Reviews

After reading critics' reviews I thought twice about seeing this film. But I needn't have worried as this was fantastic entertainment. I don't seem to care that the director has kept the stagy sets and took a literal approach to adapting a stage musical for the big screen. It was a fun time from beginning to end.

While his portrayal of Leo Bloom was too much like Gene Wilder's, Matthew Broderick was simply divine when dancing. Indeed it was an interesting to see the top half of his body so still and rigid while his legs and feet were moving with such poise and grace. Nathan Lane never seems to disappoint, he is simply brilliant. His physical resemblance to Zero Mostel is obvious but the mannerisms are all his own. Uma Thurman is good as Ula and Will Ferrell rediscovers his funny.

I didn't even mind the over-the-stop stereotypes. Gary Beach and Roger Bart are screamingly funny. Springtime for Hitler is the best part of the show and nice to see John Barrowman giving it his all as the blond Nazi.

If you want to be entertained for a few hours then this is the movie to go see, don't let the critics put you off!

I was looking forward to seeing this film. There is such a good vibe about it, so imagine my puzzlement when presented with a dog's breakfast of a movie. Is there supposed to be tension or suspense? I didn't feel any.

Shane loves his fields because there are lots of long lingering shots of them. Just when you think its about to get going up comes another field shot to slow it all down again.

To be fair my friend who watched the film at the same time thought it was very moving, however, I couldn't agree less. Flashbacks which are supposed to add meaning to the story instead only serve to confuse. It might have helped if the gangsters had any genuine menace about them but they are so inept that their inevitable dispatch only evokes a 'so what' feeling.

The poster proclaims that Dead Man's Shoes redefines the slasher movie. Please give us a break, it redefines only the meaning of 'rubbish film'.

Despite the density of the action this felt very lightweight compared to the other two matrix films. The characters just don't do very much or even say very much of consequence. I can't help feeling that Reloaded and Revolutions could have been easily edited into one movie if the Wachowski brothers had really worked at it. Both films seemed padded out; the rave scenes in Zion (Reloaded) and the battle of Zion

(Revolutions) could have been paired back. Action and special effects overwhelm everything else.

The Matrix was great but it should have been left there. The idea was never developed in a way that could satisfy like the original did and the only things left to enjoy were the amazing action sequences. But even action in the end is not enough to make a great film.

This is the weakest Bond film ever. After a fairly encouraging opening where our hero gets tortured, the plot goes downhill rapidly and I noticed that the ruthless culling of minor characters seems to have been abandoned. Perhaps the producers don't think filmgoers have the stomach for it anymore. But without real danger how can you create menace?

All the actors are on auto pilot. Brosnan is acting in his sleep and I don't know what Berry thinks she's doing appearing in this rubbish. It wont do her newly enhanced reputation any good. I know the plot of a Bond film isn't supposed to make sense but at least the writers could have seen fit to include just one twist or surprise?

So utterly predictable, I almost died of boredom before the closing credits.

If anyone thinks this movie represents a good action flick, then may I assume that they haven't been alive for very long and so haven't seen the real thing.

Cheap and obvious effects, one-dimensional acting and a ridiculous plot serve to make even the tired clichés of the Bond films seem like art by comparison.

What a waste of time. Why are the meaningless blatherings of a spoilt middle class brat supposed to be funny? I had a hard time keeping my eyes open. There was very little to hold the attention. The central characters are a void with nothing interesting to say or do. Enid's so called rebelliousness against corporate capitalism is nothing more than a five year old's temper tantrum.