Gore Verbinski | 168 mins | cinema | 12A / PG-13
Curse of the Black Pearl was a surprisingly great film. Dead Man’s Chest was a lacking attempt to recapture that glory. At World’s End is the worst subtitle of all three, but mixed in quality.
The first half hour is great fun, but then it gets weird, adds in hefty doses of over-complex plotting, and drags along fairly slowly until it finds an exciting climax a little late on. It’s not all bad — beautiful to look at, with some of the most impressive CGI ever, and there’re some good action scenes.
In the end it’s the attempts to drag what was an entertaining fantasy action film to the mythological levels of Lord of the Rings that has made both sequels inferior to the first offering.

If you’re into dance music/clubbing/Ibiza/etc, then this film is definitely aimed at you. As for the rest of us normal folk… well, to be honest, it’s actually a fair bit better than I was expecting!
Gentle, silly humour abound in this comedy, the third in the Road to… series. If you remember those plays that Morecambe & Wise used to do you’ll have a fair idea what this feels like, although with a couple of added musical numbers (and pretty good ones at that). It’s not ‘great cinema’ and it won’t be to everyone’s taste, but it makes for a light, fun way to spend not much more than an hour.
Spider-Man 3 carries the distinct air of a group of people trying to recapture former glories, and the fun they had achieving them, and failing on both counts. There are hints at the things that made the first two (especially 

Comedians Walter Matthau and Michael Crawford (yes, Frank Spencer!) star alongside Barbra Streisand in this comedy musical directed by Gene Kelly (yes, the star of many a musical himself!) which flopped at the box office but did well at the Oscars, and has gained in popularity since.
CGI movies are far too common these days, meaning that the quality is dropping (demonstrated by the fact that the number produced has increased massively but the number of Oscar nominations in that category has remained at three).
I seem to recall reading that Secretary attempts to depict a realistic and sympathetic dominant/submissive relationship. Unfortunately this seems to come a bit unstuck with the feeling that the relationship is initially based in an emotionally (and physically) abusive act against a clearly vulnerable character, leaving the following events and mutually loving resolution tinged with a hint of something akin to Stockholm Syndrome, in my opinion.
To be fair to The King and I, I was a little sleepy through most of it, and, thanks to some slightly cheesy bits at the start, my mind was occasionally locked in a spoofing mode.
This loosely satirical comedy from the director of such diverse fare as