooler, and said cooler things.

The set design of this movie is awsome as well, The sets are quite detailed and massive at times and it can be hard to believe that these sets were made for a movie about two teenage buds who can hardly spell...but isnt that the genius of the whole franchise, making these two idiots bigger than life characters that are responsible for the entire utopian future of earth.

The costume design was awsome as well. Bill and Ted actually look cool in Bogus Journey, where as in Excellent Adventure they look rather like, well as they would put it, FAGS!!!

Even the music in this movie is awsome, the score especially. There so much i could say about this film, cause i love it. But this is one of those movies i grew up watching and everytime i did i liked it more, so i can understand why people hate or just think its Bogus compared to Excellent adventure (which i also love by the way).

GET DOWN WITH YOUR BAD SELF!!!!


Go way back to page ten of this review section, and work your way back up. Go ahead; I'll wait.

Done? Well, then you've probably noticed the same trend that I have. You could nitpick all day long about the lame jokes, dated timing and obviously derivative plot points and shtick in 'Bogus', but this movie seems to be one of those 'hate me now, love me later" flicks.

Bill and Ted's biggest problem was that the original appealed to those 80's kids who followed the tends and considered themselves on the cutting edge of fashion. That worked fine for the original, but obviously bombed in 1991, when no self-unrespecting slacker would be caught dead wearing anything but flannel or admitting he liked anything about the 80's. As Ted would put it: "Dude, this is a totally deep hole. Wanna play 20 questions?"

They say nostalgia goes in 20 year cycles, and that certainly seems to be the case here. Here in 2010, those of use who grew up with Cindi Lauper and Megadeth are beginning to look back to appreciate some of those pivotal films that (like it or not) made us who we are. If you're one of those who look at 'Bogus' as if it were an outdated ("Fa gs!") ripoff, then you're missing the point and probably spent six years growing facial hair, wearing flannel and looking like you just crawled out of bed.

In self-referencing its own origins (the Star Trek episode" and and time traveling with a phone booth), B&T makes no attempt to hide its creators' love for homage. Quentin Tarantino, anyone? I'm not saying 'Bogus' is 'True Love,' but I do think it needs to be appreciated for what it is: a fun snap-shot of our society at a time before child psychology, Ritalin, anti-smoking ads, terrorist paranoia and the proliferation of media fear-mongering.

So, for all of you B&T haters out there...turn off your Screaming Trees CD, get that hair out of your face, go to the beach and lighten up. Narcissistic depression and intellectual ennui are SO corporate.


Visual creative epic of inimitable style.

This film may neither have the most alternative dramaturgy nor the most artistic acting. But who dares to say this film is no art? I'm not a supporter of the idea, that an important film must be serious, non-commercial or bothering me with questions. Even there are a lot of films, apposite to this attributes, that I like.

Bogus Journey, for sure, is not one of this films. What you get is pure, excessive creativity with a very positive charged, childlike energy. This film doesn't reflect reality. Its friendly-naive and utopian. Imagine the world of the future described by Rufus - for me it would be a pretty nice time-place combination to live in! Except of that music ;- )

Technically, Bogus Jorney is very well made. I always liked the cinematography and the sceneries of this movie. Especially in this point Bogus Journey tops its prequel by far. Also the effects are good, and I think most of them very made without cgi. I generally prefer the good old effects in big budget movies. Sure its 'just another Hollywood movie' out of some peoples view. But I think it is this in a very charismatic way.

A short word to the soundtrack: all the band and orchestral music fits very well into the film. Also the sound design has no lack. I am not a big fan of rock music, but I had to get this track by Winger from the scene 'station' builds the bill and ted robots in the van. I love the unorthodox camera work at its beginning.

Let me conclude saying this:

This film is very naive and very imaginative! It is way better than Panzerkreuzer Potemkin, The Godfather, Eraserhead or Aguirre - the wrath of god. It is absolutely superior to citizen kane, apocalypse now or chris markers sans soleil... ...it is even better than Total Recall... No way!? Yes way!

Bill and Ted's Bogus Journey is simply the best movie ever made.

Who dares to disagree makes himself guilty of "artsie-fartsy behavior" or likes Terminator Salvation (what is the bigger self-defamation)

PS: part 1 is not the better movie. So Bogus Jorney is a superior sequel. Not even Terminator 2 is a superior sequel! Its NOT!


Will and Ted's Bodacious journey is an existential trip through themes of mortality, religion, time, Heaven and Hell, man's quest for fame and his fears of the body being overcome by a soulless machine. It is the most intelligent work of fiction since Paradise Lost and references many great past works of art- Dante, Iron Maiden, Virgil, Shakespeare. This time the dudes are a famous rock band having travelled through time collecting icons from the past- Napolean, Joan Of Ark (Noah's wife), Oscar Wilde, and Charles Darwin. They took the skills they learned from each of these people, abducted a couple of Princesses, and finally learned to play their guitars and write hit songs. These songs teach the world to love again and war, hunger, evil are vanquished for eternity. We fast forward into the distant future where an evil dictator who despises good music called Simon Cow-Al wants to rule the world. He eats Rooshus (the cool guy from the first film who helps Bill Playboy Esquire and Ted Theodore Alvin) and gains the power to send two cyborgs back in time. The cyborgs are living tissue over metal exoskeleton and coated in mimetic poly alloy allowing them the survive the turmoil of time travel, and they can imitate anything they sample by physical contact. It is their job to Kill the good Biff and Fred and take over their lives by making terrible music that no-one could like. By doing this they will change the world forever- Gryll and Jed's music will never be made leaving a world of war, famine, and hatred, and more annoyingly, bland boy/girl group pop music. There is a startling twist as the good guys actually are killed and they have to work out a way to save the world, themselves, and their wives from the evil Dopplebangers inhabiting their bodies.

Penelope Spheerhead shows her knowledge of both youth culture and real culture by mixing modern day music and phrases with post modern sets and artistic references, and seeks to teach us all something by delving into our very psyche to show us ourselves. She presents the nightmares which faced the late 80s teen in a society which had abandoned them and beckons us to dissect the post structuralist jingoism, self love, and malaise of the time. Charging us with a belief that we can indeed change the world it is an inspiring message, but in order to achieve such dreams we must traverse and indeed face our nightmares. To overcome is to succeed, to defeat Death is the first step in truly living and not merely surviving. In the words of Kenneth Reeves- 'Wow!' Best Scene: For a fun game- see how many songs, bands, and albums cover references you can spot throughout the film. There are at least 6.


Okay, I'll admit it--I am a goof-ball and I occasionally love a really silly comedy. While I have seen more films by Kurosawa, Bergman and Truffaut than practically anyone on the planet, I still have a soft spot for a dopey comedy that doesn't try to be sophisticated but is simply funny. A few such films that immediately come to mind are MONTY PYTHON AND THE HOLY GRAIL, UHF, START THE REVOLUTION WITHOUT ME, STRANGE BREW and the Bill and Ted movies. They all lack snob appeal but only a zombie or professional film critic could dislike them.

While BILL & TED'S BOGUS JOURNEY isn't as wonderful as the original Bill and Ted film, it still is great fun. Also, unlike the original, it actually seems to improve with repeated viewing. I remember not loving the film the first time I saw it--possibly because the other movie set such a high standard for laughs. But, every time I see it again I am amazed at all the great moments--particularly those involving the Grim Reaper. And, by the way, this reaper is about as different from Bergman's in THE SEVENTH SEAL as you can get!! In addition to a lot of laughs, this film features some excellent music--one way that it's actually better than the first film. The Kiss anthem at the end is great but so are the rest of the hard rock tunes--provided you aren't an old killjoy like De Nomolos. Great viewing for kids and adults alike.


Now this is more like it! The first movie had some iffy dialogue and some weaker acting, but it seems like the team behind this got their stuff together for the sequel and put out a solid, thoroughly enjoyable, hilarious and creative comedy that will keep everyone on the edge of their seats the whole way through.

Seriously, this is just full of great stuff, brimming with creativity, and it's less of a spoof on 80s movies at the same time. The scenes in Hell are great, and so are the ones in Heaven. There's really no shortage to the mad-cap adventurous romp that this one promises, and you will never see another movie like this. Even the hammy final act of the movie isn't as bad as the first one, being generally heartwarming and enjoyable in its extremely cliché repertoire of family fun movie bliss. And even Keanu Reeves, despite looking about 30, isn't that bad here.

Sounds like a good deal to me.


Alex Winter and Keanu Reeves return as the two dopes from San Dimas who get sent on another trip of a lifetime as someone from the future feels exactly the opposite the way it was presented in the first movie.

The only difference is that their trip is "somewhere" between Heaven and Hell and ends up being both. When they meet the Grim Reaper, they get the chance of an after-lifetime to play him for a chance to return and stop two evil robots from ruining what future they were supposed to have. Besides playing roles they have...er...perfected, they also play (and revive a couple of extra sales in the process) some classic games (I even have my original copy of Battleship in the closet).

The reason I liked this movie better than the original is because it deals with "what it might be like" instead of "what was." Without spoiling the movie, I can't give you anymore information about this (I guess you'll just have to watch them both and decide for yourself! 8 out of 10 stars.


Bill and Ted's Bogus Journey is the sequel to Bill and Ted's excellent adventure. Their bogus journey follower almost directly after the first movie, and does just as good of a job if not better to entertain the viewer.

The plot is an evil person from the future is trying to kill Bill and Ted using evil robots that look exactly like Bill and Ted. Once the robots kill Bill and Ted, they must compete with the grim reaper (death) and return their lives to normal.

The acting in the movie is top notch, and even thought it is a little weird at times, especially Bill and Ted's conversations, it is a great movie. The wannabe rockers sure have made another great movie. Pick this up the next time your at blockbuster!


It may have not been up for academy awards and admittedly, it's pretty cheesy, but it's just so much fun! Nothing makes me smile like Bill and Ted. Lovable, optimistic, and hilarious, Bill and Ted are a great way to unwind.

Although I love Excellent Adventure, Bogus Journey is funnier to me. Death is flippin hilarious and Bill and Ted are even more endearing. People give me grief about loving this movie, but only really pretentious movie-watchers will say it's not even a bit entertaining. If you like this, you'll probably also be a fan of Wayne's World, Dude Where's My Car, and Dumb and Dumber. Admit it, though foolish, they make you grin and turn your tickle box over. So watch them just for kicks and giggles!!


Two years later... Bill (Alex Winter) and Ted (Keanu Reeves) are becoming near rock stars in the present future but still needing more work in their instruments. In the future, Bill & Ted are in the public popular history but then a evil man (Joss Ackland) is set to kill Bill & Ted by sending cyborg look-likes to destroy them. Cyborgs are sent to the past present and they actually murder the real Bill & Ted. Now, Both guys are spirits and they have to travel through Heaven and Hell to save themselves and their future.

Directed by Peter Hewitt (Tom and Huck, The Borrowers) made a clever sequel with terrific visual effects. Much more funny and entertaining than the original. William Sadler (The Shawshank Redemption) steals the show as The Grim Reaper.

DVD has an good anamorphic Widescreen (1.85:1) transfer and an fine-Dolby Digital 5.1 Surround Sound. DVD has the theatrical trailer and an amusing behind the scenes featurette. This sequel was a Box Office hit like the original but it is also (Believe it or not), one of the best sequels ever made (depending on your point of view). George Carlin reprises his role from the original briefly. Pam Grier also appears in a bit role. It's a enjoyable fantasy comedy. (****/*****).


This movie is awesome. If you take it too seriously, of course you will hate it; however, it's quantity of "dudes" and "right ons" brings laughs and faint memories of about 15 years ago. I like its ability to make me simply chuckle at obvious jokes and silliness, and its ability to make me want to watch its precursor, "Bill and Ted's Excellent Adventure" (1989). If you are looking for a film full of multifaceted jokes, and totally mature humor, don't watch it; however, if you want a film that is humorous and silly, yet intelligent and engaging, you will enjoy it. I actually wish more of this sort of picture showed up in today's theatres. And hey, it's Keanu Reeves acting the way everyone parodies him as acting...right...doesn't get much better than that :)


As with a bunch of guys at school we must give this a thumbs up. Even the Grim Ripper made us smile. Those two alien things made me laugh, Bill and Ted were the stupidest yet the funnest in the entire movie. This is a lot better than the first one. And yet for some reason I feel that it misses something. Something big. Something important. Made a better house and girlfriends. No, I'd say better villains. Use clones instead of robots.I gave this a 7 out of 10 because of those two robotic doinks.

The Grim Ripper, don't be scared he's not the deathy kind, is funny. When he fell from the sky I split a gut. Splat, I'm not sure about those aliens. What where they? Scientists? No way.


Made only ten years after the actual events, and set in the Bunker under the Reichstag, Pabst's film is wholly gripping. It reeks of sulfurous death awaiting the perpetrators of world war. Haven't seen this in over three decades, but it remains strong in my visual and emotional memory. The characters seem to be waiting to be walled up in their cave. Searing bit of dialog between two Generals: "Does God exist?" "If He did, we wouldn't." Shame this is not more readily available for exhibition or purchase because it would be interesting to view and compare this film with the documentary about Traudl Junge, "Im Toten Winkel" {aka "Blind Spot: Hitler's Secretary") and "Downfall" with Bruno Ganz.


I remember this film from many years ago. Certainly the best film on the subject in my experience. The fact that I vividly remember so much of the film after so long a time testifies to its impact.

It is difficult to comment on the level of the performances because of the language barrier. But they were nonetheless very powerful.

This subject continues to fascinate us even with the passing of years. And it was most effectively treated here, with the proper proportion of historical perspective and skepticism.

I wish it would be shown on TV at least once. Or at least be available on tape or DVD. Or is it? Is some art film archive hoarding a copy of it??


I remember watching this film on Saturday afternoon TV in the 1950s or 60s. It was well presented but I do remember there was a message of hope broadcast from transmitters secreted in lamposts in one of the last maniacal executions for impending liberation. I'm not sure that squares with the facts.

Still the film is well done. The German High Command reports wryly without emotion "The Russians are advancing down The Fredrich Strasse" as if all went according to plan.

it was my impression that this film and a later American made for TV knock-off was based on the British historian Trevor-Roper's account by a similar title Last Days of Hitler. I was surprised to see no credit to Trevor-Roper.

I agree the newest German film on the subject DOWNFALL was as well done as the classic. The American knock-off was a little flat.

Few figures have attracted as much attention from the cinema as Adolph. Yet I find it interesting that none of the many films and books that have come out ever speak of Hitler's double alluded to in passing in John Toland's magnificent historical piece.

Was gibs?


This short film that inspired the soon-to-be full length feature - Spatula Madness - is a hilarious piece that contends against similar cartoons yielding multiple writers. The short film stars Edward the Spatula who after being fired from his job, joins in the fight against the evil spoons. This premise allows for some funny content near the beginning, but is barely present for the remainder of the feature. This film's 15-minute running time is absorbed by some odd-ball comedy and a small musical number. Unfortunately not much else lies below it. The plot that is set up doesn't really have time to show. But it's surely follows it plot better than many high-budget Hollywood films. This film is worth watching at least a few times. Take it for what it is, and don't expect a deep story.


This film is unusual and bizarre, and it is nearly unusual and bizarre in a very good way. I give this short a 7 just because it is so unique and off-the-wall, but much of the time it seems as though it is being bizarre just for the sake of being bizarre. If the film had managed to integrate its more bizarre moments into some semblance of a plot then it would have been really fantastic.

The main problem here is that it looks as though the creators just jumbled together a bunch of crap about spatulas, then threw in a whole bunch more crap that sounded as though it would sound funny coming from the mouth of a spatula.

This is definitely worth checking out, but it is not top rate by any stretch of the creators wild imaginations.


I know that you've already entered this in film festivals (or at least I think you have, I may just be making that up) but I think this should get "best animated short film" in every one. Bravo. I can't wait for the full film. I realize that you may not hear this often enough because of the bizarre nature of your animations, but hear it now and accept it as the truth. Kudos, my friend. Okay, now I'm just trying to get ten lines of text... Though I still mean it. And here comes yet another -SHOE!- and I cannot stop here yet. This is extremely annoying and yet at the same time I have nothing better to do. In fact, I'll probably watch all of your movies in yet another spasmodic "Jason Steele Marathon." I do have a lot of those.

-R


This is a great short. i think every voice is done by jason steele. (you can only just barely tell if you've heard his normal voice though, so don't worry about them sounding the same. they don't.) its about 15 minutes long.

edward the spatula is fighting the war against spoons and he meets some weird people. in fact, everyone he knows seem pretty crazy.

"edward!" "general peterson, we have to get you to a medical unit!" "no, I'm not gonna make it edward." "dont talk like that, I'm sure you'll be fine." "im a goner edward, and you know it. before i go-" "yes?" "can i just have... one kiss?" "umm, no." "come on, just one, small, peck on the lips?" "im walking away now sir."

there's gonna be movie pretty soon. the date for that is in September, but its probably gonna get pushed back.


I laughed a lot while watching this. It's an amusing short with a fun musical act and a lot of wackiness. The characters are simple, but their simplicity adds to the humor stylization. The dialog is funny and often unexpected, and from the first line to the last everything just seems to flow wonderfully. There's Max, who has apparently led a horrible life. And there's Edward, who isn't sure what life he wants to lead. My favorite character was Tom, Edward's insane boss. Tom has a short role but a memorable one. Highly recommended for anyone who likes silly humor. And you can find it online now, which is a bonus! I am a fan of all of Jason's cartoons and can't wait to see what he comes out with next.


I've watched it plenty of times and I'm planning on buying the full feature. I love all of Jason Steele's comedy. It's very different and unique and is very enjoyable. I love indie films and this one is just great. The plot is strange but very funny. This short film is about a talking Spatula named Edward. The order of the events are a bit jumbled, making this film very interesting to watch. At first you see Edward fighting the spoons, but then the focus changes to earlier in his life. This is a silly movie, but of course, it's still great. I highly recommend that you watch this film at www.spatulamadness.com or www.filmcow.com. It's very funny. The humour may not match everybody's taste but watch anyway. It'll only take 16 minutes of your time, and it's free. GO WATCH SPATULA MADNESS!


I've never seen many online movies in most of my life, but if I'd pick any of them, I'd pick Spatula Madness, A clever reference to most movies like star trooper (etc.), using a camera, and wits of steel, Jason Steele mastered the art of turning a normal image into a painting, and then putting it all together with frame-by-frame animation to get a world inhabited by spatulas. the story begins at the middle, hows that for directors delight? then the middle is at the beginning, and so on, when I first watched it, I expected a soggy pixely look, but Jason, Like me, Loves looks, so took every detail to the max. although I don't recommend it for children, or would anybody besides me like it, but please search it up on the net (its a short film, look up film cow), its style reminds me of south park, but less violent. 10 for the look, 6 for the laughs, and 6 for the story, it all comes to a 10/10, good work

Jason Steele, I'm anxious to see the movie.


I love this movie/short thing. Jason Steele is amazing! My favorite parts are The French Song and in the opening title when the spatula soldier yells " SPOONS!" I crack up every time. I would recommend this movie to Knox Klaymation fans, and people who enjoy Jason Steele's other movies. His style of animation is very original. It takes a few views to notice the detailed backgrounds. His humor is also hilarious, and is definitely not something you'd hear before. Like Max the deformed Spatula who has a sound and light system in his head that beams colorful lights and happy music whenever he talks about his miserable life. This is a wonderful animation to watch anytime any where.


Many mystery stories follow the standard whodunit path: murder most foul, gathering of clues, gaggle of possible perps, sprinkling of red herrings, and inevitable showdown between clever evildoer and even more clever crime solver.

"Forgotten" abandons the well-trod and gives us complex characters who may or may not have committed terrible acts. The fact that at the end of three episodes we have no easy answers and no neatly-tied package might frustrate some, but for me it was the indication of an intelligently crafted tale which probes, disturbs, and haunts with the question: What does an evil person look like?

Excellent acting and production combine to make a mystery not easily... forgotten.


This is possibly the best short crime drama I've ever seen. The acting is superb especially Amanda Burton who's character goes from scary to sweet to disturbing to sad and then some...She does an amazing job balancing Rachels/Carlas feelings and acting out the pain of someone who's lost a child, its so believable that it feels more like a real life story then a drama. The other actors are of course great too which they usually are in British TV/Film. The ending,which I'm not going to give away,is fantastic mainly because you don't really get one... (you'll get what I mean after you've seen it) This is well worth buying and seeing over and over again and if you're not touched by this you're one cold hearted person.


Tight script, good direction, excellent performances, strong cast, effective use of locations....

Paul McGann gives a detailed, subtle performance as the man in the centre of a new murder investigation who may just have committed a similar murder previously.

There is an interesting moral & emotional journey happening with his character (Ben Turner) and it intersects with the journey undertaken by Amanda Burton. Inevitably they cross over... Who has done what?

The examination of WHY, both in the past and in the present, rather than WHO might have yielded a more interesting, Dostoyevskian story, but hey, who's complaining?


I thoroughly enjoyed this movie, but it is nothing new.

Everyone here is grouping it with other war movies, this movie has been miscategorized! Its not a war movie any more than "One flew over the cuckoos nest" is a asylum movie or "Cool Hand Luke" is a prison movie. This is a movie about individuality, nonconformity, self-confidence and the costs of that personality type.

The plot is the same as "One flew over the Cuckoos nest" and "Cool Hand Luke", its in GOOD company, and it holds its own. Its these movies it should be held up against and compared, not "Apocalypse Now" or "Platoon".

Eric


War drama that takes place in Louisiana in 1971. It follows a bunch of recruits through basic training and then Tigerland--an accurate portrayal of Vietnam on American soil, before they're shipped over. It focuses on two men--Booz (Colin Farrell) and Paxton (Matthew Davis)...how they meet, become friends and deal with a corwardly squadron leader (Clifton Collins Jr.) and a borderline psycho (Shea Wingham).

A surprisingly non-commercial film directed by Joel Schumacher. He uses a hand-held camera throughout most of the movie and uses digital video for the combat scenes. It works very well--the film looks gritty (as it should) and uncomfortably realistic.

Farrell successfully covers up his Irish brogue and adopts a pretty convincing Southern accent. His performance is just superb--he's an extremely talented young man. Davis, unfortunately, is not that good. He's tall, muscular, very handsome--and very bland. The rest of the cast however is just great.

This film was thrown away by its studio. It had no stars in it, a familar story and was considered "just another war film". It only played a week in Boston! It's well worth catching on video or DVD.

Also, Farrell and Davis have a lengthy nude scene.


While it was filmed at a Florida National Guard site, "Tigerland" totally reminded me of Fort Polk, LA., firing ranges, maneuver areas, waist-deep water and all. The movie was fairly authentic and the characters similar to those same ones at my AIT in 1974. The difference between the Tigerland year, 1971, and mine of 1974 is all the drill sergeants and instructors knew they weren't going back to Vietnam, as it was pretty much all over, so training was very relaxed - not a challenge at all. That was the precursor to all our troubles in the 70s and 80s, which I know for a fact as I stayed in until 2004. I never heard anyone mention "Tigerland" but the Army did have realistic Vietnam training villages at different bases across the U.S. Vietnam Vets tell me that up to 1972 Basic & AIT could be pretty rough and rugged, because the trainers had been there and were mandated to train Vietnam-bound men those skills to make it, although that was not always the case. Both a drill sergeant at Polk and later one of my Vietnam Vet NCOs, when we had become instructors at a basic training brigade at Fort Bliss, told me there was nothing they could do to get anyone ready and people just had to find out and figure out for themselves. This movie rates high.


I really like this movie. Bozz is an ultra-cool, not to be intimidated soldier who does not want to go to war. His persona is similar in a way to Yossarian in Catch-22, Joseph Heller's classic novel about men and war. This film, however, is not set in a war zone, but in a pre-war combat prep training. This wonderful film is all about the sickening realization that the Vietnam war was a mistake and those men who were pegged to be sacrificed for a losing cause.

Colin Farrell is brilliant as Bozz, a soldier who showed as much genuine love and compassion for his fellow soldier as he did disdain and irreverence for the establishment that was trying to kill him. Bozz is totally cool and non-plussed, testing and tweaking his military superiors, getting their goat at every opportunity. He is a Jesus Christ figure with a psychology degree, "saving" his fellow soldiers and showing the ones in genuine need, the way out of this man's army.

The acting and action is crisp and believable and as a "Sleeper", Tigerland goes down with Apocalypse Now and Full Metal Jacket as one of the top three Vietnam films in my opinion.

FIVE STARS, a top pick.


TIGERLAND / (2000) ***1/2 (out of four)

By Blake French:

	Throughout the years audiences have seen and understood war films with every point of view possible, and somehow producers and writers always come up with new and innovative methods of portraying various soldiers on the battlefield. Joel Schumacher ("8MM," "A Time to Kill"), easily one of the riskiest directors currently working, has found resemblance with "The Thin Red Line" in the way his new drama "Tigerland" steps in an individual soldier's shoes. This movie, written by Ross Klavan and Michael McGuther, has more guts and irony than "The Thin Red Line" or even "Saving Private Ryan." Although the movie's dramatic impact is somewhat lessened due to the perversity of the material present, it certainly enlightens us on a new perspective of young men training for war.

	I would want to know Joel Schumacher's experiences with the army. Are the men really this unabashed and brutal? I am sure some of them are, but the movie views its uncompromising world through the eyes of a young man named Roland Bozz (Colin Farrell), who is rebellious against the ideas of war. His personality instantly counteracts with several other characters, one who becomes his best friend, Paxton (Matthew Davis), and another, Wilson (Russell Richardson), whose flamed temper often exasperates Bozz's tension with the idea of going to war. The war depicted in this production is not found on a battlefield, but on training grounds of a Louisiana-based instruction camp between conceptions and fears of the soldiers in training. This film is specifically about the preparation for war, nothing more nothing less. It ends when the soldiers finally go to war, kind of disappointing since witnessing the characters in action would have served as a supurb payoff.

 Shot on location in about 28 days using 16mm stock and a minuscule budget, Joel Schumacher accurately displays a gritty, perverse, cruel, and unmerciful atmosphere using hand-held cinematography, unique lighting techniques and direct sound. Schumacher's grainy and blown-out images make the movie feel like a documentary feature. This unusual style of filmmaking only contributes to the hard core realism of the movie, quite graphic in its use of coarse language, perhaps a little too disturbing. Waves of four-letter words pound the audience, some in shock of what they are hearing. Even the extreme amount of vulgarism does not keep the dialogue from prevailing as heartbreaking, true, and emotional.

	If anything, "Tigerland" provides us with a minor appreciation of how much our soldiers go through for our country in the beginning stages of combat. Such bravery must it take to enlist in the army during times of war, knowing the hardships and risks that are being taken. Such thought-provoking ideas are made possible through the heartbreaking performances by the young aspiring actors who portray the various trainees. This movie is not for all audiences, but one that young men should take a look at before enlisting themselves in the army...and adult audiences should watch to appreciate the courage needed to do such.


First off, this movie was a wild ride the whole way. The story of the training of the soldiers, fighting with their superiors, and in the end grouping together.

From the very beginning to the very end. This is one War Drama worth seeing if you are in for the constant cussing (at times beyond reason) and the horrors of what boot camp are.

The dynamics of how the actors interacted was quite amazing at times, and sometimes humorous. How Bozz (Colin Farrel) deals with Paxton (Matthew Davis) throughout the storyline, from camp to Tigerland, and even in the end helping him.

The innovative free-hand filming did add a certain taste or flavor to the film. Constant moving, constant action, and just constant confusion. At times, it was a help. Others, not so much.

Throughout the film, it was increasingly realistic. Some points in the film (the sex scenes in particular) seemed to be just a tad too realistic even though they added an effect to the movie that wouldn't have been there without them. it was a very gritty movie, through and through.

In my opinion, this is one of Colin Farrel's better movies (if not his top performance). The acting for every character was superb. 9/10 -sysnuk3r


In Joel Schumacher, you have one of the most inconsistent film makers of all time. But this is common knowledge; I think his main problem is the array of genres that he covers whilst at the same time, failing to develop any sort of certain style that might label him an auteur. Hitchcock liked his suspense and his horror/thriller; Chaplin liked his comedy; Scorsese likes his crime driven mafia stories amongst others and Spielberg likes his large scale, big budget adventure films that combine just enough violence for the adults and fun for the kids. Other more obscure examples include Kubrick and Welles who covered too much to write about here.

But Schumacher is the sort of guy who makes a flawed film revolving around a great idea or a really quite enjoyable film revolving around a seemingly dull premise. Falling Down had a great idea behind it but I found it flawed and anticlimactic with too many scenes seemingly relying on comedy. Batman is a superhero; superhero films have been big hits recently so how he managed to make not one but two appalling superhero films is beyond me. Then comes 8MM; a film with a basic premise that is executed in an impressive manner before Tigerland which is Schumacher's best film from what I've so far seen, in my opinion. With the war genre, laughter isn't something you'd associate with it for most of the time. I can remember scoffing at the absurdity of the D-Day landings during Saving Private Ryan: at the time when I first saw the film, I had not much knowledge of the Second World War bar when it began and finished. My eyebrows were up, my mouth slightly open with a weak 'I can't believe it smile' on my face. Needless to say, it was because of that film I searched out learning a bit more on what that event was all about and the war as a whole. In Tigerland, you are invited to laugh at the absurdity of war through Bozz (Farrell), a tough and egotistical soldier training for the Vietnam War.

But what's clever here is that there are no jaw dropping war scenes of fighting and death and destruction; just one man and his battle with the system for most of the time. The things he says and the audacity at which he deals with his predicament is reminiscent of a school child winding up a series of teachers at an extremely strict boarding school. Tigerland may borrow from Full Metal Jacket in the sense it is a training routine for the Vietnam War but egos and superegos play more of a part here, I think. The superegos that are the drill sergeants go up against Bozz whose ego is extremely large. There is also the third part of Freud's triangle that sneaks into Bozz: the ID. Compared to all the other soldiers who all have rather large egos, Bozz is the only one brave enough to show it in front of the sergeants thus suggesting he is allows what he shouldn't do to float to the surface and express itself: "You are all dead in this situation!" barks a sergeant. "Any Questions?" "Yeah, if I'm dead how come I can ask a question?" replies Bozz whose punishments such as push-ups and dirt eating seem to un-faze him in true ID style; that is he enjoys the punishments.

Also regarding the superegos, Bozz at one point tries to command a group of soldiers in field training. This is something the existing captain of the squad cannot do thus suggesting he is lacking in both the superego required for the job and the confidence to tell Bozz he is in charge. What follows is an actual conversation between Bozz and an existing drill sergeant who gives him his Christian name. This is where Private Wilson's (Whigham) character steps in: His uncontrollable rage and anger at Bozz explodes at certain time all culminating in the film's only real scenes of a shootout which is in the form of a training exercise in a river. Wilson cannot control his impulses and dislike toward Bozz and acts out.

What I also liked about Tigerland is that it's shot in such a way that is brave. While lacking in innovation, Tigerland seems to use lower grade film stock or lesser cameras to get across its gritty look. Make no mistake that this could have been a pretty looking film with lots of colour and attractiveness. But, we get a documentary approach in the final piece making everything look like it was shot on a typical everyday camera for TV; the emphasis on the hand held is also apparent but Schumacher is clever: he never allows the film to become too much like a mockumentry whilst at the same time suggesting the film's budget could've been half of what it was. It's worth saying here that Spielberg said he wanted Saving Private Ryan to look like actual reel footage or something along those lines and as if it was recorded from the war scenes.

While being very funny and entertaining, Tigerland is still a great study of what makes people tick; not necessarily in war but in the closest possible substitute. Its study on one man and how much he hates the system that he cannot even take it seriously is fascinating as is the drive of each soldier. There are several memorable scenes and situations culminating in a happy, if not unhappy ending that'll open your mind and make you think about what it's perhaps really like in the military.