sheilacornuk

There were lots of things to like about this film, mainly the set-decor for the interiors such as the the old men's rendezvous cafe and their cluttered flats. The Thames-side Regents Canal scenes, like the stately home film-set, the actors' memorial church and English seaside smacked of the tourism promotion shots familiar from Richard Curtis films.

The old men were well-portrayed in terms of contrasting characters, with a comic turn from Leslie Phillips and self-effacing support from Griffiths. Vanessa Redgrave turned her usual sterling performance as the deserted but forgiving wife.

I've endured enough Hollywood couplings of older men with younger women over the years to be prepared for a Spring/September romance, but Jessie, emotionally, educationally and financially vulnerable, was too easy a target for O'Toole's lechery. Shots of O'Toole's leering eyes and yellow teeth were too graphic, despite the face-lift ironing out some of the wrinkles, and I began to long for some soft-focus in the close-ups. I never thought I'd praise Hollywood for discretion, but we are usually spared the spectacle of geriatric tongues licking young flesh, and the hero's post-operative urine bag strapped to his leg. The spectacle of slobbering and groping was too nasty to be glossed over by waltzing to a church quartet or a seaside paddle.

What was all that stop-and-start camera work on the final journey at about? I'm sorry to say it, but I suspect it was so the tourists could look at the scenery.

Homage to aging actors are one thing, but when it's achieved with such cynicism and so little left to the imagination it leaves a nasty taste.

I liked the avant-garde touches such as the address-to-camera in the opening, the speeded-up lovers cavorting by the Seine and touches like Jon reading a copy of 'Franny et Zooey' (another story with a dead sister)or that he stops in front of two film posters in the street, neither of which I've seen but both of which I'm sure are relevant. The conversation Paul has with Jon's forlorn girl-friend about his theory of sadness is also very moving, as is Paul's reading of the children's storybook to his younger brother, if both are somewhat obscure.The father preparing dinner whilst his estranged wife outlines the difficulties of their previous relationship seems rooted in reality. Paul's self-destructive behaviour and the see-saw moods of his relationship are bizarre believable. The relationships are discussed in a way that is both reflective and expressive, such a change from the cutesy-clichés of American romances.

Snakes on a Plane dir. David R. Ellis (2006)

The camera skims the overblown colours of Hawaiian beachscapes to lyrics about 'A Perfect Day'. It can only mean trouble. Suddenly, a man suspended head-down is telling us to run. In fact, he's addressing a witness to his imminent murder, but it's also a tip off to nervous audience members.

Nelville Flynn (Samuel L Jackson) is tasked to escort hapless witness Sean Jones (Nathan Phillips) from Hawaii to LA. Whilst his charge is docile enough to heed his warning 'Just do as I say and you'll survive', a planeload of fanged critters high on artificial pheromones plus passengers enraged at travelling 'coach' make Bruce Willis's 'Five Blocks' ordeal look tame.

Samuel L Jackson, with help from Julianna Margulies as Claire, the rock-steady stewardess anchor the movie, but the real stars are the snakes: blur-visioned heat-seekers who snack on one another when not biting passengers. They spring out of light fittings, overhead lockers and under deck holds like elongated tubes of fruit pastilles. One spends the entire film wrestling with an Hawaiian neck garland between the aisles, not so much 'Speckled Band' as 'in need of specs' band.

The inventive techniques of erstwhile stuntman David R. Ellis enhance 'Snakes on a Plane' as they did 'Final Destination 2.

Most of the jokes and the characters are hugely inventive and well prepared. The initial suspended-head-down shot is repeated with snakes throughout, and great play is made with the tangled wires of the planes electrics and their resemblance to the evil-minded slitherers – the films closest homage to 'Alien', apart from the giant python in the air-ducts. The formulaic passengers – egomaniac rock star, lady with yapping dog, children travelling alone are too numerous. On the other hand the ad-hoc use of onboard furniture - the escaped trolleys and inflatable life-rafts, especially the method by which an exasperated Jackson rids the plane of the stripy pests, are all pleasurably recognisable.

The end-story involves finding a 'hardcore snake expert' and more could have been done with his geeky persona, although he get the best line, reminding the ground-based police agent to hurry because 'Time is tissue' in collecting lifesaving serum. The pathos and passenger bonding moments fit the pattern of contrasts, creating pockets in the tension. The 'substitute pilot' joke is a masterpiece of slow-realisation comedy.

As with Jacky Chan films, it's a mistake to leave before the credits roll. The MTV –style ending with spoof airport smuggling scene reprises the energy and exuberance of the best moments in this film that more than fulfils its promise.