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Ever since I saw Shaun of the Dead a few years back I have become a fan of Simon Pegg, Nick Frost and Edgar Wright. All three have produced some very good entertainment in their careers so far.

Simon Pegg is great at playing ordinary people, and Run Fatboy Run proves just that! His performance is probably the best thing this film has to offer, and it is worth seeing this film just to see him in his role!

As for the rest of the film, well it’s pretty good too. OK so it does feel a little predictable and americanised for a British film, but then that’s obvious since this film is directed by David Schwimmer (of ‘Friends’ fame). Nethertheless, it’s a pretty good film with one or two humorous moments. The other actors and actresses in the film also play their roles well, and is a very well made film despite the low budget they had.

(2 votes, average: 4 out of 5)

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With Dial M For Murder, Alfred Hitchcock made a temporary transition from suspense to mystery and of course handles it excellently. Suspense is still present, just not as prominent as in Hitchcock films of the past or future.

Grace Kelly in her role in Dial M For Murder this unique presence is detectable, even obvious, at first, but thanks to her superb performance it shrinks and vanishes as the film progresses. Her on screen male counterparts undergo similar transformations, and very authentically thanks to their own excellent acting.

Of course, none of this would have been possible without the direction of the Master of Suspense, Alfred Hitchcock. This film is not so much suspense as Rear Window or Strangers on a Train, but Hitch keeps it exciting and lively regardless, thanks to his brilliant, as always, cinematography. In his hands Dial M For Murder grows into much more than it ever could have been without him. Although not the best the Master has to offer, Dial M For Murder is an enormously well-done “whodunnit” mystery that thrills and entertains. Should be enjoyed by old and young folks alike.

(2 votes, average: 4.5 out of 5)

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“Strangers on a Train” was one of those film classics I had always heard about but somehow never gotten around to actually seeing. I finally watched it a few weeks ago and, as always with any Hitchcock movie, it not only stood up to the test of time, it far surpassed most thrillers being made today. You can see the inspiration for future action movies here - the climactic ending with the out-of-control merry-go-round and the two villains dueling each other reminded me of the big action sequence at the end of Jan de Bont’s “Speed.” Of course, “Strangers” is over forty years older than “Speed” and contains no modern special effects, but the visceral thrill is there - Hitchcock was a true genius.

The not-so-subtle gay side of Bruno (Robert Walker in an amazing performance) has taken form in many other psycho-stalker-figures in future movies. Consider him a male version of Jennifer Jason Leigh in “Single White Female.” He knows about Guy before he even meets him on the train - we almost get the feeling their contact isn’t incidental - and is soon entirely obsessed with him.

Hitchcock loved the Oedipial elements in his movies (also see “Psycho” for more blatant undertones) and there’s a lot of that here. Bruno hates his father and wants him to die so he can be with his mother. His effeminate ways and obvious homosexuality must have just slipped by the censors in 1951, when gays were not “allowed” to be portrayed on the screen - yet Hitchcock gets the message through effectively when we see Bruno in the lounge on the telephone wearing a very non-masculine robe, flirting with Guy and responding to his mother.

The deep layers of this movie make it a fast-paced thriller than you can return to again and again - unfortunately it’s being remade as a big-budget Hollywood production, but after seeing the original I honestly can’t imagine anything surpassing the sheer white-knuckle thrills of this movie.

(3 votes, average: 4.67 out of 5)

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