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October 19, 2008

	 Movie Review - Sex & The City: The Movie
	Filed under:  Movie Review — Rodney Twelftree @ 12:02 pm 

	
	
I tell you, trying to look this film up on Google without scoring a gazillion pages of porn is a nightmare. Whoever thought of including the word “sex” in the title either had upgraded versions of NetNanny or they didn’t own a computer.
Still, you’ve got to hand it to them: Sex & The City is a phenomenon that refuses to go away. Okay, I’ll admit it, I’ve seen practically every episode of the series on DVD: stupid-head me bought the set for my awesome Lisa T in our first year of marriage, and consequently I ended up coming home from work to find her half way through an episode on an almost daily basis. I’ve seen enough half episodes over the intervening years to get all of the storylines and characters contained within the film. I will never, ever admit to being a fan, but I am knowledgeable enough with the show’s history and characters to be able to write a reasonably straight faced review.

Now before you ask, yes, I am a guy. A guy who likes movies where things blow up, mind you, not some nancy-boy who get’s off watching Terms Of Endearment and Julia Roberts rom-coms. Just wanted to clear that up. Still, with the untimely release of Sex & The City film on DVD here in Australia this week, I felt it was my solemn duty to sit down with the wife and give this thing a look. After all, it even stated on the cover that there’ll be sex scenes, and strong ones at that. So, with red-blooded enthusiasm, I settled in for a night of what I thought was going to be torturous snappy witticisms from resident horse-face Sarah Jessica Parker, and truly brilliant snappy one liners from Kim Cattrall.

Instead, what I got was a film that’s actually not half bad to watch. Yeah, it goes on waaay too long, and there are moments of sheer blokey torture (don’t get me wrong, this is still a chick-flick) but yes, you get to see boobs, bottoms, and even a glimpse of some fellows penis. Oops, I said penis. Castigate me to the fires of hell for not looking away sooner, but they spring it on you in a way that’s utterly un-look-away-able.

Sex & The City began life as a risque, often controversial TV show on US TV network HBO (fans will probably already know this, I’m just reiterating for the unbelievers!) and soon became a cult and critical hit, mainly due to the fact that it seemed to touch a nerve with women all over the world. Single, desperate women who couldn’t seem to find Mr Right, and were probably still hooking up with strange men in bars hoping that they could have an SJP moment. Anyway, I digress.You’d have to be either stupid or from Mars not to know about the show, and when the series concluded it’s successful run after six seasons in 2004, you could almost feel the seismic shift in reality when the finale aired, and the show tuned out.

Of course, it would live on in re-runs and on DVD, yet fans clamoured for more adventures, both sexual and emotional, of Carrie Bradshaw and her band of crazy cult followers. I mean, Miranda, Charlotte and Samantha. So, what was a woman to do? Apparently, after much heave-ho-ing (pun intended I am sure!) SJP and her fellow Sex-pots returned to the screen, albeit a bigger one, to show the world just what had happened in the intervening years since the series’ conclusion.
Carrie and Mr Big (Chris Noth, whom I always thought was more deserving of better material) are living at each other apartments, and still dating. Sarah Jessica Parker, whom I find perhaps the most unflatteringly average looking woman ever to grace the silver screen, still looks like she’s sucked a lemon every time something bad happens. And to her, it happens a lot.

Miranda, the one with a lazy ovary, and Steve, the man with one testicle, are happily (?) married and living in Brooklyn, which, from what I can understand of the subtext in films set in New York, is about as far removed from Manhattan as Paris is from Oodnadatta. Sorry, local humour there, foreign readers, but please, press on. They still have Brady, their son, and their housekeeper (I forget her name, but she’s still hanging around… she’s the one who found Miranda’s dildo that time… see, I was paying attention!) and Miranda commutes to Manhattan every day for work.
Charlotte, still happily married to her Jewish husband and cheerfully raising their adopted daughter from China… Japan…. Korea….. who knows where, is still Miss Prim and Proper. I’ll admit, behind Samantha, Charlotte is my favourite.

Samantha, after shacking up with hunky Smith Jerrod, has moved to LA to manage the young actor’s career. Unfortunately, this gets in the way of her catching up with her gal pals, and she flits off to NY at every opportunity. She still talks like a cheap hooker but looks as classy as ever. But the pressure of this transcontinental shuttlebugging is starting to take it’s toll.

The film centralises it’s plot around the wedding of Carrie and Big, in a top-teir Big Apple event unlike the likes of which you’ve ever seen. More money is poured into this thing than Rupert Murdoch’s Christmas party, and the fashions are all killer. Yes, the fashions. Okay, so I don’t go for Milano Blonics, or whatever the heck they’re called, and Loius Vitton sounds like a make of Italian car, yet apparently the chicks dig this stuff. Of course, when Big stands Carrie up on the big day, that’s when the bottom falls out of Carries life. Of course, her booze swilling, handbag toting friends are there to prop her up and offer conciliatory words of sympathy like “lets go to Mexico” (God, I can NOT remember how many times I’ve heard that after a nuptial collapse!) and talk dirty to the waiters.

Steve, Miranda’s husband, seems to have gone and slept with somebody else (we never find out who) as Miranda appears to have become so obsessed with work she’s forgotten the last time they’ve had sex. Miranda, all rage and fury at that point, leaves Steve and moves back to Manhattan. Taking her rage and fury with her as a comfort blanket, she manages to tell Big to rack off on the eve of his and Carrie’s impending Day Of Doom and sends everything into a tailspin.
Yep, I blame Miranda.

So, if, by now, you’ve stopped reading and are instead trawling the internet for nude pictures of Sarah Jessica Parker, you filthy unit you, then fair enough. It’s enough to make any hairy chested man throw back a cold one, go outside and introduce the dog to his size twelves. You’ve got to laugh, right?
Anyway, there’s a little bit of boob action in this film. If you’re still reading this, you might as well finish now, right? Samanatha gets her gear off a bit, so does Miranda late in the show, and thankfully, you are spared the sight of SJP getting jiggy with Big on the floor of their massive walk-in closet: now that you know that the film is safe for viewing, you can go watch.
And then there’s the penis.

I know this is a chick film, but anytime somebody film’s a man’s penis and puts it up on a magnificently large cinema screen, somewhere, thousands of other men are all crossing their legs and wondering if size really does matter. Bastards. We get the point, okay? Film penis’s are much bigger than those in real life…. we get it! Anyway, it’s barely a glimpse, and is thoroughly in context, so don’t worry if you happen to look, it’s not that bad. Plus, you get to see a bit of humping here and there, and that’s never been a problem for anybody.

Where does the film fall over? Where does it go so wrong that most men should run screaming from the room and straight to the eye-gouging corner?

It doesn’t do too much wrong, to be honest. I went in looking for faults, and found only a few minor ones, and they’re so minor they don’t really detract from the film-going experience at all. I do think the film runs a little too long. Our PAL system clocked the film’s run-time at a little over 2hrs and 15-ish minutes, not including end credits. That’s a fair chunk of chump-time for most hot-blooded blokes to have to sit through girly-pap in order to cop a feel. At least, if you’re not still trawling the web for porn by now. Most blokes would be.

The film runs into issues of length because they’re trying to tie up all the four storyline’s successfully, inside a feature film. Normally, the TV show would have let these stories take up a few episodes. Here, you’ve got 2.5 hours to shoehorn it all together. Unfortunately, this means that somebody has to lose out in terms of character development and screentime. In this film, it’s Charlotte and Samantha, my two favourites. Both have their separate stories splayed asunder by the overpowering nose-pointing of Carrie and Miranda. Carrie and her Big-problem makes me want to scratch her eyes out like a scorned drag queen after finding her pimp with another girl. Miranda, however, steals the show.

Miranda’s tete-a-tete with the recalcitrant Steve is one of the film’s more powerful and startling revelations. Of course, David Eigenberg delivers a lip-quivering performance as the ultimate Sorry Man, Steve, who is heartbreakingly resilient at apologies. Cynthia Nixon delivers some of the film’s best moments in her least comedic acting, where her confronting of Steve is almost above the quality required of a film like this. Still, it’s a testament to the quality of her ability to deliver a performance like this, and Eigenberg must take some credit for solidly backing her up.

Charlotte’s story, which should have had more time to play out on the screen, is shoved into cinema’s version of Coach Class, at the back of the plane and sitting near the toilet. Shame, really, as this was perhaps the climax to her greatest character moment: having a child of her own. Still, she pops one out and all is well. Wait, did I spoil it for you? Let’s just say that it was a foregone conclusion, and leave it at that.

Samanatha, stuck between a Smith and a Hard Neighbour (there’s a double entendre for the smart ones) is reduced to smearing sushi on herself and purchasing a teddy-humping dog, probably the same one you’d introduce your Rossis to. It’s a far cry from her dildo-modelling man story from the TV series, yet, she gives it everything, and we finally get to see something of the real Samantha’s character underneath all the smutty talk and nympho-acting.

Direction is pretty standard, however, and although the filmmakers have had a larger budget to play with than they ever had with the TV series, they don’t make full use of it. I wanted CGI boobs, more sex, and perhaps a gunfight between Carrie, Miranda, and those hilarious gay fellows who keep popping up to offer generic euphemisms throughout. Now that would have been a film worth watching.

Seriously, you have to ask yourself how I can possibly write so much about a film that by all accounts, I should despise simply because it exists. Much like Jar Jar Binks, sometimes you just have to bend over and let whatever happens happen. Still, Sex & The City the Film Experience was actually engaging, humorous and cause for a Cosmopolitan. I was surprised, I laughed out loud, and found myself actually enjoying the film.
Which, as a long time S&TC fanatic (NOT) I was hoping for.

Sex & The City The Movie will no doubt have already been seen by your wife/girlfriend/partner. Whichever one you fit into, you could do a lot worse than sitting in front of the TV screen for a couple of hours and cuddling the better half with this on. Who knows, if you agree with any of the characters out loud, in the right places, you might even get a bit of Sex in your own City.
Rating: 8.5/10
	
	

	
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	 From the Nest - The Secret Squirrel
	Filed under:  Comment Of The Week — The Secret Squirrel @ 9:00 am 

	
	

In my upcoming reviews, a slight theme occurs in that all the movies are romance (comedies or dramas). So to keep with the theme I thought it would be appropriate to use a poem, written by American poet E. E. Cummings, which was recently featured in the film In Her Shoes. The character Maggie recited the poem at her sister Rose’s wedding as a special surprise. It’s a deep and meaningful romantic poem, so hope you enjoy it as much as I did.
i carry your heart with me
i carry your heart with me (i carry it in
my heart) i am never without it (anywhere
i go you go, my dear; and whatever is done
by only me is your doing, my darling)
i fear
no fate (for you are my fate, my sweet) i want
no world (for beautiful you are my world, my true)
and it’s you are whatever a moon has always meant
and whatever a sun will always sing is you
here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life; which grows
higher than soul can hope or mind can hide)
and this is the wonder that’s keeping the stars apart
i carry your heart (i carry it in my heart)
***
	
	

	
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	 This Week on fernbyfilms.com - 19/10/08
	Filed under:  General — Rodney Twelftree @ 12:02 am 

	
	
Well, our catchup of reviews we’ve held over for a while continues: Plenty of great (and not so great) films come in for scrutiny this week, and we hope you enjoy them.
THIS WEEK ON FERNBY FILMS

This week, we take a look at the Daniel Day-Lewis flick There Will Be Blood, as well as the recent Jessica Alba thriller, The Eye. Also in the firing line is the recent political thriller, Vantage Point, which could almost have been titled Deja Vu 2: The Spanish Event. Plus, we gander at box-office poison Nicole Kidman’s event-film-that-wasn’t from early in 2008, The Golden Compass, to try and make sense of that debacle. As part of our ongoing look at classic films, we also present our review of To Kill A Mockingbird, one of American cinema’s truely classic films. Check that out later this week.
On Saturday, we upload a lost of what we here at the site consider to be cinema’s Ten Stupidest Cliches and Conventions. We sat about for about ten minutes, discussed it, and then plagiarised it from the internet. No, not really, but it’s a list you might find interesting or slightly humerous. That’s Saturday here at fernbyfilms.com, check it out!
SPECIAL LATE BREAKING ANNOUNCEMENT
[EDITORS NOTE: Today, around lunchtime, we will be uploading our hot-off-the-press review of one of the years biggest cinema releases: Sex & The City: The Movie!! This review will remain on the frontpage until Tuesday to give you all time to have a chuckle, and we'll double-post then to keep our movie review schedule up to date.]
Next week, another major event occurs here at fernbyfilms.com, with the release of Hello Annabel online. Hello Annabel was the first project from Fernby Films, way back in 2001. It’s presented for the first time publically online, in six easy to swallow portions across the week. We will also be hearing a little bit about the history of this wonderful project from fernbyfilms.com reviewer, and director of the film, Warwick Twelftree. That’s next week here at the site.
Eagle-eyed readers will have noticed the new Fernby Films logo at the top of the page: its our new logo and brand. Hope you all enjoy the new look, thanks to Mick K for installing it (no doubt it took a bit of work to integrate into the website, but I think it looks kinda spiffy. Some of our review mastheads are being rejigged with the new logo and some stunning new artwork….  check out the revamped logos for the recent Widescreen Series we posted a while back: and there’s others online right now… plus more to come in the future. Yep, we’re streamlining the site more and more in the months to come. Enjoy.
Also, you might have noticed a rather large update of the Photo Gallery page here at the site. For a long time, we were considering whether to keep our photo pages online, and took them down while we figured it out. Recently, with the arrival of the new computer, space wasn’t so much an issue any more and we have now planned to upload all our magnificent photos (and perhaps even the crappy ones too!) onto our brand new, shiny, gallery page. This includes all our Europe 2008 photos (previously online in June 08) and some random shots over the last year or so. We’ll also be putting the Schoolyard Justice and Thrash Bus II photos online.
It’s going to take some time, but it will be worth it. It’s simply a place for non-film related material to be seen and commented on. Let us know what you think!
I’d also like to bring to your attention, in case you’ve been living under a rock the last few years, some information about a film franchise known to all and sundry as Transformers. Starring the white-hot Shia LaBeouf as Sam Witwicky, Transformers pulled in megabucks last year, and quickly became the number one film at the box office. Plus, it became my number one all time favourite film. Woo Hoo. Now, Michael Bay is putting the finishing touches on directing the live action component of the new film, Transformers: Revenge Of The Fallen, the sequel to the original film. This is a film that has me jazzed to be alive and around to see it. I loved the original movie, and am thinking this will be the most anticipated film of 2009. The website is up and active, although new information is not yet online at the moment. Still, a Transformers 2 with more robots and more action? How can this possibly not be a good thing?
Check out the official movie website by clicking the link below.

I’ll also be going back to update the original Transformers review with new images from the DVD, so if you haven’t had a chance to check that out, now might be the time! You can find the link on the Big List page!
Until then, however, we’ll be bringing you plenty of film reviews to keep you occupied over the next six days, so check back daily for updates!
Rodney T - Director, Fernby Films.
	
	

	
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October 18, 2008

	 Movie Review - Crank
	Filed under:  Movie Review — Rodney Twelftree @ 12:03 am 

	
	

Jason Statham is one of those guys who would appear on the surface to be the next major action star, in a similar vein to Stallone or van Damme (no, he’s certainly no Schwarzenegger!) and his film career seems built on the one persona he has – charming, bullish cop/detective/thug who takes no crap from anybody.

Since Snatch came out and made a star of Statham, he’s never looked back. Even the trash he’s appeared in over the years have still been mildly entertaining just from his appearance in them.

Crank, one of the lesser known action films in recent years, is a diamond in the rough. Violent, over-the-top and utterly ridiculous, manages to straddle the line between the sublime and the stupid, coming in somewhere around “cool”. Statham plays a hitman, who is injected with a Chinese cocktail of drugs that block the adrenal glands and stop his heart. The only way to prevent his own demise is to keep pumping adrenaline out: which means he has to go hard almost the entire time. Imagine trying to keep your adrenaline up for a whole day. It’s pretty intense, and makes for a great little concept film that rocks. 

Of course, the conceit of the film is that Statham goes on an extended action sequence in order to keep his adrenaline pumping, with shootouts, car chases, fight scenes, sex scenes and other cliché action beats filling in the film’s running time. It’s kind of like Speed, just with the “bomb on the bus” inside Stathams chest. The villains are as wooden as you’d expect, Statham snarling and growling his way through the basic script, but for some reason the whole film is actually quite a lot of fun. 

The energy directors Mark Neveldine and Brian Taylor bring to preceedings is infectious, if slightly undercooked in its execution: yet the frenetic pacing precludes any kind of breathing space as Statham races around like a madman to stay alive. Of course, it’s only after the film ends that you can look at it objectively. As the film builds and builds, reality goes out the window; the finale is pure film entertainment, whithout one shred of credibility: it’s still in keeping with the style of the film, however, and you’re ready to forgive the filmmakers a little poetic license. 

Crank is one hell of ann enjoyable film, if slightly over-the-top. The directors use every style of film they can, bleached, blurry, washed out, hyper-real: it’s harkens back to early Oliver Stone stuff, and it’s great to watch. The visual effects, while minimal in use, are effective in helping create the supercharged world the film exists in. It’s funny, violent action that never once takes itself seriously, and if you don’t get one laugh out of it then you’d better check your pulse.

Definitely not a kids film, Crank is one of the most energetic films I’ve seen in ages, and personally, I cannot wait for the sequel. 
 
Rating: 8.5/10
	
	

	
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October 17, 2008

	 Movie Review - Peter Pan
	Filed under:  Movie Review — Rodney Twelftree @ 12:02 am 

	
	

Filmed in Australia and New Zealand, this version of J M Barrie’s classic tale is a film full of wonderment, evil and a whole load of fun. Unlike the previous live-action attempt, Spielbergs laboriously tiresome Hook, Peter Pan revitalises the story for a modern audience with some state of the art effect, wonderful child actors, and a lovingly crafted screenplay.

Most people alive today will be familiar with the story of Wendy and her brothers, whisked away to Neverland by the immortally youthful titular character, Peter Pan. There, they meet up with the Lost Boys, a group of young lads locked in a desperately silly battle with the evil Captain Hook, a pirate who, like Ahab obsessed with the white whale, is hell-bent on killing his arch enemy Pan. After all, Pan is responsible for Hook losing one hand to the jaws of a monstrous crocodile, so it’s easy to imagine the vengeful wrath with which Hook approaches life.

Directed by Australian P J Hogan (no, not Paul Hogan of Crocodile Dundee fame) and staring Jeremy Sumpter as the eponymous Pan, the film flickers between the entertaining and sublime with its witty, wonderful script and layered performances from the entire cast. Indeed, Sumpter is both annoyingly ambiguous and refreshingly cheeky in his portrayal of Pan, as he engages in a kind of pre-pubescent love affair of sorts with Wendy (Rachel Hurd-Wood). Sometimes Pan is portrayed as an impetuous braggart, and then in another moment a sombre and dedicated heroic figure; the crossover between both elements is perhaps the single reason this film stumbles before achieving greatness. Hurd-Wood is stunning as the wide-eyed Wendy, her toothy smile lighting up the screen and enchanting the viewer whenever she appears. Her naturalistic performance holds the film together between the dramatic human moments and the comedic fantastical adventurous parts.

 
Jason Isaacs is the superbly arch-villain Hook, and unlike the previously camp portrayal by Dustin Hoffman in Spielberg’s version, Isaacs is both truly malevolent and hauntingly emotional; his ability to inspire fear in both the characters on screen and us as viewers is what sets him apart. Indeed, his portrayal of Hook is perhaps the best version yet seen; shades of his sinister military captain in The Patriot shine through on the odd occasion, and it matches the character effortlessly.

The effects, for this is nothing if not an effect driven film, are superb, with the use of green-screen technology seamlessly putting our heroes and villains in some amazing places: clouds above Neverland, the sky above London.. all well defined and magically achieved. Finally, a version of Neverland that matches what a child’s imagination has often dreamed of!

While this film has the unenviable task of throwing off the shackles of the Spielberg monstrosity and trying to reinvent the story for a modern audience, Peter Pan remains as singular and definitive a version as we could reasonably expect. The cast are uniformly excellent, the production values unexpectedly high (considering what is achieved with the budget) and the direction and tone of the film make this a thoroughly enjoyable cinematic outing for everybody’s favourite boy who never grew up.

Rating: 9/10
	
	

	
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October 16, 2008

	 Movie Review - The Hitcher
	Filed under:  Movie Review — Rodney Twelftree @ 12:03 am 

	
	

Diabolical, violent and stupid horror film from producer Michael Bay and director Dave Meyers which attempts to remake (read; modernise) the 1986 film of the same name. The Hitcher has almost no redeeming value whatsoever, with blood and gore spraying across the screen with consequence-free abandon, and an increasing lack of logic and common sense throughout. Rampant psychopath Sean Bean is nearly run down by college kids Sophie Bush and Zachary Knighton, and is later given a lift through the driving rain. What the two kids don’t know is that he’s, well, a murdering psychopath, until he attacks them.

The kids escape the killer for a moment, and all seems well with the world; until Bean hitches a ride in a car with a family of four. Our heroes have to help them, but it proves useless. With a motive-free Bean chewing the screen up, and hacking, slashing and shooting his way through this wafer-thin plot, you’d almost be sickened by some of the gratuitous torture-porn on display. The production values are excellent, but the story and the dark nature of the narrative leaves a bitter taste in your mouth by the end frames.

The Hitcher is one of those films that has you screaming at the screen as the main characters do the most idiotic things at the most inappropriate times. Searching a dark room without turning on the lights. Not going to the police immediately. Not just simply driving on. Bush, in particular, is reduced to yet another cliched screen bimbo in her knickers when she’s trapped in a motel room with the Hitcher. 

A particularly gory moment, towards the end of the film, is horrifying to watch. It involves a prime mover, a trailer, and somebody strung up between them. It’s hard to qualify The Hitcher as entertainment. Some horror films at least have some semblance of a point: this film does not. It’s characters are not developed beyond simple film cliches, and it’s narrative is as skew-wiff as the script. Those who enjoy film’s like this will probably be overjoyed at the level of carnage on screen, but for the casual observer, it’s an overly violent, scatter-shot approach to a Hitchcock riff you’ll ever see. And one of the most unbelievable. Take the scene where Sean Bean is in pursuit of our heroes, just behind the fleet of cop cars (and a helicopter) also pursuing them. Our bad guy manages to destroy all four cop cars, plus shoot the helicopter out of the film, with a simple handgun and a Trans-Am. Inept cops are perhaps the most overdone cinematic pratfall in history: here, it’s taken to a whole new level.

To say that The Hitcher manages to be off-putting is to say you enjoy sucking vomit through a straw. A film with no redeeming features whatsoever, a script so stupid it makes a porn film look positively Shakespearean, and a large quantity of blood and exploding heads; The Hitcher is a horror film that goes to places only Eli Roth would enjoy. Stupid, inane and pointless, I’d heartily recommend you avoid this film with the urgency of the Ebola Virus. 
Dreadful.
 
Rating: 2/10
	
	

	
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October 15, 2008

	 Movie Review - Chaos (2006)
	Filed under:  Movie Review — Rodney Twelftree @ 12:04 am 

	
	

Jason Statham returns to the screen partnered with cinema heavyweights (guffaw) Ryan Phillippe and Wesley Snipes, in this brain bending attempt to create some kind of noirish crime thriller: Chaos is pretty much just that. 

To be honest, the film is actually not too bad, a pretty simple premise with some stylish execution that belies the B-grade nature of the script. Statham plays a washed up (and disgraced) cop who is called back into duty after bank robber (Snipes) wants to talk to him during a hostage situation. Partnered with Phillippe, Statham snarls his way through the film as he and his younger partner try to sole the increasingly defiant riddle of exactly who Snipes character is, and what his relationship to our other characters is. Add in Henry Czerny as the slimy chief of police, and you have a ready-made thriller that’s chock full of twists and turns, some of which are actually surprising. 

Snipes has a great time hamming it up as the films central villain, his sneering, cheerfully wilful arrogance seemingly at odds with the tone of the film overall; yet it works convincingly. Phillippe, as the ingenue partner of Statham, is solid as the brains to his boss’s brute force. Stathams readily volatile character is simply a sledgehammer in action: the brutish force with which he applies justice at any cost is mentioned several times by varying characters. It’s a perfect fit for Statham, who seems to pick roles perfectly suited to his limited range and skill on screen. That makes his a thoroughly entertaining actor to watch, as he merely plays the same character in each film. 

So what makes this film worth a watch? Well, it’s got some delightfully done set-pieces, particularly the bank robbery and subsequent explosive tension as the cops decide to enter the building to liberate the hostages inside. There’s a horribly ordinary fight sequence inside a derelict house (which explodes) that is slight on tension and large on darkness.Still, the tension manages to keep you engaged for a while, and the payoff at the end is worth the wait. 

Chaos as a film is one of those attempts by a scriptwriter to be cleverer than they actually are, and the director (in this case, Tony Giglio) makes the most of the limited character development on offer: it’s a sharp and simple effort that rises above mediocrity to fulfill the brief given on the cover: it’s chaotic at first, and there are numerous red herrings along the way… at least, enough to keep all but the most intelligent viewer engrossed. 

While I wasn’t expecting a whole lot, what I got was thoroughly enjoyable and most definitely a film worth watching. Recommended.
 
Rating: 7.5/10
	
	

	
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					Stuff you missed? Here it is!!!
			
						Movie Review - Sex & The City: The Movie
						From the Nest - The Secret Squirrel
						This Week on fernbyfilms.com - 19/10/08
						Movie Review - Crank
						Movie Review - Peter Pan
						Movie Review - The Hitcher
						Movie Review - Chaos (2006)
						Movie Review - The Number 23
						Movie Review - Bowling for Columbine
						Schoolyard Justice - YouTube Version Online Now!!
						Movie Review - Wall-E
						From The Nest - The Secret Squirrel
						This Week on fernbyfilms.com - 12/10/08
						Movie Review - Flyboys
						Movie Review - SkinWalkers
						
		
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