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Four Lions
"Four Lions tells the story of a group of British jihadists who push their abstract dreams of glory to the breaking point. As the wheels fly off, and their competing ideologies clash, what emerges is an emotionally engaging (and entirely plausible) farce. In a storm of razor-sharp verbal jousting and large-scale set pieces, Four Lions is a comic tour de force; it shows that-while terrorism is about ideology-it can also be about idiots."
This Film is amazing, If you aren't British you probably have not Idea what this film is about, but it really is one of the funniest, well written films I've ever seen. 9.5/10
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Batman: Year One
I love these DC Universe Animation movies. They're the best motion picture representation of DC comic books. And since this one is pulled directly from a classic comic, it's pretty damn close. I read the original many years ago, but many of the visual queues came flooding back while watching this movie. The only gripe I have is that there's a little too much CGI, and it doesn't quite fit with the rest of the 2D animation. But other than that it was excellent. It stuck to the source material pretty well, which is hands down my favorite Batman comic (and the obvious inspiration for Gordon's character in the Nolan films, even down to that scene at the end of Batman Begins where he hints at a lunatic that dresses like a clown). The Voice acting is excellent, the absolute star has to be Bryan Cranston as James Gordon.
I give it 8.5/10, that CGI really irked me.
This post has been edited by darthYENIK on Tuesday, Aug 21 2012, 21:08
The witch is dead, the struggle continues... Group: Members
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American Pie: The Reunion/American Reunion (2012) I enjoyed this just as much as the others, it brought back a lot of nostalgia from the original 3 films. There was nothing quite original brought to the table but it made me laugh quite a lot and there was a few cameo appearances from some of the original characters. I'll definitely watch it again when I have my next American Pie marathon. One thing I wish they would have included is Kevin toasting "to the next step" at the end but I guess it's wrapped up the series nicely now. I'll give it an 8/10 (because I'm a sucker for these films).
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It was either this or Piranha 3DD. I wish I got Piranha 3DD. At least the first one was entertaining. This was the dumbest f*cking movie ever.
They build it up like The Strangers with some guy stalking her, then the "plot twist" is that she's crazy from abuse as a child and apparently has multiple personalities. Then she kills her dad and just leaves.
The film also is just one long single take (or made to look like one). It's boring, the "scares" aren't scary, and the acting is horrible. The only part I cried at was when the girl was wasting the wine in the bathtub. WHY WOULD YOU WASTE ALL THAT WINE?! WHY?!! No wonder her dad beat her. Wasting all that f*cking wine. THAT SHlT AIN'T CHEAP, BITCH!
Know what they should do? Remake this with a black girl instead of a stereotypical white chick who screams and cries the entire movie. It'll be much more entertaining. Then maybe I wouldn't feel like I got cheated out of an hour and 25 minutes.
Renegade police detectives Frank Divinci (James Belushi) and Jake Rodriguez (Tupac Shakur) gun down narcotics dealer Lionel Hudd (Kool Moe Dee), after the three engage illegally in drug trafficking; this is in order to recover the cocaine Hudd purchased from them. When Divinci and Rodriguez find out Hudd was actually a "deep cover" DEA agent—because Hudd's partner (Gary Cole) drops by their precinct for help sniffing out the killers—they try to frame anyone else with the murder. It doesn't help that Rodriguez has outstanding gambling debts, and that a huge man known only as "Mr. Cutlass Supreme" (Tiny Lister) is on his case for it. After arresting numerous felons without success (because they cannot possibly link Hudd's murder to any of them), Divinci and Rodriguez arrest a homeless drunk by the name of Joe Doe (Dennis Quaid). While Joe is still intoxicated, the detectives convince him that he shot Hudd. They even make him sign a confession. At his first legal hearing, Joe is declared mentally unfit to stand trial (he can't even remember his own last name). The trial is postponed accordingly. At Joe's second hearing, high-profile lawyer Arthur Baylor (James Earl Jones) attends the proceedings. Baylor reveals that his client's name is actually William Dane McCall, that Joe is actually the missing-and-presumed-dead co-heir to the financial empire of a high-status family. Baylor asks the court to grant a one-week continuance so he can prepare his defense properly. The court agrees. Divinci and Rodriguez convince local stripper Cynthia Webb (Lela Rochon), also Divinci's mistress, who was the "bait" in their trap for Hudd, to "identify" Joe in a police line-up. Afterwards, she is summoned to testify in court. She disappears for a period of time, but is finally discovered and brought in for "The People VS. William Dane McCall." She gives her rehearsed testimony against Joe, at which time Joe informs Baylor that he lived in an alley next to Cynthia's apartment. Baylor questions Cynthia until she finally confesses to knowing Joe. The fact that she knows the defendant as "Joe" and not as "William Dane McCall" shows that she had previous knowledge of the defendant, thus making her testimony for Joe being Hudd's killer to be false. She is arrested for perjury while the verdict of Joe's case remains unknown. Divinci and Rodriguez hire Manny, a bail agent, to get Cynthia out of jail. They plan to kill her before she can testify. On the day she is to be "silenced," Rodriguez confesses to Divinci about feeling guilty regarding the numerous murders they've committed. Divinci suddenly suspects his partner of taping their conversation; such indeed turns out to be the case, after Divinci forcibly searches Rodriguez. Rodriguez informs Divinci that he has already confessed to the DEA regarding what they've done. Unwilling to kill Rodriguez here and now, Divinci renounces their friendship and drives off into the night. Rodriguez returns home to find his bookie, and Mr. Cutlass Supreme, waiting for him. Enraged about the preceding events, he attacks them only to be shot dead. Cynthia, still in jail, strikes a deal with Baylor to testify against Divinci in return for her perjury case being dropped. Frank, upon hearing that Cynthia has confessed against him, breaks into her home. He shoots and wounds her. The dying Cynthia is rushed to an emergency room at the local hospital, where Dr. McCall prepares to operate on her and save her life. Divinci makes arrangements with Manny to sneak out of the country. The driver Manny hires for Divinci turns out to be Clyde David Dunner, a murderer and arsonist...whose case was dropped because Divinci and Rodriguez, who had arrested him, stole his Magnum from the police-evidence room and used it to kill Hudd. Dunner pulls the same Magnum and shoots Frank.
Here the other ones that I watched too
Menace 2 Society Death Race 8 Mile Boyz N The Hood The Transporter Mercenaries Gang Related Tupac: Resurrection Get Rich or Die Tryin' B-13 B-13 Ultimatum
There are much more, but I don't remember now.
Take note that I just like old-good movies
This post has been edited by caio3771 on Friday, Aug 24 2012, 21:12
When his mentor is taken captive, a retired member of Britain's Elite Special Air Service is forced into action. His mission: kill three assassins. But IMO, the movie expected you to know the characters from the very beginning, the movie was jumping from location to location then from week to the next week. The movie was just going too fast and was making little sense to me.
With 8 Golden Raspberry nominations, 3 of which he won, you'd be inclined to think Ben Affleck was in the wrong game as an actor. You'd probably be right too, because he's much better when he's behind the camera. The Town, a Boston-based crime drama, is Affleck's second film as director following his 2007 Boston-based crime drama Gone Baby Gone.
To be fair we're not exactly retreading previous work though. Gone Baby Gone was a missing person mystery told from the perspective of the police, and The Town is full of bank heists and is told through the eyes of the thieves. Set piece after set piece ramp up the action and deliver some fantastic tension and a tangible sense of risk. With all the guns and get ups (there's a lot of fun with masks), it'd be easy for the film to turn into a Grand Theft Auto-style ridiculousness festival, but there's a weight to the actions of the police and the robbers. When someone starts shooting, sh*t gets real rather than it being just another scene and when someone dies it's actually addressed instead of a case of Henchman #457 just taking early retirement.
In between the action sequences, The Town is solid. It's not going to change the world of storytelling as we know it, but it holds together well enough. You do have to allow for some suspension of disbelief in regards to Affleck's character's choice of ally though, because it might just make him the dumbest bank robber on the planet. Seriously, watch the opening sequence and ask yourself "Who is the worst possible person Doug could possibly fall head over heels for right now?" and it's them. But if you're willing to get past that it's not that bad.
A credit to Affleck is how great the film looks. Some credit should probably also go to the city of Boston. Most US heist movies seem to feature some small, deserty, sparsely populated town or a high-rise dominated metropolis made up completely of right angles. Boston, at least in The Town, feels a lot more European with windy allies, old buildings mixed with new and a lot of greenery on screen from the sky shots.
There's a lot of fun to be had watching The Town. Money, guns, nuns and tension is a good recipe for what is apparently becoming it's own little sub-genre: the Boston Crime Drama.
With 8 Golden Raspberry nominations, 3 of which he won, you'd be inclined to think Ben Affleck was in the wrong game as an actor. You'd probably be right too, because he's much better when he's behind the camera. The Town, a Boston-based crime drama, is Affleck's second film as director following his 2007 Boston-based crime drama Gone Baby Gone.
To be fair we're not exactly retreading previous work though. Gone Baby Gone was a missing person mystery told from the perspective of the police, and The Town is full of bank heists and is told through the eyes of the thieves. Set piece after set piece ramp up the action and deliver some fantastic tension and a tangible sense of risk. With all the guns and get ups (there's a lot of fun with masks), it'd be easy for the film to turn into a Grand Theft Auto-style ridiculousness festival, but there's a weight to the actions of the police and the robbers. When someone starts shooting, sh*t gets real rather than it being just another scene and when someone dies it's actually addressed instead of a case of Henchman #457 just taking early retirement.
In between the action sequences, The Town is solid. It's not going to change the world of storytelling as we know it, but it holds together well enough. You do have to allow for some suspension of disbelief in regards to Affleck's character's choice of ally though, because it might just make him the dumbest bank robber on the planet. Seriously, watch the opening sequence and ask yourself "Who is the worst possible person Doug could possibly fall head over heels for right now?" and it's them. But if you're willing to get past that it's not that bad.
A credit to Affleck is how great the film looks. Some credit should probably also go to the city of Boston. Most US heist movies seem to feature some small, deserty, sparsely populated town or a high-rise dominated metropolis made up completely of right angles. Boston, at least in The Town, feels a lot more European with windy allies, old buildings mixed with new and a lot of greenery on screen from the sky shots.
There's a lot of fun to be had watching The Town. Money, guns, nuns and tension is a good recipe for what is apparently becoming it's own little sub-genre: the Boston Crime Drama.
Jeremy Renner's stand out performance?
You must of overlooked that whilst picking a fancy picture for your latest fancy movie review.
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The quality of the acting wasn't really that important to me for The Town. Notice how I didn't comment on any of the performances? Renner was pretty good, but the character was just the typical hothead that you get in every heist movie so there wasn't a lot he could do with it anyway. For me, the direction and visual feel of the film, especially in the action sequences, was much more important to me that the acting. It's hardly a dialogue driven film now is it?
It's not a slight on Renner, it just wasn't important for me.
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I love it. I saw it opening day, but I saw it again yesterday, and it was just as good the second time around. Better even, because that opening few shots make more sense.
I can't believe that they're still not working on a new Hulk movie starring Mark Ruffalo. It's insane. The Hulk steals the show, and now we have to wait until the Avengers 2 to see him again. I don't see them putting the Hulk in Thor 2, or Iron Man 3, or Captain America 2. "The Incredible Hulk" was alright, but we need new movie, with the type of ass kicking the Hulk does in the Avengers.
Acting wise, it's kind of sad to see Chris Evans and Robert Downey Jr in so many scenes together. Downey is a really good actor, and Evans just looks flat, especially in comparison. He just lacks physical emotion. Maybe it's the way they wanted Cap to be, but I don't like it. I hope that he kicks it up a notch when facing off against the Winter Soldier, because that should be emotional.
The only real gripe I have with the movie is that Thor kind of just appears. No Asgard scenes, barely a mention of Jane Foster, and then he just zips back to Asgard. I really hope the Dark World shows some traditional Thor action, like we see in the final battle in the Avengers.
All in all, I think it's the best comic book movie ever. And before you Dark Knight fanboys come at me, I don't consider those movies to be comic book movies. They use comic book characters, and admittedly Batman Begins is a lot like Batman: Year One, but overall they transcend the genre. If you consider comic book movies a genre.
P.S. I just think it's weird that that is a poster for this movie.
EDIT: Okay, I'll still consider the Dark Knight trilogy comic book movies, but they definitely aren't super hero movies. Which is what I now call the Avengers the best of that genre.
This post has been edited by darthYENIK on Tuesday, Aug 28 2012, 20:34
Plot: The Nazis set up a secret base on the moon in 1945 where they hide out and plan to return to power in 2018.
Personal Review: It's actually not a bad film, it's not great, but it's not a bad film in that given the budget and the way the film was funded in a sort of co-operative the quality of the production is on a par with a lot of lower budget Hollywood productions. The storyline is a fairly standard structure, adding the historical twists to it, like the lead astronaut being black making the storyline a bit more up to date and more relevant. The Script however was a little loose around the edges, and could have done with a little tidy up around the edges, but that is probably to be expected with the budget constraints owing to a lack of time to film scenes etc.
The Special effect however do require a mention for being excellent, again with the budget being about $2m it shames some of the Blockbusters for its execution. The film overall isn't laugh out loud funny and sometime the action can verge on slapstick, but it's a subtle satirical humour that the Finns are quite famous for, and appeals to the European market.
There are rumors of a sequel, which are heavily hinted after the titles, but that is as far as I'll go with spoilers.
Overall a good film that you won't feel you've wasted time watching and might watch it if it comes on TV, but at the same time won't feel compelled to dig it out your DVD collection
Butterfly on a Wheel (US: Shattered , Europe: Desperate Hours ) is a 2007 British-Canadian thriller film directed by Mike Barker, co-produced and written by William Morrissey, and starring Pierce Brosnan, Gerard Butler, and Maria Bello. The film's title is an allusion to a line of Alexander Pope's poem " Epistle to Dr Arbuthnot " Who breaks a butterfly upon a wheel? The line is usually interpreted as questioning why someone would put massive effort into achieving something minor or unimportant, or who would punish a minor offender with a disproportional punishment.
I loved this movie, i really really did, i didn't expect it to be this good when i started watching, but i became really interested in the story about 30 minutes in. Pierce Brosnan is so f*cking badass in this movie imo. Very solid story with an awesome ending (to be honest, it kinda surprised me).
My Score: 9/10.
This post has been edited by Gtaghost22 on Friday, Aug 31 2012, 11:38
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The lives of guards on Death Row are affected by one of their charges: a black man accused of child murder and rape, yet who has a mysterious gift.
Thought I'd give this another watch, in honor of Michael Clarke Duncan. Haven't seen it in a very long time. Nearly teared up in a few parts, I must admit.
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I've played the game..listened to the soundtrack, and I knew it was time to watch the film. Scarface. Absolutely f*cking amazing it is now my favourite movie of all time. Before I even watched this, I was looking up scenes from the film on how obsessed I am with it. Personally, I thought the movie was quite emotional. The problems Tony went through in this film.
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Yay! Pretentious review dump!
The Reader (2008)
Stepehn Daldry's drama spans 40 years and asks a lot of questions about how much a person can change over time, but avoids a lot of obvious questions that you ask as the true past of a main character comes to light.
Starting in a post-war Germany, The Reader is the story of a schoolboy (played by David Kross when he is young, and Raplh Fiennes as he ages) who falls in love with an older woman (Kate Winslet) who acts as a good samaritan when she sees him becoming ill on his way home. Throughout the development of their relationship (the age gap being one of those things that is never acknowledged) over the next two hours, a truly horrendous crime in one person's past is revealed, people becoming rightfully estranged and questions of shame (about the wrong things) are explored.
Once the film gets going, after the rather uninteresting and repetitive first act, it comes into its own and Winslet shines especially bright as the tough but tortured Hanna Schmitz in a number of powerful scenes during the distant Michael's twenties. Despite my accusations of avoiding the tough questions there exists, across the later 2/3s of the film an overarching theme of guilt and what it means as a whole for a country recovering from something as awful as WWII. The disconnect in age between Michael and Hanna works to demonstrate the differences between those who did what they had to do and then live with the consequences, and those who can see the consequences but not the situations that brought them about.
The Reader is an emotionally charged journey through a number of decades, with two great performances of people aging and trying to deal with, and make the best of, what they've done earlier in their lives. The ending feels like a bit of a cheap get out from dealing with some of the later realities that these people might face, but it's understandable that having it play out otherwise might make the film too long and distract from the real message that was strived for here.
Domino (2005)
In light of the recent death of director Tony Scott, one of the few good things to come out of Teesside, I decided to check out one of his less appreciated works. I'm not going to sugar coat it because he recently died: Domino is pretty terrible and nowhere near as good as the man's other work.
The problems with this film could probably be explained if you imagine what the production meeting must have been like: a litter of ADHD afflicted labrador puppies hopped up on coke flinging ideas at the wall just to see what sticks, in the mid-90s. Everything wrong here is a result of having no attention span and trying to cram way too much in. It tries to shoe-horn so much plot that you see scenes play out, only to be told later on that "Oh wait, it didn't actually happen like that at all but happened like this instead" in the most boring case of using an unreliable narrator I've ever seen. All of this done through scenes that ended up being responsible for more cuts that any My Chemical Romance album.
A completely unnecessary romantic sub-plot (to use that word loosely) appears out of nowhere right when the film should end, before going on for another half hour. It is completely forced and unnecessary, especially during a tale that, I thought, was supposed to showcase a woman who could handle herself just as well as a man in the world of bounty hunting, but you just get her eventually falling back on a supporting male character for help and validation.
Domino Harvey, of the title role, is played by Keira Knightley. Domino is a British ex-model turned bounty hunter in the US. Did I mention she's British? Because, holy sh*t, she will definitely make sure you know it. I know Knightley is English and apparently born and raised in London, but her accent here is so exaggerated it pretty much comes full circle and sounds like a bad impression of an aristocrat. The only redeeming thing I can say about her performance is ultimately shallow, but she does look pretty damn amazing as a grungy, shorthaired delinquent considering she pretty much exclusively does period costume dramas these days. It’d be nice to see her do something a bit more adrenaline fuelled now that her acting skill is allegedly more mature in her past few films, e.g. Anna Karenina.
Tron: Legacy (2010)
A Disney production through and through, Tron Legacy is a predictable, yet ultimately satisfying and visually stunning experience.
Tron Legacy picks up 30 years after its predecessor (Tron (1982)), both in terms of what it delivers and in plot. It's pretty standalone storywise though, so there's no need to be too apprehensive if you haven't seen or can't remember the original. Legacy is set in a world where the Kevin Flynn (Jeff Bridges) of the original has been missing for twenty years after establishing an astounding successful computer/software company. His son, Sam Flynn (Garrett Hedlund), receives a message that might help him find his father, and leads him down the rabbit hole into the alien computer world of The Grid.
The world Sam finds himself in is fantastically realised: a digital world where everything is made up of clean, angular lines, bright neon lights and computer programs in human form. Everything is beautifully crafted. The world created for Tron Legacy is elegant and ethereal, where the lines between solid structures and constructs made of pure light aren’t so clear. The CGI and set design sell this universe in a way that makes the film feel as cutting edge as its predecessor was back in its original release.
My only gripe with the performances given by the cast is with respect to the alien world of The Grid. Sam, played by Garrett Hedlund, is dropped here unexpectedly and is seemingly nonplussed by the entire place. Sure, he’s a bit concerned about why he has to fight for his life, or how he’s going to save the world, his father and his new friend Quorra (Olivia Wilde) but the fact that he’s seeing what cyberspace looks like or that he’s able to walk on solid goddamn light doesn’t seem to even cause a blip on his radar. For all the other characters its either the only world they’ve known, or they’ve been there long enough for it to become normal but Sam should getting blown away by everything that he looks at but just isn’t. On the flipside, Jeff Bridges and Olivia Wilde are entertaining. Bridges as the jaded old man who is reluctant to act and Wilde as his young and enthusiastic apprentice. Both are aspects of Sam’s personality. It’s just a shame that the most interesting parts of him are represented by other characters.
The story plays out pretty much how you expect it to, there isn’t really anything that surprising. But that tends to be the way Disney movies go. What you’re here for is how it’s told. The magical visual design, the thumping electronic soundtrack provided by robot DJs Daft Punk and some interesting performances from the supporting cast are all reasons to see Tron Legacy.
Atonement (2007)
Costume dramas with Keira Knightley come by the bucket load, but few come as crushingly sad as Atonement. Based on the Ian McEwan novel of the same name, Atonement tells the story of how the romance between the bright young groundskeeper/Cambridge graduate Robbie (James McAvoy) and the daughter of a wealthy English family, Cecelia (Keira Knightley) is ripped apart by unfounded accusations from her younger sister, the harsh realities of the second World War and a sprinkling of the gulf between the classes.
Joe Wright does everything right here. The film looks especially beautiful in all its locales. the stately homes in the English countryside are lavish, bright and suitably saturated in the hazy colour of late summer and the dirty streets and hospitals of a mid-war London are suitably tarnished and covered in a bleak dusting of hopelessness. One set in particular stands out, and not just because it was shot down the road from me at Redcar beach: Dunkirk. Wright took on the monumental task of creating an almost purely practical set for the scene, and documents the desperation, pain and occasional glimmers of hope of the evacuation in one extended tracking shot that includes near enough 1000 extras from the local area.
The story unfolds with a number of flash forwards, which are quickly rewound to see how we got there, and it paces the film magnificently. Central to the major rift that separates Robbie and Cecelia is a moment where both the audience and Cece's sister are left unsure of what they've seen, and telling the story with quick darts forward in time leaves enough room for contemplation as to what you've seen and what you explicitly didn't see. The flash-forward mechanic is powerful. It'll smash you right in the emotions and really leave you questioning whether the instigator of all these problems has really atoned for their actions.
James McAvoy and Keira Knightley are outstanding as the troubled couple, with the former establishing himself as one of Britain's biggest upcoming things (he's since starred as the lead in XMen First Class and Wanted) and the latter continuing to mature into her roles and mold her craft into something fantastic. Joe Wright's direction and storytelling is something to be envied, with set design, shooting technique and direction clearly signposting the descent from the hazy otherworldly dream of the stately home to the dirty and real world where everything doesn't end up perfect. The visuals alone tell a story of heartbreak, regret and resentment. In particular, Wright should be proud that he manages to deliver the most powerful wartime beach scene this side of Saving Private Ryan.
Take Shelter (2011)
Critically acclaimed but largely unheard of, Take Shelter is one of the best smaller films of last year.
From the opening shot of Curtis LaForche standing in an oil filled rain, Michael Shannon gives a phenomenal performance as a man plagued by apocalyptic visions. Curtis becomes the victim of vivid hallucinations and terrifying dreams that follow him through his waking and sleeping life. Shannon sculpts a masterpiece performance and shows us a man who is truly, deeply scared and even more embarrassed by his fear. As he tries to sweep his increasingly erratic actions away from friends and family he can't shake the nagging fear of his dreams and what is happening to him. Is he descending into a hell of mental illness or are his visions a warning of a coming storm?
Shannon's performance goes hand in hand with Jeff Nichols' direction and some spectacular special effects to create a real sense of dread from start to finish. Take Shelter isn't a scary film in the same way as a traditional horror film, because it's not one, but there is a constant undertone of unease and that this peaceful world could come crashing down in every scene. Whether it was the spectre of mental illness or the possibility of the storm ever coming, something ingrained in Take Shelter just had me tense throughout, in a good way. It's impossible to pin down why that is, but all the subtleties and different elements combine into a perfect storm or angst and fear for Curtis' safety, and his family's safety from him.
TL;DR: The Reader's alright, if a bit confused. Avoid Domino at all costs unless a short haired Keira Knightley is enough to keep you interested. Watch Atonement, it's fantastic. Tron's actually a decent family film and visually stunning but not much deeper than that. Take Shelter is great. Watch that sh*t.
This post has been edited by Robinski on Wednesday, Sep 12 2012, 14:32
I watched this last night and really liked it. Basically a Yemeni Sheikh employs the help of a British scientist (played by Ewan McGregor) to create a Salmon fishing river in the Yemen desert.
I suppose you could call this a Brit rom-com but don't let that put you off. It's a feel good, clever and funny film definitely worth watching.
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@Robinski: Read your review of Taking Shelter the other day and it inspired me to watch it. Well, I just finished it... and LOVED it! It was one of those movies that made you think alot, which I like. One question though... He wasn't really schizo right? I took it as he was just having small premonitions. But that big storm at the end had me thinking otherwise. When they went into the storm shelter.
10/10
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