I don’t know when I’ll next be in Barcelona, a city that always felt like a home, but I’ll certainly look at it with fresh eyes when I do. Surely the mark of a great film.

• Toy Story 3: It’s pretty amazing that the Pixar folks manage to constantly outdo themselves from movie to movie, but to have a trilogy of movies that just gets better and better each time is mind blowing. Just think how good Revenge of the Sith would have been if that was the case for George Lucas? Anyways, I digress. Toy Story 3 is beautiful and heart rending to watch, as well as being a kid friendly roller coaster of a movie. A must watch, if only for the Buzz Lightyear secret modes…
• Ponyo: Another Studio Ghibli classic, the story of a goldfish princess who goes off an adventure and falls in love with a human child, causing havoc to the balance of nature. Beautiful animation style. A wonderful glimpse at life in fishing villages in Japan and a mum voiced by Tina Fey, what’s not to love? Well, the story is a bit derivative and the ending seems to just happen, so it’s not the best Studio Ghibli film ever but worth a watch.
• My Name is Bruce: Bruce Campbell, star of the Evil Dead movies, stars as ‘himself’ in this send-up of B-movie stardom. A bit flat in places, if you’re a fan of Bubba-ho-tep (“everybody likes Bubba-ho-tep”) then this is well worth watching.
• Prince of Persia: Great special effects, epic scenes and some of the worst ‘English’ accents you’ve ever heard.. even from the British actors. Ben Kingsley and Alfred Molina I’m looking at you. The storyline is a hodge podge of revenge and mythology in the classic style of Tomb Raider, another game to film conversion. A six beer movie at least.
• The Last Airbender: M Night Shyamalan has not really produced any classic suspense movies in a while, so I was interested to see how he fired up this new trilogy. The answer? Beautifully shot, with some great special effects, but none of the Shyamalan story magic.

Must spend less time in front of a screen…

There Will Be Blood is a real powerhouse of a movie. Daniel Day-Lewis takes the lead as an oil prospector, Daniel Plainview, who works his way up from the bottom through his own hard work and cunning, yet still acknowledging that only one in twenty prospectors ever strike big. Along the way he loses a lot of compatriots, and makes few friends, being unrelenting in his pursuit of oil success. After achieving some early finds, he is approached by a young man who tells him of oil on his farmstead in return for money. Plainview visits the farm and finds the boy’s twin brother, Eli Sunday, a fanatical Christian played with creepy genius by Paul Dano. Buying up the farm and the surrounding area, Plainview grows his empire – facing loss and gains along the way, within a circle of his own self-created loneliness.

There is no redemption in this movie for the principle players, just dark drilling into the human soul and psyche. The beauty here lies in the cinematic vistas of early oil fields, and the starkly wonderful soundtrack by Johnny Greenwood of Radiohead fame. There Will Be Blood is a must see movie, but have a cheery follow up film as a follow up – for us it was The Triplets of Belleville, a quirky French animated movie about one Grandmother’s quest to cheer up her Grandson with surreal consequences. Very enjoyable.

In the middle of getting ready for an imminent work trip to Israel, I found time to attack a couple of classics from different media; the book Treasure Island, and Hitchcock’s masterpiece of film, Vertigo.

First up, Treasure Island, a book I can’t actually remember if I read when I was younger as the themes are now so familiar; pirates with parrots and wooden legs, buried treasure and heroic cabin boys. Robert Louis Stevenson’s classic is best read at a younger, more innocent age, yet maintains it’s ability to thrill even to us jaded older folk. A fun, lightweight classic but don’t expect anything too mentally challenging.

Then we have Alfred Hitchcock’s Vertigo. As someone who watches a lot of movies I’m slightly embarrassed to say that I’ve not watched any Hitchcock films. This is something I realise I now need to rectify, as Vertigo is visually sumptuous, engaging with great acting from James Stewart, and a thrilling soundtrack. There’s also a classic early intro sequence from Saul Bass. The story follows Stewart, who plays a detective on retirement due to the onset of crippling vertigo which caused the death of a fellow officer. Stewart, for want of anything else to do, accepts a friend’s request to follow his wife, Kim Novak, who has been acting strangely and apparently is possessed by the suicidal spirit of a dead woman. Stewart accepts, and in carrying out his duties falls in love with the wife and things progress from there.

Although the film is now over 50 year old it is still a joy to watch. The speed of pacing may put off some viewers, but Hitchcock was well ahead of his time and if you’re not addicted to jump cuts then all will be well. Happily for me this now means I have the rest of Hitchcock’s back catalogue to watch as well. Splendid stuff.

Most of you will know about my mild obsession with Terry Gilliam and his amazing films. Gilliam’s movies are some of the most regularly re-watched in my extensive collection, along with those of the Coen Brothers and Christopher Nolan. All of them delight in visually stunning extravaganzas combined with off-beat yet engaging characters, and Twelve Monkeys is no exception.

Twelve Monkeys is Gilliam’s 1996 sci-fi time-travel confuso-thriller starring Brad Pitt, Bruce Willis and Madeline Stowe amongst others. The basic story is based around the surreal French short film La Jetee, centering around a man from the future who has seen his own death as a child. In this re-telling our soon to come dystopian future has the remnants of he human race living underground, holding on after a devastating virus has killed most people. Willis plays James Cole, a prison inmate chosen to go back into the past to try and investigate what happened and ultimately retrieve a pure source of the original virus so the future/present scientists can create a cure. With me so far? Well there be spoilers ahead, so be warned.

Once back in the past Cole is captured and put in a psychiatric ward as no-one believes his stories of a destroyed future, and it is here that we first meet Brad Pitt as the crazed son of a Nobel prize winning virologist (played by Christopher Plummer). This was a stand out transformative role for Brad Pitt, previously type cast as a dull pretty boy – remember this was before Fight Club. Many people did not believe Pitt could do the role, but Gilliam pushed through and rightly so – never doubt Terry’s eye for casting. Great stuff.

From here things get even more confusing, with Cole moving back and forth in time and falling in love with his psychiatrist, played by Madeline Stowe. Eventually she starts to believe his apocalyptic ‘visions’ and goes from being kidnap victim to willing participant in an extreme example of Stockholm syndrome. At the end they agree to escape together to sunny Florida and end up at an airport where Cole is shot right in front of his young/past self while attempting to kill the real person behind the contagion. Cole has failed, the contagion will be released and his attempt to escape into the past has come to naught. Of course it’s a reflection of how dense Gilliam’s movie is, that it was only on this re-watching that I realised that when the real bad guy gets on the plane he sits next to one of the scientists from the future who introduces herself as working ‘in insurance’ – genius.

This really is a must watch movie, second only to Gilliam’s Brazil for a dark future vision, with stand out roles from a trio of top notch actors. You may find it a bit confusing at first, as time travel plots are never the easiest to understand, but the effort is well worth it. Plus on the DVD there is ‘The Hamster Factor’, a fascinating behind the scenes documentary named after Terry’s obsession with the detail that drips off every image. What do hamsters have to do with it? Well in a scene where Bruce Willis is sitting naked in a lab drawing his own blood for scientific tests there is a hamster in a wheel in the foreground. This small element of the overall scene is of particular importance to Terry as part of the symbolism of the movie, and getting the correct ‘performance’ out of the hamster (as well as his human co-star) is what makes a Terry Gilliam film a Terry Gilliam film – much to the general chagrin of most of his financiers. However we, his viewers, love him for this dense, obsessive approach to the visual art of film making.

The Curzon was, as usual, showing an interesting range of previews most of which looked like great films. One in particular caught my eye – Steven Soderberg’s two part epic Che. This true to life biopic, previously called ‘The Argentine and the Guerilla’, follows the life of Che Guevera from his early days as an Argentine doctor through to cultural icon that he is now. Che is played by Benicio del Toro and goes through an amazing range of body sizes along the way. All looks very exciting, although the early reviews are somewhat mixed.

BTW, How come it costs £12 or more to go to the cinema in London these days? This comes as a brutal shock after getting used to $12 in New York for, what I’d imagine, is the same film just with bigger, more comfortable seats (to fit the larger gentleman). I don’t think cinema’s can blame pirates for a decrease in film attendance when they’re gouging us like that!

Molière is a great movie, deep, visually stunning, yet hugely funny and moving. Romain is at times dark and brooding, then generous and funny, and all fully fleshed out by his highly talented portrayal of a complex character. Definately a must see, even if you’re not a great fan of sub-titles. Read my full review of Molière here.

The Fountain got mixed reviews which stopped me seeing it in the cinema, and after Requiem for a Dream Aronofsky had a lot to live up to, and having watched it I can see why – it’s not easy going, and not a cheerful, Hollywood movie that’s for sure – but then when are Aronofsky’s movies ever like that? Cut to the chase – the movie is stunning in places, dramatically wrenching and beautiful with some great acting. So I highly recommend it to everyone.

Onto Mighty Wind, another ensemble comedy piece from the team behind Best in Show and the folks from Spinal Tap. With those credentials you would expect some laugh out loud faux documentary moments and it doesn’t disappoint there, however overall the film left me un-satisfied. Mighty Wind seems to lack any real drama and just meanders along like a folk Spinal Tap that only goes to 6, not 11. There is some standout acting in there but don’t expect too much.

You can read my more detailed reviews here: Mighty Wind and The Fountain.

The movie centers around three estranged brothers on a journey across India on the Darjeeling Limited line. Each brother has his own character flaws, and the inter-play between them all is wonderfully engaging. As their journey progresses across the country other colourful characters are introduced, each with varying impact on the brothers and their life trajectories. Family relations, trust, spirituality and escapism are all investigated as the brothers continue their journey, and by the end of the film they are all changed – but for how long is the question given the embedded character flaws that have kept them going up till now.

Darjeeling Limited is a another great film from Anderson, perhaps not his best but it’s hard to tell these things on first watching. The dynamic nature of Life Aquatic is missing somewhat, being replaced more by emotional tones than melodies. If you love Anderson, you’ll love this – and if you’ve never seen his films then this is a great place to start.

Oh, and as a bonus before the main feature there’s a short – Hotel Chevalier – which fills out a sub-plot of the main movie, plus gives you a chance to how short both Natalie Portman and Jason Schwartzman are. Amongst other things.

I’ve had to go through US medical treatment a few times now, with varying levels of medical cover. The first time was due to an icey slip into a puddle which resulted in a sprained tendon that took an age to heal but no major operation thankfully. The slip also resulted in about $5,000 in medical bills from a few hours of emergency room checkups (that weren’t even that quick). Luckily this was all covered, but it would have been an unwelcome cost should my HMO have decided not to pay out. In Moore’s movie the many ways that HMO’s avoid payouts and the impact on peoples’ lives is gone into in detail, often heart wrenching detail as death is regularly involved. Unsurprisingly the government’s link with big business is singled out as a driving factor by Moore, and his old pal George W comes in for the usual treatment.

Having revealed the warts of the US system, Moore then proceeds to wax lyrical about overseas systems based on ’socialist’ practices – ie, taxes pay for everyone’s health cover however poor, all are equal. Canada, Britain, France and Cuba are examined and Moore acts out his country’s amazement on how well these systems work. As a Brit I know the British system isn’t as wonderful as Moore makes out, but I’m glad we have that rather than the US system. Equal healthcare for all is a wonderful thing, as none of us know who will be unlucky in the good health lottery.

Sicko is a great film, more emotionally wrenching than his previous offerings and a lot more human while staying political as only Moore can. Generally the US doesn’t get much sympathy these days due to its oil driven global policies, but this film reminds us that the citizens of the US are often the ones who suffer. Hopefully this movie will help drive positive change for all.

Disclaimer: Many years ago I did some work for Humana, one of the HMO’s mentioned in the film. In fact when you watch the film and see the ridiculously huge and be-marbled Humana offices in Louisville, look at the small brick building to the right – that’s where we were working.