List: Top 10 James Bond Movies

10. License to a Kill (1989)
James Bond gets a darker edge in this 1989 update featuring Timothy Dalton in the title role. CIA Agent Felix Leiter (David Henison) and his newlywed-ed wife are tortured at the hands of drug lords and James Bond works outside of MI6 to avenge them. Though much different from the rest of the series (22 films and counting), License to Kill still has all the exotic locals and beautiful female leads as the other films.

9. You Only Live Twice (1967)
This movie nearly has everything a James Bond movie needs. Picturesque locations, pulse pounding action, macabre humor and a larger than life villain. When both American and Russian spacecrafts disappear the Cold War heats up and James Bond (Sean Connery) is brought in to investigate. Traveling to Japan on the heals of a UFO the plot thickens when it is revealed that Ernst Bloefeld (Donald Pleasance) is manipulating the two superpowers to the brink of war; in his secret lair inside a dormant volcano of course.

8. GoldenEye (1995)
James Bond (Pierce Brosnan) must stop the GoldenEye computer key that operates a powerful satellite weapons system from getting into the wrong hands. Featuring Brosnan as the martini sipping playboy, GoldenEye is the perfect mix of thrills and kills featuring over the top performances by Sean Bean, Famke Janssen and Alan Cumming.

7. The Man with the Golden Gun (1974)
Famous international assassin Scaramanga seeks to make 007 (Roger Moore) his next victim. Though a little campy at times (Featuring the henchman Nick Nack), The Man with the Golden Gun still manages to entertain in only the way Roger Moore could.

6. Casino Royale (2006)
After failing to keep his distance from a mark, James Bond's investigation into a terrorist cell leads to a high-stakes card game which fronts as a payment to illusive arms dealer Le Chiffre (Mads Mikkelson). Introducing Daniel Craig as the famed 007, this film brought back some of the sophisticated atmosphere lacking in the dismal Brosnan movies. Despite moments of ennui Casino Royale more than makes up for it with state of the art special effects and breathtaking stunts.

5. Thunderball (1965)
When a classified bomber holding two nuclear warheads is taken by SPECTRE it is up to James Bond to save the day. With all the things necessary for a James Bond film, what sets it apart are the seductive female leads Claudine Auger, Martine Beswick and Luciana Paluzzi. Not to mention the shark tank, oh the shark tank!

4. From Russia with Love (1963)
From Russia with Love is accredited by many as the first "real" James Bond movie. Second in the 22 part series, From Russia with Love was the first to feature SPECTRE as a major plot point and the first to use the now famous stylized intros complete with the camera through the barrel of a gun. Though the film has a relatively low-key plot as 007 tries to get a hold of Soviet cipher, From Russia with Love makes the list for raising the bar from the subdued Dr. No and cleared the way for all to follow.

3. The Spy Who Loved Me (1977)
When nuclear submarines start to disappear from both sides of the iron curtain, its is up to James Bond (Roger Moore) and Russian super spy Anya Amasova (Barbara Bach) to reveal shipping millionaire Karl Stromberg's dastardly plan. James and the lovely Anya however must first settle a score or two before saving the world. One of the few James Bond movies that works on an emotional scale as well as sheer spectacle, The Spy Who Loved Me is definitely Roger Moore's best.

2. Goldfinger (1964)
If From Russia with Love raised the bar then Goldfinger is the golden standard. Goldfinger peeled away the levels of intrigue from the earlier installments and replaced them with the over the top theatrics and special effects we all know in love. Auric Goldfinger and his organization plan to steal the gold from Fort Knox placing the world's economy into chaos. James Bond (Sean Connery) must once again save the world from certain doom.

1. On Her Majesty's Secret Service (1969)
Featuring George Lazenby as 007 (for the first and last time) On Her Majesty's Secret Service gives you everything you want from a James Bond film and more. Tracking down Bloefeld to his secret hideout in the Alps (thanks to Tracy played by Diana Rigg), James Bond uncovers his plot to once again blackmail the world. Does it have death defying stunts? yes; state of the art special effects? yes; over the top villains and beautiful women? of course; but what sets this movie apart is Bond actually falls in love!

Bottom 3:
3. Die Another Day (2002)
Though most of Pierce Brosnan's movies fail to win much adoration, this one takes the cake. James Bond makes an escape in an invisible car, destroys a mansion in a "friendly" fencing match and escapes from a satellite laser by...surfing on and ice flow. Finally a cameo by Madonna sinks it for me.

2. Moonraker (1979)
James Bond in space! Moonraker raises the camp levels as Roger Moore returns as James Bond to investigates a mid-air robbery of a space shuttle. Richard Kiel also returns as SPECTRE goon Jaws who falls from an airplane, breaks gondola cables with his teeth, and in the end sees the error of his ways. Yikes.

1. Diamonds are Forever (1971)
Considered the best James Bond ever, Sean Connery falls from grace, phoning it in to catch the illustrious Bloefeld in this mess of a movie. Featuring two very annoying gay henchmen wielding groan inspiring puns this movie has the peculiarity of a Las Vegas hooker. What else could you possibly add to make it any more disappointing you ask? How about if it co-stared Jimmy Dean.

List: Top 10 James Bond Movies

Review: Sleeper

Year: 1973

Genre: Sci-Fi Comedy

Stars: Woody Allen, Diane Keaton, John Beck, Mary Gregory & Don Keefer

Director: Woody Allen

Overview: After being frozen for 200 years Miles Monroe (Allen) is awakened to find a dystopian future run by an oppressive dictator. The scientists (Gregory and Keefer) who thawed him are part of an underground movement that wants to use him to infiltrate "The Aries Project" a top secret government operation that has been kept under wraps. After eluding authorities Miles disguises himself as a robot and becomes a butler for socialite Luna Schlosser (Keaton). After being discovered Miles take Luna hostage and both go out to contact the underground and uncover the truth behind The Aries Project.

Writing: Being penned by Woody Allen one can assume the script will at least have a few clever lines. Two years before his mainstream success with Annie Hall, Sleeper still remains Allen's most accessible comedy. Though there are a few slapstick moments and broad humor, the script is far from the disposable scatological messes that come out of Lorne Michael's workshop. Loosely based on H.G. Wells and George Orwell's dystopian manuscripts, Sleeper has all the sophistication of classic sci-fi but told in a much lighter tone than the average Jules Verne novel.

Directing: Definitely shot during the 70's Sleeper suffers from the softer lenses and "groovy" style of the time. The future in this movie isn't displayed with the gray and dreary tints of say Minority Report or I Robot nor the sheer awe of Back to the Future Part II, instead it looks just like what passed as contemporary at the time. The only addition are the bizarre machines that, though may be interesting to fathom are never given their due. Take the orgazmatron which does exactly what you'd expect. People enter and exit a moment later with a goofy smile on their face which is met with mixed results depending on the person. That being said there are still some very absurdest glee in this movie including giant fruit and livestock to a robot confessional. This movie brings wackiness to its logical limit.

Acting: Like the Bing Crosby/Bob Hope "Road" movies, this film is essentially a two person show. Sure there are other actors in the film but only Allen and Keaton really matter. What surprises me about this movie is how un-verbose Allen's character is in comparison to his other roles. Famous for playing insecure semi-intellectuals expelling quasi-psychological babel, Woody seems to not have honed in his talents instead focusing on broader humor with some very funny results. Though I appreciate Allen's later roles and films, sometimes a goofy face can have more comedic effect than self-deprecation. Keaton likewise does a commendable job as a socialite who is unwittingly kidnapped by madcap Allen but unlike her stronger role in Annie Hall, she is stuck playing the straight man to Allen's schtick.

Bankability: Though there are many priceless moments in this flick, Sleeper does suffer from the mid-plot doldrums. A few scenes during the second act seem unnecessary and only serve as an attempt to make Miles more three-dimensional (Not a good idea in a scatological comedy). In its defense however the humor is not as worn as Woody Allen's Bananas or a dismal as Curse of the Jade Scorpion.

ALL-Factor: Does it make you chuckle, yes absolutely. But the characters are unsympathetic and occasionally dull, the set design and cinematography have faded with time and unlike most classic science fiction, nothing stays with you after the credits roll.

Conclusion: Sleeper is a must see for Woody Allen fans. Filled with amusing one liners and hilarious sight gags Sleeper is a clear testament to Allen's comedy skills. That being said, the average viewer might find this film a little lackluster at times. Ultimately it is worth taking a look at for those looking for something to watch on a Saturday night.

List: Top 10 Movies You Watched in School

Few things unite us like movies do. Though we all have different experiences and live vastly different lives, at least we can all sit down and talk about the stories and memories we have collectively shared through the videos we've watched. No where is this more realized then in grade school. So without further ado I countdown the top 10 movies you watched during school.

10: 1776 (U.S. History)
Based off of the broadway musical of the same name, (which is itself based on the Continental Congress's debates on independence) 1776 brings the founding fathers to life. Starring William Daniels, Howard Da Silva and Ken Howard this show stopper may seem a little dated at times, but for anyone who wanted to see Boy Meets World's Mr. Feeny sing this flick is a real treat.

9: Much Ado About Nothing (Drama)

Kenneth Branagh continues his Elizabethan binge with this Shakespearian comedy. Featuring an all star cast, it's Emma Thompson and Branagh himself who shine brightest, though Denzel Washington deserves special mention as Don Pedro. Also featured is Keanu Reeves who, though tries his best to speak in verse, falls flat on his face. At least he does much better than the cast members of Romeo+Juliet

8: The Little Mermaid (French, Spanish...any language really)

Classic Disney at is classiest, The Little Mermaid has become a timeless tale of following your dreams and falling in love. Oddly enough it seems that almost all language classes have a DVD of this movie somewhere and dubbing them in various tongues doesn't take away its effect (though the songs may sound a little silly in German).

7: Gladiator (World History)

"Are you not entertained?" is the montra of this action packed sword-and-sandal epic. Though riddled with historical inaccuracies Gladiator still packs and emotional punch and manages to reconstruct ancient Rome in all its magnificence. Starring Russell Crowe as General Maximus and Joaquin Phoenix as the venemous Caesar Commodus Gladiator eventually won best picture on Oscar night and deservedly so.

6: A Beautiful Mind (Psychology)
Another Russell Crowe flick, A Beautiful Mind is a pretty accurate depiction of mathematician John Nash's complex life. Convinced he has been recruited to help decode KGB codes John eventually becomes the victim of his own machinations. Also winning best picture just a year later, A Beautiful Mind is truly a beautiful movie.

5: Mr. Smith Goes to Washington (Government)
Frank Capra at his finest, Mr. Smith Goes to Washington is worthwhile view of politics through the eyes of an idealistic Senator appointed to fill a vacancy and is met with corruption and cynicism. Used by the political machine and foiled by the media, Jefferson Smith takes is stand and never backs down from his convictions. This movie is socially important if for no other reason then to explain what a filibuster is.

4: Kundun (Comparative Religions)
A biographical look at the Dalai Lama through the mature eyes of Martin Scorsese Kundun is as visually impressive as it is soulfully told. Starring mostly Tibetan actors this movie is told in a series of episodes and follows a chronological story structure. Though slow to some, those with patience will be rewarded.

3: The Land Before Time (Elementary School)

I'm not sure what little kids watch in class nowadays but The Land Before Time was for its time a beautifully crafted little film with worthwhile characters, a straightforward plot, great animation for its time and surprisingly adult themes that ensure its longevity. Every little boy at one point went through a dinosaur phase, and this film coincided with mine.

2: To Kill a Mockingbird (English)

Out of all the films based on high school required reading To Kill a Mockingbird is both a literary masterpiece and a cinematic triumph. Gregory Peck cements his status as one of the greatest actors of all time with his closing argument at Tom Robinson's trial. Mary Badham also is quite impressive as Scout and Robert Duvall makes his screen debut as Boo Radley giving great presence despite not saying a word.

1: Life is Beautiful (Humanities)

Set in fascist Italy, Life is Beautiful stars Roberto Benigni as charismatic Jewish man Guido who, with the help of his humor falls in love, marries and has a son with the woman of his dreams. When Guido and his family are transported to the concentration camps he uses his sense of humor and love of life to keep them alive. Without a doubt the most beautiful love story I have ever seen and one of the best movies of all time.

Review: The Brothers Bloom

Year: 2008
Genre: Romantic Comedy
Stars: Adrien Brody, Mark Ruffalo, Rachel Weisz & Rinko Kikuchi
Director: Rian Johnson

Overview: Rian Johnson’s follow up to his teen-noir flick Brick with The Brothers Bloom a throwback to classic capers, love stories and a host of other influences. The Brothers Bloom are confidence men who are in for one more score, a reclusive and eccentric heiress who eventually falls in love with the younger of the pair. Told with style and set in a multitude of exotic locations, this movie keeps you entertained and brings new life to predictable themes.

Writing: The dialogue of this movie is phonetically mesmerizing. Ruffalo and Brody exchange barbs like any loving siblings would and they both share the sophistication of a life well lived. The story near the end starts to spiral seemingly out of control but like a well executed card trick, the reveal is worth the moments of confusion. The motif of the distortion of reality and the whole world being played out like a story creates an otherworldliness that makes the more convoluted plot points believable.

Directing: There is a scene in the movie where Penelope and Bloom have an enlightening discussion about pinhole cameras. Penelope remarks that through certain lenses even the most mundane of objects can look obscure and interesting. These few short snippets of dialogue reveal director Rian Johnson's Modus Operandi. Through his eyes we are taken into a fantastical world within our own where larger than life characters con and swindle not for the money but for the art. Every part behind the camera works together and make an impression but the lighting deserves special mention. From the curious twinkle of a will-o'-the-wisp to the ominous flicker of a dying lantern, light amplifies each wonderful scene and toggles with our senses.

Acting: All the major players in the piece of cinematic treasure manage to make the most of their roles. Both Ruffalo and Brody to admirable jobs as the cocky Steven and the sensitive Bloom. Ruffalo manages to show a deep love for his brother and his character's need to pull off the "perfect con" comes off effortlessly. Brody can come off a little too whiny at some points but his scenes with Weisz are electric. Kikuchi even manages to make the most of her role as the Brothers' mute explosives expert. You can almost make out exactly what she's saying through her facial expressions and body language, making the adage "sometimes silence is more powerful than words" seem true. The real draw here however is Weisz. As naive as she may appear at times she manages to keep up with the Brothers every step of the way, causing Bloom to exclaim "sometimes I think she knows everything". Elegant, kind, eccentric and smart Rachel Weisz's Penelope is one of the most original female characters to come out of Hollywood.

Bankability: Why was this film not advertised more during its theatrical release? Shown in only four theaters and expanded to less than 200 weeks later, the movie was nothing but a blip on the radar. With a well known cast and a well established plot, not to mention a young director with excellent credentials this movie should have at least been pushed as early winter Oscar bate. No such luck. Still this movie moves along spritefully and will be quite a treat for those in the video store looking for something to watch.

ALL-Factor: This movie does indeed have it all. It's funny, intelligent, thrilling and even sad at points. With good directing, writing, acting and themes, this movie transcends entertainment to become storytelling artistry.

Conclusion: Like Johnson's previous film Brick, The Brothers Bloom works off of earlier cinematic influences, borrows some slick camera techniques and manages to bring originality to worn out themes. Unlike Brick however, The Brothers Bloom is more accessible to modern audiences. Instead of using stylistic dialogue and a bleak plot, this film's script is keeps it light and fun. I would recommend this movie to anyone and everyone.

Review: Poultrygeist: Night of the Chicken Dead

Year: 2006
Genre: Musical Horror Comedy
Stars: Jason Yachanin, Kate Graham, Allyson Sereboff, Robin Watkins, Joshua Olatunde & Rose Ghavami

Director: Lloyd Kaufman


Overview: From the studio that brought you Tromeo and Juliet, The Toxic Avenger and Class of Nuke'Em High comes this latest campy gross-out-fest. Couple Arbie (Yachanin) and Wendy (Graham) enjoy their time together getting jiggy with it at the local Tromahawk Indian Burial Ground and are enjoying a final tryst before Wendy goes off to college. Wendy promises to stay true to the unambitious Arbie but as the very next scene shows, a few semesters in college has turned her into a protesting hippie liberal lesbian who marches against the opening of a fried chicken chain built over the same Indian burial ground. Out of spite, Arbie gets hired at the Chicken Bunker where strange things are occurring. Soon the whole restaurant is overrun by chicken zombies out for revenge. Oh and did I mention it's also a musical?

Writing: The dialogue in this movie is very nail-on-the-head type stuff and the satire is far from subtle. With names like Arbie, Wendy, Denny, Carl Jr. and Paco Bell, it's obvious what this movie is poking fun at. Fast food isn't the only sacred cow getting skewered in this musical however as each character fulfills a stereotype (socially or cinematically) to it extreme leaving very little left to the imagination. For example Lloyd Kaufman makes an appearance as a fellow Chicken Bunker employee who not too subtly suggests if Arbie stays in fast food, he'll end up like him. Near the end of the movie Kaufman upright tells Arbie he is in fact him. Obvious, maybe, hilarious? Absolutely.

Directing: In the tradition of Roger Corman, Lloyd Kaufman's flick is a bare-bones production. Unlike Corman however, Poultrygeist is much more considered as the special effects though older in design are incredibly effective. I would argue that the animatronics, prop body parts and schlocky blood-works enhance the movie's tenor. It's like a throwback to 1980's slasher flicks only with song and dance. The cinematography however is sorely lacking. Though it might have looked less authentic if done with better cameras, the grainy shots work against this film making it appear older than it really is.

Acting: Virtual unknowns crowd the screen and it's plain to see why they're unknown. Almost every character is supposed to be a caricature of something else which is fine but most of the young actors that populate this picture act like they're still in high school. Joshua Olatunde's manager Denny shouts every line like a bad Samuel L. Jackson impersonator and Rose Ghavami who is covered in a burqa for most of the film, exaggerates her eye movements to the point of eye-popping silliness. There are however a few actors that maximize their potential. Robin Watkins effectively hams it up as Chicken Bunker's proprietor General Lee Roy and Caleb Emerson's Carl Jr. keeps things interesting when he's on screen. Kate Graham also stands out as the only decent singing voice in the film.

Bankability: The only recognizable face in the entire movie is porn star Ron Jeremy who has about two minutes of screen time. The movie makes up for this with its breakneck pacing and incredible ability to top itself. Once you think the movie has done the most shockingly funny and gross stunt ever, it introduces a new set piece that keeps you on your toes. I won't give away too much but the very first scene includes a gruesome death involving a zombie hand that reaches up the rectum of its victim reaches out of his mouth and takes an 'item' out of his hand before pulling itself out again. And that's literally the first five minutes!

ALL-Factor: If you're not laughing at this movie by the first two minutes turn it off! For those of us with a sense of humor this movie is absolutely hilarious both as a "so-bad-it's-good" movie and as an unconventional musical comedy. It also accomplishes the very rare WTF reaction. throughout its brisk 103 minute run time it reduced me from a quiet and respectful film watcher to the stereotypical loud guy at the theatre who shouts at the screen telling characters "not to go in there!" Does this movie make me cry, or challenge my noggin, not really but then again the film never looks for tears; unless its tears of laughter.

Conclusion: I love this film. It makes no pretensions on what it sets out to do and it really wears its heart in its sleeve. You can tell Kaufman took a lot of care to craft this movie to what it is today and though it may not win any prestigious awards its still ten times more original than most of the crap out there today. With that said, I cannot recommend this movie to ANYONE! not a soul. It's one of those movies I believe is geared towards me and me alone. Anyone interested in the single best movie involving explosive diarrhea won't be disappointed. Otherwise, go rent The Proposal or something.

Review: The Adventures of Baron Munchausen

Year: 1988

Genre: Fanstasy Comedy

Stars: John Neville, Eric Idle, Sarah Polley, Jonathan Pryce & Uma Thurman

Director: Terry Gilliam

Overview: Though not as big of a hit as Time Bandits or Brazil or as big a cult favorite as Fear and Loathing in Las Vegas or 12 Monkeys, The Adventures of Baron Munchausen still provides all the spectacle and whimsy of director Terry Gilliam’s greater works. Hieronymus Karl Frederick Baron von Munchausen (Neville), is an eccentric Baron who tells the tall tales of his unbelievable past. Escaping by balloon with young Sally Salt (Polley) the duo try to find the Baron’s talented henchmen to help prevent Turkish invaders from decimating their town. Throughout the movie, they travel to the moon, through Aphrodite’s boudoir (Thurman) and into the belly of a sea monster. Fellow Python Eric Idle costars as the Baron’s loyal upstart Berthold.

Writing: Though director Terry Gilliam is known for his visual flair, his stories have always been somewhat convoluted. Baron Munchausen is certainly no exception to that convention. Many characters float across the screen many of which, their names are either never heard or if they are, forgotten in a matter of minutes. That's not to say the script is bad in fact its quite good. The film rarely talks down to its audience and the themes are complex and even metaphysical, but be forewarned, this movie's script is not for the average moviegoer.

Direction: Director Terry Gilliam is tasked with creating not just one fictional world but many. Even in its more rational first act, the world created by the theatre folk who make fun of the Baron is ingenious as the stage is filled with various gadgets and do-dads that make the set pieces come to life. Also a cinematic treat are the scenes on the moon featuring a miniature cityscape that brings to mind Gilliam's work on Monty Python. Out of the countless directors in the industry Gilliam is one of the few that deserves his own adjective...truly Gilliamesque.

Acting: This is where the movie starts to sink a little. Supporting cast members like Oliver Reed, Valentina Cortese and an incredibly irksome Robin Williams chew the scenery in every scene they're in. Eric Idle does a commendable job but the rest of the Baron's mates are underwhelming. Even the Baron himself isn't as euphorically whimsical as the set pieces. There are a few standouts however. Though not as memorable as Craig Warnock's Kevin in Time Bandits, Sarah Polley displays gumption and depth as the child protagonist. Jonathan Pryce also displays that rare mix of poise and menace as The Right and Ordinary Horatio Jackson, putting a face and name to heartless empiricism.

Bankability: Though many of Munchausen's stars were big in the day, many of the cast is unrecognizable by contemporary audiences. Uma Thurman who is cast as Aphrodite is very young in this picture and Robin Williams for all his obnoxiousness in this movie, is only in it for about fifteen minutes. The story also isn't as tight as modern audiences would likely enjoy. Though its far from the sluggish pace of say 1963's Cleopatra its also not as frenzied as National Treasure.

ALL-Factor: As said before, the movie is a little dated and though its humor is amusing it doesn't coax many belly laughs. Intensity is built when Death quite literally catches up to the Baron, nearly killing him. Though Death appears a few times throughout the film, tension only brews at the end and by then its too little too late. The emotion most prevalent in this movie is wonderment which though is hard to pull off even by today's standards Baron simply doesn't have enough emotional payoff to endorse outright.

Conclusion: This movie is a must see for Terry Gilliam fans, budding cinematographers and set designers and those willing to step out of the usual fare and try something new. The Adventures of Baron Munchausen is fun, smart, imaginative and a personal favorite for those nights when I have nothing to do. That being said however, I cannot recommend this to the casual movie renter. A confusing narrative, "weird" art direction and a few scenes that just don't work reserves this gem for the few that 'get' it.

The Mission Statement

I'll be honest, I have been reluctant to start a blog in the past. In a generation that trumpets its own self-importance and is obsessed with instant gratification, the idea of expressing opinion and discourse in a text medium seemed unnecessary. This impulse ultimately has stifled creativity and left the soul un-quenched. So in an attempt to rekindle my own passion I would like to express some insight about the form of art and entertainment I know and love best, film.

This is not a movie review blog in the usual sense. I rarely make it out to the theatre as I can barely afford food. This blog instead aims to bring "lesser" known movies to the forefront for contemporary audiences. Lesser known doesn't just include niche movies or independent cinema; older classics and even blockbusters from decades before I include as modern audiences probably haven't seen, for example Steve McQueen's Bullitt. Basically I'm shilling for the titles you have seen at the videostore but haven't seen because you simply haven't heard much about them. I'm not reviewing the Transformer movies or Star Wars since everyone and their mothers have seen them.

I will attempt to limit the effect of my opinion. By "effect of my opinion" I mean of a particular genre of movies or personal opinions of actors and directors. I see movies as an experience, the problem with that is everyone seems to experience movies differently, as with anything. That being said, there will be clearly defined standards so that even if you disagree with my assessments you can still find this blog useful. I will be grading movies on five factors:

(Keep in mind I'm not a film major so don't chop my head off if you think I'm 100% wrong)


1. Writing: The characters should be well defined, the dialogue should be engrossing, it should have little to no plot holes and it must challenge the mind for me to absolutely love it. if it lacks all these criteria, I'll hate it, it's that simple.

2. Directing: There are no original stories, just original ways of telling them. I will consider things like originality, atmosphere and cinematography.


3. Acting: This category is a little harder to describe. I'm under the impression that anyone can act so long as they are given the proper training and apply their strengths. Some actors are just great to watch because they can disappear into their characters, others are merely passable. The best way I can describe my standards can be explained through an example: Take Vin Diesel in "The Fast and the Furious". By no means was he great but he fit the role and did what was asked.

4. Bankability: This is a little more straightforward, the more the film conforms to convention or the more bankable stars in it, the more appealing it becomes to some. Does that mean movies that break the mold or have no stars are bad? far from the truth, a lot of my favorite movies are lacking in those categories. Still it's a big deal to some who want to watch something enjoyable and are suddenly turned off by slower pacing, unrecognizable faces or antiquated film methods so I'll indulge this inclination.

5. The ALL Factor: Every once in a while a film comes along that works on all levels. Great acting, directing and writing while at the same time it makes you feel a host of emotions like fear, sadness, laughter and joy. These merry few flicks will stick with you for days, weeks or even years and transcends art and entertainment.

So now that you know the standards I will be instilling, I hope you read and enjoy my reviews. And remember, though I may be a lover of films I haven't seen everything out there so if you have suggestions, and they meet my standards, I would love to see them.