Live. Die. Repeat.

Doug Liman

Tom Cruise
Emily Blunt

The life of a film critic works in fairly formulaic cycles. Summer brings blockbusters, Winter sees dramas; and comedies are interspersed throughout the year. The reality of this is that you are bombarded by so many of the same type of film in a short space of time, that you often overlook or underestimate a release or two. Edge Of Tomorrow is one of those features; a decent science fiction action film, well executed, decently acted and surprisingly thrilling.

The film wastes no time in setting the scene for the audience. In the near future, the Earth is hit by an asteroid that carries with it an advanced species. This unstoppable force lands in Germany and quickly conquers most of Europe. Finally, our race manages to secure a single victory in Verdun, France; curiously at the hands of a single soldier armed with minimal training and an armoured combat suit. The success of Rita Vrataski [Blunt] earns her the name ‘The Angel Of Verdun’ and her image is used as a propaganda symbol by the military’s marketing arm to drive recruitment levels. One such marketer is Major William Cage [Cruise]. Being the face of the drafting campaign, Cage is brought to London and ordered by the commanding general to report to the front line with a camera crew and document the war effort. As a non-combatant with a distaste for combat, Cage desperately tries to weasel out of the order but is arrested, stripped of his rank and sent to the front line as a deserter. What should be a routine drop turns into a slaughter and our strongest forces are practically wiped out immediately. Cage, witnessing all this, manages to secure a single alien kill, covering himself in blue blood in the process. As he dies, Cage automatically wakes up the day before, on the military base at Heathrow and slowly learns that he is forced to live this day over and over until he can break the loop.

As the most commonly recognisable time loop flick, most critics will plaster the words Groundhog and Day all over their reviews. While I appreciate the similarities, it’s really nothing like that movie. The more accurate comparison would be that of a video game. Anyone who’s played a video game for more than an hour will have died/failed repeatedly and memorised exactly where they stumble, only to reload the save and try to pre-empt the attack. This film is like that. In the centre of the fray, unable to escape, no real time for research or analysis, trying to figure out how to fix everything. Thankfully, the script cleverly changes up the location a few times, allowing the loop variations to feel fresh, unique and unpredictable. Admittedly, every now-and-then the SciFi exposition starts to seep out, losing the audience for a fraction of a second but then snaps back before you realise what was just averted – a vital trick most genre films tend to bungle or miss entirely. Another interesting comparison is between this release and Oblivion. For those who read my review last year, Oblivion is a stunningly pretty science fiction film that was marred by weak developments, hung on a flimsy finale and ultimately made little-to-no sense. As this movie happily plodded along, I was desperately worried we would be entering the same territory here but thankfully, Edge Of Tomorrow proves itself to be a significantly impressive feature.

You can essentially draw a straight dividing line between the actors. On one side you have Tom Cruise and Emily Blunt leading the charge and on the other you have the supports. The majority of the supports are pretty decent but they all have very obvious two dimensional personalities: you’ve got the hard-arse General, the loquacious drill Sergeant, the crazy scientist, not to mention the rag-tag company of outsiders and weirdoes (somehow a pre-requisite of all futuristic military flicks). But getting back to the leads, Blunt and Cruise work spectacularly together and ensure that any flaws in the supporting character design are completely peripheral. I’m always a fan of Blunt on film and everything she works in staples her as a dedicated and passionate actor. Put simply, I believe every role she’s in. Then there’s Tom ‘Look at me run’ ‘Don’t bad mouth Scientology’ ‘Show me the money’ Cruise. A lot of people dislike Mr. Cruise and the last eight or so years have not been kind to the man. But from an acting perspective, I’ve mostly enjoyed his performances; sure he’s a bit whacky but he has the charisma and magnetism to really sell it. Nowhere is that more prevalent than here. Cruise’s performance as Cage is genuinely transformative; not in the sense that you can’t tell it’s Cruise but for the fact that he starts out as this corporate, self-serving, shit-eating-grin-wearing douchebag coward and over time (and probably a lot of post-traumatic stress) hardens himself into a determined, motivated warrior. For an actor, that’s a statement. Playing yourself is easy. Playing someone else is tricky. Playing someone else who in turn evolves into someone dramatically difficult is a challenge – and amazingly Cruise nails it.

Keenly directed (if a little too shaky cam for most) and easily Liman’s best work since The Bourne Identity, whilst also channelling some of the manic pacing, humour and disjointed emotional developments of Go. The production value is gritty and plausible, the visual effects are extraordinarily impressive (when they work) and the locations are used very well – bringing an interesting World War II parallel to the fore. Personally, I found the aliens, dubbed ‘mimics,’ a little too Gears Of War inspired and far too fast to actually get a good look at but they make for a formidable foe and heighten the fear and tension that weaves its way throughout. Which brings us to the score. Christophe Beck’s subtle immersive use of deeply electronic hums and pulses is perfect for the on-screen action and really compliments the devastation, chaos and carnage but at the same time, the end credit music is so fucking stupid, it has to be called out. I couldn’t give two shits who the hell John McDaid is but his track “This Is Not The End” was a terrible choice. Sure, the lyrics work with the story but the tone was so off. The movie closes and this upbeat indie rock track surges in, almost as if to say, “Come on, kids! Clap along!” Just.. so stupid.

Amidst a sea of wince-inducing science fiction and war dramas that are effectively positive promos for the military, Edge Of Tomorrow serves as a welcome break from the norm and entertains solidly for its entire running time.

Release Date:
30th May 2014

The Scene To Look Out For:
This is going to sound a little ridiculous but hear me out. I really like the scene where Vrataski reveals her middle name but probably not for the reason you’d initially think. Spending his day with Vrataski, either training or dying in combat, Cage makes several attempts to bond or socialise. As this is a one-way street and Vrataski has no memory of the ‘shared’ experiences, she is always cold with him. Throughout the story we’re given little glimpses into who the Angel Of Verdun is but Cage is always shot down. In a quiet dying moment (one of many), she reveals her middle name to Cage. The second this happened, I cringed. If it’s one thing screenwriters love to do, it’s force predictable emotional shit that falls flat on its face. Thankfully, it never comes up again. It’s just a moment. Cage never brings it up, it’s not referenced; the purpose of the reveal isn’t information to exploit at a later date but a sign to the audience that Cage and Vrataski could be friends, if not more.

Notable Characters:
As stated, there are three characters in this movie, Cage, Vrataski and everyone else. While Cruise’s performance is brilliant, he’s actually shadowed by Blunt. She’s a genuinely strong female character who isn’t driven solely by her feelings. Throughout the movie, she’s a soldier and an incredibly good one. Granted, this film fails the Bechdel Test but I believe that test to be very narrow in its parameters – not to say it’s not worth noting because it clearly highlights how lopsided most films are – but Blunt holds her own and hopefully this will open the door to more prominent releases for her.

Highlighted Quote:
“Hey man, I think there’s something wrong with your suit.. there’s a dead guy in it”

In A Few Words:
“A surprisingly welcome treat, combining humour, drama, action and largely intelligent developments – which, for a Summer blockbuster, is saying a lot”

Total Score:



One Action. Decades Of Devestation.

Bryan Singer

Hugh Jackman
James McAvoy
Michael Fassbender
Jennifer Lawrence
Nicholas Hoult

In an unspecified future decade, mankind rules over mutants (and anyone who may give birth to mutants) with an iron fist. The world is scorched and barren from years of ceaseless, merciless combat. Those that had survived are constantly at war with autonomous adaptable machines called Sentinels, which are programmed to hunt and destroy all mutant life. Seeing their opportunity to change the course of history, Professor Xavier [Patrick Stewart] and Magneto [Ian McKellen] reveal that the Sentinels were the brainchild of scientist Bolivar Trask [Peter Dinklage], who was executed in the 1970’s by Mystique [Lawrence]. If they can go back and prevent Mystique from killing Trask, the Sentinels may never come to being and they certainly wouldn’t be programmed with Mystique’s shifting abilities. For his super-healing and near agelessness, Wolverine [Jackman] is tasked to send his consciousness back in time and convince the young Xavier [McAvoy] and Magneto [Fassbender] to join forces and prevent this future from occurring. Needless to say, this task proves immensely difficult as Erik is imprisoned beneath the Pentagon and Charles, disenfranchised by the Vietnam War and the subsequent drafting of his students, has traded in his powers for an addictive serum that allows him to walk.

The latest instalment in the fourteen year franchise suffers from a fair amount of continuity issues, which I can easily overlook because a.) they’re not nearly as absurd as Origins: Wolverine and b.) I overlooked them in X-Men: First Class. And yet there are so many unanswered questions, almost all of which relate to the dystopian future part of the story. When did Wolverine get his adamantium claws back, are we to believe that twin Xavier crap in the post-credits scene of X-Men: The Last Stand, when did Kitty Pride’s ability to project back through time come about, what was Bishop’s power exactly? Granted I can actually answer a few of these thanks to comic lore but the majority of the audience won’t have a clue. Yet these plot-holes and brow furrowing moments were an odd mix for me. At times Days Of Future Pastis spectacular, with a lavish cast, great visual effects and intriguing narrative. But the remainder of the time, it’s bloated and surprisingly dull. Considering I rated First Class so highly, I can only think to blame the new/returning factor: Bryan Singer’s direction. The problem with bringing back Singer is that he seems to have picked up exactly where he left off. Now I would normally argue this is a positive point but from the uniformed title sequence, the dismissively used returning cast and the sporadic action scenes, I can’t help but wonder if new blood would have been better suited to this pseudo-prequel/sequel/thing. I’m not bemoaning drama superseding action in a superhero movie, if anything I think it strengthens it tenfold (Captain America: The Winter Soldier I’m looking at you) but while the struggle between Charles and Erik is just as riveting as ever, the adventures of a frankly bored looking time-travelling Wolverine meant that the entire second act meandered around a fair bit before clumsily finding itself at the finale. Which is especially strange as Wolverine’s mission is obviously one of explicit urgency yet he’s quite happy to sit in the background and wait for Charles and Erik to hash things out.

Admittedly, the production design is great. The futuristic setting is all industrial and overtly Terminator influenced, so not much to work with there, but the seventies elements are teeming with life, vibrancy and colour – not to mention the unease in the United States after the Vietnam War and Kennedy assassination. The slight improvements made to both Beast and Mystique’s make-up add to their character’s authenticity and delivery – although Beast fans will still be irritated with how he looks. On top of the physical production value, the CGI elements were also distinctly impressive. Fans have been waiting for Sentinels as long as there have been X-Men movies and their appearances (both past and future) were far from disappointing. I wouldn’t say they felt like the unstoppable Terminator-esque forces that they are supposed to be but they definitely represent a very real and powerful threat. Musically speaking, I literally couldn’t tell you anything about the score. Michael Kamen’s thematic sting is repeated happily but the rest is a bit obscure, a fusion of period appropriate funk and forgettable brass/string stings. Thanks a lot Ottman; even John Powell’s X-Men: Last Stand had some really interesting themes, what’s your excuse?

Despite this movie being an utter cameo fest of talent, most of the actors are really under-utilised. McAvoy and Fassbender once again prove that they are more than up to the task of filling the shoes of two acting powerhouses but both Jennifer Lawrence and Nicholas Hoult aren’t allowed to really deviate much outside of the standard parameters for their character, leaving us disinterested. Then there are all the ‘old guard’ X-Men like Ice-Man, Storm, Colossus, Kitty Pryde, etc. who aren’t given a great deal to do in the future scenes, outside of standing around looking pensive. Bolivar Trask is also a bit of a quandary. Like most of the viewing world, I love Peter Dinklage but this role is a bit stale. I understand that he’s meant to be the scheming weapons merchant but compared to Bruce Davison as Senator Kelly in X-Men or Brian Cox’s Col. Stryker in X2, he’s not really that menacing. If anything, some of his speeches make sense. And that’s one of this movie’s biggest problems. There’s no clear villain. One could say that Magneto always is and was the villain but considering the actual reason for his incarceration and the very fact that he is a victim of persecution make him a somewhat sympathetic individual. I’m not saying villains can’t be complex or that they should be dumbed down but for this kind of story but if an individual is sent through time to stop a specific event from taking place, only to somehow make it worse despite the fact that there’s no clear villain, one could infer that therefore no clear objective – which probably explains the bowing middle of the story arc.

Much like Godzilla, I rather enjoyed Days Of Future Past and yet, as a critic, I was left cold and indifferent to seventy percent of the on-screen drama. No, scratch that. Let’s make it a little more relevant to Bryan Singer. Much like Superman Returns, I enjoyed the film but I simply felt it could have been handled so much better. On paper, all the key elements are in place but the final release is less than inspiring. What really astonishes me is the critical praise being afforded to a competent but far from revolutionary superhero film. Maybe it’s just like American Hustle: everyone loves Jennifer Lawrence in the seventies.. except me.

Release Date:
23rd May 2014

The Scene To Look Out For:
While the action set pieces are great, the real soul of the film is the emotional core (as it was with First Class). Nowhere does this seem more prevalent than during Magneto’s confrontation with Charles on the plane. Charles, furious with Erik for taking Raven/Mystique from him and abandoning the group, is quickly slapped down by an equally upset Erik, who blames Charles for trying to control those he loved, for abandoning the cause, for lacking the courage and strength to protect his friends and for surrendering his gifts for common mobility.

Notable Characters:
Weirdly enough, the most controversial character turned out to be one of the most entertaining. In the run-up to promoting this film Quicksilver’s look was slated by everyone. But when you finally see him zipping around with his cocky affable nature and sense of mischievousness, he quickly becomes one of the strongest elements. And then they get rid of him! It’s astonishing. I mean, I know the reason why, it’s the same problem as the Flash; any time there’s a problem, the Flash can literally fix almost anything due to super speed. But still, to remove the most promising element of your feature is a bit of a misstep.

Highlighted Quote:
“You know I think I do remember you now. We came to you when we needed help and now I’m going to say to you the two words you said to me: fuck off”

In A Few Words:
“Despite all the right foundation elements, X-Men: Days Of Future Past is an acceptable film but not nearly as grandiose and enthralling as it could have been”

Total Score:



A King Will Rise, A Race Will Fall

Gareth Edwards

Aaron Taylor-Johnson
Elizabeth Olsen
Ken Watanabe
Bryan Cranston

Godzilla is a very divisive subject among filmmakers and film fans. Unlike other monster classics (King Kong to say the least), it is the very embodiment of a cult film on the rampage. Technically speaking, the original was a bit of a clunky mess (even for its time) but there’s something endearing about the silliness that people either get on-board with or abandon. Then there were the countless sequels and Vs films, all of which displayed a distinctly more tongue-in-cheek attitude and again audiences were divided between people who nostalgically enjoyed the nonsense and people who critiqued them properly.1998 rolls around and Roland Emmerich takes a stab at the flick and gets slated for his interpretation and STILL there are those who say it’s not awful. Sixty years after the original and another big-budget epic comes stomping onto the scene, this time directed by Gareth Edwards. To my mind, this movie replicates the spirit of the original so perfectly that it actually sabotages its own success.

The film opens in 1999 with the accidental discovery of two ancient chrysalis pods, one of which tunnels to the nearest radiation source: a nuclear plant outside Tokyo. This tunnelling triggers an earthquake that ruptures the plant and the whole building collapses, taking with it the wife of nuclear engineer Joe Brody [Cranston]. Fifteen years later, Joe’s son Ford [Taylor-Johnson] is a lieutenant in the US Navy, specialising in bomb disposal. Returning home after a long tour of duty, Ford receives word that his father has been arrested for trespassing in the fallout area where the plant once stood. Moved by his father’s obsession (I guess), Ford agrees to follow Joe into the restricted zone, where they discover a massive cover-up operation. For the last fifteen years, a conglomerate of united nations, Monarch, have been studying a dormant pod nestled at the heart of the destroyed nuclear plant. Joe and Ford are discovered and taken into custody, where the head of the operation, Dr Serizawa [Watanabe], learns that Joe’s reading from a decade and a half ago match those the pod is giving off presently. To the horror of all involved, the pod hatches and a giant insect-like creature (dubbed MUTO) is unleashed wreaking havoc on the populace. The military track the creature’s movements and Dr Serizawa details the existence of an apex predator, a hunter, the restorer of natural balance and possibly man’s only hope or its greatest threat. DUN DUN DUUUUN!

Before we continue, I should mention, I really enjoyed this film. I also really enjoy a lot of stupid kaiju movies and I even hold a place in my heart for the big lizard romping through New York, whom we all call Godzilla but we totally know wasn’t. Take from that what you will. The 2014 version adopts the Jaws/Close Encounters Of The Third Kind structure, revealing the damage and devastation with hints of the assailant but saving the payoff until the film’s climax – not a model contemporary audiences hold dear. Now, depending on the type of monster movie you like, this will be the first point that frustrates or exhilarates the audience. I believe the slow pacing at the start, building to the first monster reveal – which isn’t even the title character – was a great choice. Annoyingly it means you’re stuck with the flat human characters but I’ll get back to that shortly. In truth, Godzilla is an unapologetic technical wonder. The CGI elements are exceptional and the monster designs and mannerisms are extremely impressive. But the key point to note is the sound design. Often I glaze over highlighting sound effects as the majority of large films tend to simply recycle heavily from a standard catalogue but every element felt unique and fresh. Granted, this may be down to the fact that I saw this movie in IMAX and you’re kind of forced to listen to the immense, overpowering audio but either way, it was inordinately noticeable, immersive and enjoyable. Similarly, Alexandre Desplat’s score was pretty spot on, utilising heavy brass and drum elements while revelling in the ridiculousness – at one point having Godzilla stand triumphantly among the ruins while the score belts out a few, rather absurd TA-DAs!

I will admit, there were plenty of problems. Again, if you’re emulating something which is inherently flawed, you’re going to create something that will thrill a niche and alienate everyone else. But even then, you’d still hope for a modicum of expression which stems away from the nonsensical. Unfortunately, Godzilla manages to deploy just about every single cliché and movie trope available. In other words, this movie is cheesy as sin. The warning signs actually appear quite early on. During the flashback of the reactor under siege, the second Juliette Binoche saw a menacing nuclear cloud stampeding through the corridor and allowed herself to whisper “Oh my God” I knew exactly what kind of film I was watching. Suspension of disbelief is one thing but there is literally NOTHING plausible about this film. From the character motivation to the ridiculous Man Of Steel fight logic (ensuring characters are inexplicably exactly where the action is happening) it’s all a bit silly. One of my favourite examples is while San Francisco is being evacuated: both the MUTOs and Godzilla have arrived and are about to battle it out and we cut to the interior of an office block with people working at computers as the flying monster swoops by. So, the entire city is being evacuated, the power is almost completely knocked out by EMP bursts and these fuckers are just casually carrying on with their paperwork? It’s brilliant. I mean, it’s fucking awful but it’s brilliant! That’s exactly the kind of crud that the Beastie Boys nailed in their Intergalactic music video. But, I will acknowledge that if that took place in any other film, I would be slating the hell out of it. As stated, once you realise that this movie is not only dumb but doesn’t care that you know it’s dumb, it becomes fun. Or at least, it does for people who are fans of this type of monster movie.

**Huge spoiler that might ruin the film for you. Move onto the final paragraph if you have yet to see the film**
And yet, despite the potent combination of absurdity and astonishing CGI, my biggest complaint is to do with the final shots. Godzilla the saviour? No. He’s Godzilla the punisher. He is the personification of the atom bomb, the personification of nature’s wrath unleashed upon the arrogance of man! He didn’t do us a fucking favour! He’s meant to be the angry god, the unstoppable punishment we deserve. Yes the script could have been improved and yes the characters could have had some semblance of a soul but to me, one of the biggest crimes is that the beast itself isn’t portrayed as a warning. The original was openly criticised when it was first released for cashing in on the tragedy of nuclear weapons but by illustrating mankind sitting in the ashen ruins the severity of its message was clear: imagine if the atom bomb was a creature, were we responsible for its creation and how could we stop it? This movie completely abandons that, shrugs its shoulders and says, “Monsters, man. Ah well, not our problem. COMMENCE THE FRACKING!” I openly expected the film to cut to some dickhead saluting as Godzilla traipsed back into the sea. People shouldn’t be happy, they should be terrified of it happening again! Stupid humans.

So in summation, is Godzilla a good film? Fuck no. Is it a good Godzilla film? Without a doubt. Is that a good thing? Not sure. As you can probably tell from my review, I’m a fan of these types of movies and I would openly contend there is a HUGE difference between a release of this calibre and something that the SciFi Channel would churn out. I don’t necessarily believe the monster movie is a genre unto itself (in truth, genres don’t exist but that’s a conversation for another time) but it’s like showing a western to someone who hates westerns, some people simply aren’t going to get along with formula – not the premise but the formula of how this movie was paced, structured and ultimately delivered. Time will tell which side of the fence the majority of audience members and critics sit.

Release Date:
16th May 2014

The Scene To Look Out For:
Radioactive breath? No, that’s too easy. I actually think the entire Hawaii sequence was pretty grand. The military are desperately searching for the MUTO and believe they may have discovered something on the small Pacific island. Upon locating it the giant insect unleashes hell on its attackers. At the same time, a tsunami wave crashes through the city streets and into the fore steps the mighty behemoth, Godzilla. It’s a wonderful fan dance. The camera refuses to settle on Godzilla for more than a second or two, encapsulating the sheer impossible scale of the beast but also teasing the audience out of a big reveal. The actual battle itself is so brief and witnessed through news reports and partially obscured perspectives that it’s over before you even realise what’s happened. Wholly reminded me of that opening night time attack on Odo Island in the original.

Notable Characters:
Outside of Bryan Cranston, the acting is pretty dire. But this is hardly the fault of the cast, most of whom are stellar craftsman. Instead they are failed by a script that is simply not on the same level as the individuals cast. Which is a pity. I’m a fan of Mr. Taylor-Johnson but having him survive almost every scenario and haphazardly finding himself in exactly the right place at the right time is often infuriating. Especially as he has one job and he’s pretty terrible at it.

Highlighted Quote:
“Let them fight”

In A Few Words:
“Admittedly, Godzilla is a very silly release. An odd premise with a weak script but amazing visuals and bold pacing. Certainly not for everyone but entertaining in its own right”

Total Score:


Cinema City Film Quiz #121

[11 May 2014]

Winning Team:

Genre – Essex and Croyden battle it out to see who can make the best adaptation of the highest grossing movie of all time

Runners Up:
You Had Me At Halal
Genre – UKIP RomCom
The Hungover Games: Snatch On Fire
Genre – A lady wakes up from a heavy night with a hangover and a burning sensation down below – a mystery whodunnit
Is John Carter On This List?
Genre – It should be
Team Name
Genre – An action adventure: search for an awesome name

ROUND I: Pre-Production
1. How many convicts are assigned to Major Reisman in The Dirty Dozen
2. What type of monster is the main antagonist in Dracula?
3. What type of animal was Robin Hood in the 1973 animated film of the same name?
4. Who plays the lead role in Fear And Loathing In Las Vegas?
5. What was Alec Trevelyan’s (played by Sean Bean) MI6 code number in Goldeneye?
6. What was the most recent film directed by Steven Spielberg?
7. What was the title of the first sequel to The Addams Family?
8. Jurassic Park was produced by which studio?
9. Lock, Stock And Two Smokin’ Barrels, Snatch and Sherlock Holmes were all directed by whom?
10. Who played the villainous role of Vince LaRocca in Sister Act?

ROUND II: Filming [Biggest Earners 2003-2014 Special]
1. Which Shrek sequel was the highest grossing film of 2004? Shrek 2? Shrek The Third? Shrek Forever After?
2. What is the name of the contest depicted in Harry Potter And The Goblet Of Fire? The Magical Gathering? The Tri-Wizard Tournament? The Sorcerer’s League?
3. Which character replaced Barbosa as the lead villain in Pirates Of The Caribbean: Dead Man’s Chest? Davy Jones? Blackbeard? Long John Silver?
4. Which 2007 film was not only the highest earner of that year but also the most expensive film ever made? Spider-Man 3? Pirates Of The Caribbean: At World’s End? I Am Legend?
5. In The Dark Knight, how many times does the Joker ask “Do you know how I got these scars?” Three? Four? Five?
THREE (to Gambol, Rachel, Batman)
6. What is the Na’vi word for the flying apex predator that Jake wrangles, in Avatar? Pa’li? Toruk? Ikran?
TORUK (meaning Last Shadow)
7. How old is Andy in Toy Story 3? Seventeen? Eighteen? Nineteen?
8. In Harry Potter And The Deathly Hallows – Part 2, where is the Horcrux Helga Hufflepuff’s Cup located? The room of requirement? Bellatrix’s Vault at Gringotts? A seaside cave?
9. What is the name of the leader of the Chitauri, who frequently converses with Loki, in The Avengers? The Other? The Master? The Leader?
10. Iron Man 3 did not feature a single song by AC/DC. True or False?

ROUND III: Post-Production
1. Which actor portrayed the following characters: Doc Hudson, John Rooney, Eddie Felson and Luke Jackson?
2. What is the killer’s alias in Dirty Harry?
3. In Munich, Avner’s group is recruited to assassinate how many Palestinians?
4. What is Melvin Udall’s profession in As Good As It Gets?
5. Scent Of A Woman is a remake of Profumo Di Donna, which was released in which year?
6. Ray Brower is a character in which film?
7. Who directed Who Framed Roger Rabbit?
8. The following is the poster tagline for which film, “The first casualty of war is innocence”?
9. When finally confronting Captain Terrill, in The Outlaw Josey Wales, Wales calmly and methodically dry fires each chamber in all four of his pistols before stabbing Terrill with a sword. How many times does Wales pull the trigger?
10. Which film starred Martin Sheen, Daniel Day-Lewis, John Gielgud and Ben Kingsley?

ROUND IV: Promotion & Release
1. Which film holds the record for bestselling movie soundtrack? The Bodyguard? Titanic? Grease?
2. Which of the following was not directed by both Hitchcock and Kubrick? Peter Sellers? James Mason? Laurence Olivier?
PETER SELLERS (JM North By Northwest / Lolita and LO Rebecca / Spartacus)
3. Warner Bros. and Geffen didn’t care for the title Beetlejuice and wanted to change it. Which of the following was not optioned? Spookfest? House Ghosts? Scared Sheetless?
4. All The President’s Men was released how many years after the Watergate scandal? Four? Six? Eight?
5. In which film did Jackie Chan briefly portray Chun Li and E. Honda from Street Fighter? City Hunter? Twin Dragons? Police Story 3: Super Cop?
6. Eighties family film Short Circuit faced controversy over which of the following? Newton’s Indian assistant was played by a white actor? Number Five’s lower half was a direct replica of the Hunter-Killers in The Terminator? Ally Sheedy was led to believe the robot was really sentient and sued for defamation of character out of embarrassment?
7. When Logan and Jessica leave the dome, in Logan’s Run, which US city do they find themselves in? Washington DC? Chicago? Los Angeles?
8. The following quote is from which film, “You are way behind the times. The guys of the 80s aren’t tough, they are sensitive people”? Lethal Weapon? Lethal Weapon 2? Lethal Weapon 3?
9. In Yojimbo, Toshiro Mifune’s character gives his name as Sanjuro. What is the English translation of Sanjuro? Thirty year old man? Warrior? Blind monk?
10. Spencer Tracy’s posthumous Oscar, for Guess Who’s Coming To Dinner, was collected by Katherine Hepburn and Tracy’s widow Louise, neither of whom gave an acceptance speech. True or False?
FALSE (Rod Steiger won the award, not Spencer Tracy)

Screenshots: Invasion Of The Body Snatchers / Buffy The Vampire Slayer / Space Cowboys
Poster: Final Fantasy: The Spirits Within
Actor: Donald Sutherland