You Move You Die

Pretty good movie overall in the sense that the story keeps moving and there's no soppy love scenes to slow things down. Acting was alright too and most of the actors / actresses were convincing. Ketzal's outbursts and coined phrases added that little bit of humour and if you just watched it at face value, you'd never have guessed the ending. Looks like this is a Quentin Tarantino or Guy Ritchie in the making. Just too bad he didn't come up with anything like this after. I've watched it a few times and will definitely recommend it to anyone looking for a 'light' movie or simply to find out what a knob jockey is.

Alas, Francis Ford Coppola was wrong. The digital camera revolution has not resulted in an explosion of talent gracing our screens. All it has delivered is the never ending glut of amateur material, posturing as cinema, that clog the shelves of video stores worldwide. YOU MOVE YOU DIE is a continuation of this never ending cycle of sub-mediocre, ego- driven and wholly wretched home-movies.

Suffering through YOU MOVE YOU DIE is like watching a gang of young schoolboys, inspired by a movie they just saw, playing Goodies and Baddies as they chase each other around the drab back streets of their boring small town. They play-fight and play-act, and do all things their parents would frown upon (like swearing and smoking). The jolly romp is all made up on the spur of the moment and after an hour or so, they're so darn tuckered out from all the tussling and screaming and pointlessness of it all, so they simply...stop.

Now imagine a group of age-retarded adult men in their thirties, doing the above. Yet sadder still, is their friend with a video-camera who's followed them around as they playact like little kids- bored during the summer holidays. Then afterwards, they all wearily (but satisfied and with much backslapping) go back home to endlessly watch themselves replayed on telly, over fizzy drinks and chips as they collectively fantasize about hanging out with Tarantino.

That pretty much sums up wrist-slitting banality that is YOU MOVE YOU DIE.

This is an obviously inspired film that isn't the usual predictable drivel that I see in so many films of this genre. It has a Taratinoesque quality to it but isn't quite so scattered brained as most of his movies are. The characters are interesting and personable and not over the top, and there are some genuinely funny moments. There is a little bit of bad acting but not from the main actors at all, just in some of the bit parts. The story line is very good and although there are some violent moments in the movie it wasn't at all gory or messy. Also, the camera work is really quite unique and there is a flow to it that almost makes you feel like you are part of the movie. I would think that a lot of other filmmakers will be trying to use this type of effect in upcoming movies. Overall I would give this move at least an 8 out of 10.

While it's not a great film, it is close to unique, consistently fun to watch, and keeps you interested until the end. A crime-action film like Crank in some ways.

It's the light-hearted version of a film like American Gangster, and gangster films in general which almost always take a very serious thriller angle to the story. The difference here is you really don't realize you're watching a gangster film until near the end. You get some strong hints of it, but it's never clear.

This is the type of film that should get a best screenplay award. The beginning and end tie together perfectly, yet you never see the connection until the end. I probably should give it a higher rating for that alone, but it's not without a few annoyances. Very much worth seeing nonetheless.

It's not a bad job. The characters are convincing, even if some of the action isn't. If you can accept stylized, unconvincing violence (no blood anywhere), which I don't mind, the story has some new twists. The first two thirds seem a bit aimless, like Mean Streets down under, just a tale of four thugs who seem to have an appointment to keep in the afternoon, and manage to keep it, in spite of the befuddled police they have to deal with in New Zealand. It's funny; it could have been funnier, but for something I never heard of before a street vendor offered it to me, it ain't bad. The acting is generally acceptable; the camera-work is utilitarian. Technically, it succeeds in some ways, e.g., the steadicam work, but fails in others, e.g., under- and over-exposure, or their digital equivalents. The dialogue is in Kiwi, i.e., "english", but it would benefit from subtitles, also in English, as in The Harder They Come. It's worth noting that the vaunted technical achievement (long, uncut shots) was barely noticeable-which means that it did what it was supposed to do without drawing attention to itself.