In which I don’t see Spider-Man 3, because I don’t care enough to brave the huge opening weekend crowds (and it’s not meant to be very good anyway). Just one in a list of films I’ve missed at the cinema this year anyway (300, Sunshine, The Fountain, The Illusionist, Ghost Rider, Shooter, TMNT…), though I do intend to see it there soon. And Zodiac‘s out now too! And Pirates of the Caribbean: At World’s End is surprisingly close! And…
Oh, summer. How you sequelise us. Now there’s a new word for you.
Also this month, I watch some stuff via free downloads — legal ones too! Check out LOVEFiLM for those, including proper features such as Super Size Me and The Cooler (as well as many more… if you pay). [2015 edit: LOVEFiLM streaming is, of course, now Amazon Instant Video.]
This time, I also came up with a way of listing Extended-Cuts-That-Aren’t-Much-Different without adversely affecting my numbering system. I’ll also use the same system to list short films that I watch.
As usual, before we embark on the reviews, I shall inform you that this period covers the middle of May, from the 7th to the 20th.






An adaptation of the first in Anthony Horowitz’s bestselling series of Alex Rider novels. It does a good job of translating the book, aided by an extensive cast of recognisable Brits (and some Yanks) and some entertaining action sequences.
“You’ve heard the story of Jesse James, of how he lived and died; If you’re still in need of something to read, here’s the story of Bonnie and Clyde.”
Godard’s first and most famous film; part of the beginning of the nouvelle vague, a French movement defining a particular youth culture at the time. OK, loose history lesson over.
2007 #45
As expected, this film pales in comparison to the 
Empire’s 15th best film of 2006 is very European. “How so”, you may ask? Well, firstly, it is French; but it certainly feels it: it takes a very good concept/plot for a thriller and then stretches it out a little thin, with a notably slow pace, and a concentration on the dramatic impact on characters rather than plot movements. Not necessarily bad things, and it walks a fine line somewhere between them working and them failing (that is to say, it’s not wholly successful). There’s an irritating apparent lack of resolution, though reading one theory in an online review has suggested maybe I missed (or misinterpreted) it.






