X-Men 2 picks up almost directly where X-Men left off: misguided super-villain Magneto (Ian McKellen) is still a prisoner of the US government, heroic bad-boy Wolverine (Hugh Jackman) is up in Canada investigating his mysterious origin, and the events at Liberty Island (which occurred at the conclusion of X-Men) have prompted a rethink in official policy towards mutants--the proposed Mutant Registration Act has been shelved by US Congress. Into this scenario pops wealthy former army commander William Stryker, a man with the President's ear and a personal vendetta against all mutant-kind in general, and the X-Men's leader Professor X (Patrick Stewart) in particular. Once he sets his plans in motion, the X-Men must team-up with their former enemies Magneto and Mystique (Rebecca Romjin-Stamos), as well as some new allies (including Alan Cumming's gregarious, blue-skinned German mutant, Nightcrawler). The phenomenal global success of X-Men meant that director Bryan Singer had even more money to spend on its sequel, and it shows. Not only is the script better (there's significantly less cheesy dialogue than the original), but the action and effects are also even more stupendous--from Nightcrawler's teleportation sequence through the White House to a thrilling aerial dogfight featuring mutants-vs-missiles to a military assault on the X-Men's school/headquarters to the final showdown at Stryker's sub-Arctic headquarters. Yet at no point do the effects overtake the film or the characters. Moreso than the original, this is an ensemble piece, allowing each character in its even-bigger cast at least one moment in the spotlight (in fact, the cast credits don't even run until the end of the film). And that, perhaps, is part of its problem (though it's a slight one): with so much going on, and nary a recap of what's come before, it's a film that could prove baffling to anyone who missed the first instalment. But that's just a minor quibble--X-Men 2 is that rare thing, a sequel that's actually superior to its predecessor. --Robert Burrow
Vanessa Stewart is an American who meets war correspondent Bill Fitzgerald in Venice. The attraction is immediate and an intense relationship ensues but Vanessa already has a fiance back in the States and when she returns forbids Bill ever to contact her again. It's not long however before Vanessa enters one of the world's most dangerous war zones to find the man she loves more than life itself...
After the technical achievement of Babe, it was almost inevitable that "talking animal" effects would be applied to the serious themes of George Orwell's Animal Farm. A bitterly satirical indictment of Stalinist Russia and the failure of Communism, Orwell's 1945 novel is a time-honoured classic, so it's only fitting that this TNT production remains largely faithful to Orwell's potent narrative. A showcase for the impressive creations of Jim Henson's Creature Shop (where director John Stephenson was a veteran supervisor), the film employs animatronic creatures and computer animation to tell the story of uprising, unity, and tragic rebellion among the farm animals.The politics of "Animalism" are initially effective, ousting enemy humans according to rules ordained by Old Major, the barnyard pig whose death sets the stage for the corruptive influence of the pig Napoleon, who cites superior intelligence as his right to dominance. This tyrannical reign destroys the farm's stability, and the film--decidedly not for young children--preserves Orwell's dark, cynical view of absolute power corrupting absolutely. Particularly effective is a propaganda film shown to the barnyard collective, and certain scenes--while not as impressive as the Babe films--powerfully convey the force of Orwell's story through animal "performance". Animal Farm occasionally falters in its emotional impact (the fate of the horse Boxer should be heart-rending, and it isn't), but it's certainly blessed with an elite voice cast, including Peter Ustinov, Patrick Stewart, Pete Postlethwaite, Julia Ormond, Kelsey Grammer, Julia Louis-Dreyfus, Paul Scofield, and Ian Holm. Not the masterpiece it might've been, this is nevertheless a worthy representation of Orwell's novel. --Jeff Shannon
A 4 DVD box set comprising of 19 film adaptations of plays by Samuel Beckett. Includes: 1. Waiting for Godot (director Michael Lindsay-Hogg) 2. Not I (director Neil Jordan) 3. Rough for Theatre I (director Kieron J Walsh) 4. Ohio Impromptu (director Charles Sturridge) 5. Krapp's Last Tape (director Atom Egoyan) 6. What Where (director Damien O'Donnell) 7. Footfalls (director Walter Asmus) 8. Come and Go (director John Crowley) 9. Act Without Words I (director Karel Reisz) 10. Happy
X-Men 2 picks up almost directly where X-Men left off: misguided super-villain Magneto (Ian McKellen) is still a prisoner of the US government, heroic bad-boy Wolverine (Hugh Jackman) is up in Canada investigating his mysterious origin, and the events at Liberty Island (which occurred at the conclusion of X-Men) have prompted a rethink in official policy towards mutants--the proposed Mutant Registration Act has been shelved by US Congress. Into this scenario pops wealthy former army commander William Stryker, a man with the President's ear and a personal vendetta against all mutant-kind in general, and the X-Men's leader Professor X (Patrick Stewart) in particular. Once he sets his plans in motion, the X-Men must team-up with their former enemies Magneto and Mystique (Rebecca Romjin-Stamos), as well as some new allies (including Alan Cumming's gregarious, blue-skinned German mutant, Nightcrawler). The phenomenal global success of X-Men meant that director Bryan Singer had even more money to spend on its sequel, and it shows. Not only is the script better (there's significantly less cheesy dialogue than the original), but the action and effects are also even more stupendous--from Nightcrawler's teleportation sequence through the White House to a thrilling aerial dogfight featuring mutants-vs-missiles to a military assault on the X-Men's school/headquarters to the final showdown at Stryker's sub-Arctic headquarters. Yet at no point do the effects overtake the film or the characters. Moreso than the original, this is an ensemble piece, allowing each character in its even-bigger cast at least one moment in the spotlight (in fact, the cast credits don't even run until the end of the film). And that, perhaps, is part of its problem (though it's a slight one): with so much going on, and nary a recap of what's come before, it's a film that could prove baffling to anyone who missed the first instalment. But that's just a minor quibble--X-Men 2 is that rare thing, a sequel that's actually superior to its predecessor. --Robert Burrow
Handsome loner Mark Taffin is a professional debt collector in a small Irish community. When a vicious crime syndicate tries to move in with its plans to build a dangerous chemical plant Taffin is recruited as a last resort and soon finds himself fighting for his life...
X-Men 2 picks up almost directly where X-Men left off: misguided super-villain Magneto (Ian McKellen) is still a prisoner of the US government, heroic bad-boy Wolverine (Hugh Jackman) is up in Canada investigating his mysterious origin, and the events at Liberty Island (which occurred at the conclusion of X-Men) have prompted a rethink in official policy towards mutants--the proposed Mutant Registration Act has been shelved by US Congress. Into this scenario pops wealthy former army commander William Stryker, a man with the President's ear and a personal vendetta against all mutant-kind in general, and the X-Men's leader Professor X (Patrick Stewart) in particular. Once he sets his plans in motion, the X-Men must team-up with their former enemies Magneto and Mystique (Rebecca Romjin-Stamos), as well as some new allies (including Alan Cumming's gregarious, blue-skinned German mutant, Nightcrawler). The phenomenal global success of X-Men meant that director Bryan Singer had even more money to spend on its sequel, and it shows. Not only is the script better (there's significantly less cheesy dialogue than the original), but the action and effects are also even more stupendous--from Nightcrawler's teleportation sequence through the White House to a thrilling aerial dogfight featuring mutants-vs-missiles to a military assault on the X-Men's school/headquarters to the final showdown at Stryker's sub-Arctic headquarters. Yet at no point do the effects overtake the film or the characters. Moreso than the original, this is an ensemble piece, allowing each character in its even-bigger cast at least one moment in the spotlight (in fact, the cast credits don't even run until the end of the film). And that, perhaps, is part of its problem (though it's a slight one): with so much going on, and nary a recap of what's come before, it's a film that could prove baffling to anyone who missed the first instalment. But that's just a minor quibble--X-Men 2 is that rare thing, a sequel that's actually superior to its predecessor. --Robert Burrow
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