The plot serves merely to bring on the dinos, and the CGI graphics create real T-rex-in-your-face terror. Richard Attenborough's barmy tycoon is cloning dinosaurs at the mother of all tropical-island theme parks Sam Neill, Laura Dern and Jeff Goldblum are the scientific investigators called in when things start going wrong. Still, Stuart is voiced by Michael J Fox, his feline foe Snowbell by Nathan Lane, and the cat-and-mouse antics are done with real inventiveness.
This adaptation of the 1950s kids' classic by EB White about an orphan mouse boasts all the requisite hi-tech effects without unduly engaging the emotions. Zemeckis directs with wit, energy, and an impish sense of fun. The original of the highly successful three-part series, with batty, bug-eyed scientist Christopher Lloyd sending young Michael J Fox in his DeLorean time-machine back to 1955, where he inadvertently prevents his parents from falling in love.
Jeff Daniels and Joely Richardson are the pair trying to foil her wicked plan Hugh Laurie and Mark Williams are more slapstick fun as heavies Jasper and Horace. Except for Glenn Close's gloriously nasty Cruella De Vil, of course: you can see the fur coat in her eyes when she gazes at those cute little puppies. This live-action remake of Disney's animated classic demonstrates that real people and real dogs just don't hack it. He acquires a magic book that whisks him to Fantasia, a dreamworld of dragons, fairy princesses and irascible rock creatures, where the Nothing is a creeping menace spreading despondency far and wide. Petersen creates an enchanting fantasyland reminiscent of Tolkien's in this tale of bullied schoolboy Bastian (Barret Oliver). Expensive, glossy, undemanding twaddle, with Roy Orbison's great title song. Julia Roberts stars as the sensitive hooker who, given a blank cheque to spend in LA's designer stores by client Richard Gere, discovers that there's a better life to be had by marrying a rich man.
THUNDERPANTS MOVIE RED LETTER MEDIA PLUS
Crammed to the gunwales with action and laughs, plus a couple of scenes to shiver your timbers a lot like the themepark ride, really.Ī modern day fairy tale and box-office smash. Along with blacksmith-turned swordsman Orlando Bloom they set out to rescue the governor's beautiful daughter (Keira Knightley) - and of course, the gold - from Cap'n Geoffrey Rush and his cursed crew in the pirate-infested Caribbean. The Jolly Roger of the show is Johnny Depp, whose hilariously twitchy, dopy, mascared adventurer Jack Sparrow is modelled on his chum Keith Richards. Pirates Of The Caribbean: The Curse Of The Black Pearlīeing based on a Disneyland ride is not the most auspicious of origins, but this was a big, bold and very funny swashbuckler. Not exactly side-splitting humour, but an engaging comedy as the pair come to a new mutual understanding. After a set-to in a Chinese restaurant, magic fortune cookies cause a body swap: daughter wakes up, shrieking, in the body of Mum, and vice-versa. It struck a deep chord with audiences, and there were Oscars for the special effects and John Williams's sweeping score.Įnjoyable remake of the 1976 Disney comedy, with Lindsay Lohan as a not-that-terrible teen whose hobbies are playing guitar in a rock band and winding up mum Jamie Lee Curtis, a slightly uptight psychologist. It's shameless schmaltz of galactic proportions, but it's hard not to sob when ET's little heart starts a-glowing again or to cheer when he takes the young bikers on a flight to freedom. Spielberg's consummate sci-fi fairy tale about lonely earth boy Elliott (Henry Thomas) who befriends a cute young stranded alien, and helps him go home. But Pullman's teenage daughter (Christina Ricci, in one of her striking early roles) takes to lonely Casper - an impressively rendered, computer generated ghost.
This warmhearted ghost story has exorcist Bill Pullman contracted to clean out a haunted mansion by nasty heiress Cathy Moriarty and stooge Eric Idle. But Yul Brynner (who incredibly won the best actor Oscar) and Deborah Kerr hardly crackle with cross-cultural passions. Worlds collide when a British governess arrives in mid 19th century Bangkok to mind the King of Siam's children: fluttering about to Rodgers and Hammerstein songs such as Getting To Know You, Shall We Dance? and Hello, Young Lovers, they are mutually charmed. Jodie Foster makes an early appearance as the moll, Tallulah: a disconcerting change of tack after playing the child-whore in Scorsese's Taxi Driver.Ī lavish and colourful musical that remains obstinately dull. Alan Parker's debut feature, a musical gangster romp in which children with splat guns and custard pies replace grown-ups with shooters.
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