Catch up!

It Takes Two (Andy Tennant, 1995): Basically the Parent Trap again, but since it's not a divorced couple and just a couple of strangers there's no real tension in their being fooled into falling in love. The Olsen twins are disgustingly over-confident. Still, always good to see Kirstie Alley. [34]

This Is It (Kenny Ortega, 2009): I'd never really considered what a global phenomenon Michael Jackson is (Do you know anyone who doesn't really like at least one of his songs?). This ultra-straightforward documentary (just filmed rehearsal footage and bland soundbites from participators) really manages to ram that home, though I was getting a bit bored of his voice by the end of it. Obviously the fascinating part of it is trying to pick up on physical omens of his death, and although he is terribly thin and never without sunglasses, he performs very well. Mostly enjoyable. [53]

Wall Street (Oliver Stone, 1987): Was this cutting edge once? It's hard to comprehend the semi-classic status of this since it's an idea of moral corruption for monetary gain that we've seen so many times (even Eddie Murphy uses it as an arc for his kiddy films now). Still, it's fun to watch and there's not as much moral chest-beating as I expected (there'll plenty in the currently-filming sequel I bet). [52]

The Little Mermaid (Ron Clements & John Musker, 1989): Good songs and an enjoyable villain, otherwise this early template for Disney's 90s slate hasn't aged terribly well. It's still slick and quick, though I found most of the 'charming' characters annoying, and the animation looks rough in places. If I sound harsh it's only because I really love Disney's 90s singalongs. While this is above stuff like Hunchback of Notre Dam and Pocahontas, it isn't as memorable as many better ones. [54]

Labor Pains (Lara Shapiro): Oh Lindsay Lohan, you look so tired here! You can't blame her, as the script is one big snore, livening up only for moments of astonishing stupidity. Lohan is still likeable, though she's really not putting any effort into this one. Everyone nowadays thinks of a wacky idea and thinks it will translate into them being a decent comedy writer somehow. This has literally no laughs [18]

Shifty (Eran Creevy, 2008): Why, it's one of those really good British films people always talk about existing but I've found mostly don't. It's actually an ancient, typical story about a drug dealer who's a nice guy and wants to get out of the business. Simply executed, the story doesn't pile on contrivances or stereotypical living conditions (ie the drug dealer isn't in poverty) to make things dramatic. Creevy has an exceptional hold on the material though, creating convincing montages of doom and unbearable tension with economic use of music and cross-cutting. Certainly a talent to watch. [64]