Spider-Man: Brand New Day (5 Stars)

"Spider-Man: Brand New Day" is a good film in its own right, with plenty of action and an entertaining story. It works well as another chapter in Spider-Man's increasingly complicated life, even if the ever-expanding Marvel universe sometimes threatens to overwhelm him.

My biggest problem is the introduction of Jean Grey. The X-Men film chronology was already a mess, and this makes matters worse. More importantly, this Jean Grey bears little resemblance to the character I remember from the comics, particularly in the way her mutant powers are portrayed. I enjoyed the film, but as an old-school X-Men fan I found some of its choices difficult to accept.

X-Men 2 (4½ Stars)

"X-Men 2", commonly called "X2", is often regarded as one of the finest superhero films of the early 2000's, and it's easy to see why. Bryan Singer expands the scale of the original film with more action, stronger character development and a compelling story involving Colonel William Stryker's plan to wipe out the world's mutants. The action scenes are exciting, the special effects still hold up well and Hugh Jackman once again steals the show as Wolverine.

My biggest criticism of the X-Men films is one that applies to the entire series rather than this film alone. Instead of adapting the comics as they developed over the decades, the filmmakers created a pick-and-mix version of the team. Heroes from the 1960's, 1970's and 1980's are thrown together because they happened to be popular when the films were made. The original X-Men line-up of Cyclops, Marvel Girl, Beast, Iceman and Angel, created by Stan Lee, was discarded in favour of a roster that never existed in the comics. As someone who loves the classic stories, I find the disrespect for the source material disappointing.

Fortunately, "X-Men 2" succeeds on its own merits. The relationships between the characters are convincing, the pacing is excellent and the film balances spectacle with quieter moments surprisingly well. It may not be the X-Men story I wanted as a long-time comic reader, but taken as a superhero film it's an entertaining and well-crafted sequel.

Success Rate:  + 1.7

	Order from Amazon.com
	Order from Amazon.co.uk
	Order from Amazon.de

Miyamoto Musashi 2: Duel at Hannya Hill (4 Stars)

After introducing Miyamoto Musashi's origins in the first film, "Miyamoto Musashi 2: Duel at Ichijoji Temple" follows his transformation from an impulsive young fighter into a man determined to master both the sword and himself. Although there are several impressive duels, the film is more interested in Musashi's personal growth than in action for its own sake.

In the first film he's known as Shinmen Takezo, the rough village youth whose violent temperament repeatedly gets him into trouble. At the beginning of this film he's given the name Miyamoto Musashi. The new name represents a fresh start. He's no longer trying to become the strongest swordsman through brute force alone. Instead, he sets out on a lifelong journey of discipline, self-improvement and spiritual development.

The contrast with the first film is striking. Takezo was quick to anger and eager to prove himself in every confrontation. Musashi is more patient and thoughtful. He chooses his battles carefully and spends as much time learning from the people he meets as he does perfecting his swordsmanship. His confidence now comes from growing inner strength rather than youthful arrogance, although the film makes it clear that his education is still far from complete.

The supporting characters continue to play an important role. Otsu remains devoted to Musashi despite his constant wandering, while Akemi's feelings become increasingly complicated. The film also introduces Sasaki Kojiro, another gifted swordsman whose personality provides an interesting contrast to Musashi's. Rather than presenting the two men as immediate enemies, the story gradually establishes them as rivals whose destinies will eventually collide.

Tomu Uchida directs the film at a measured pace, allowing the characters to develop naturally instead of rushing from one sword fight to the next. The beautiful photography captures both Japan's landscapes and its historic settings, while Nakamura Kinnosuke gives a more mature performance than in the first film, convincingly portraying a man who's begun to leave his reckless youth behind without losing his determination.

Although "Miyamoto Musashi 2" contains enough action to satisfy fans of samurai cinema, its greatest strength is the development of its central character. It marks the point where Takezo truly begins to become the legendary Miyamoto Musashi, laying the foundations for the remaining three films in Uchida's outstanding five-part series.

Terminator (5 Stars)

Sometimes I'm proud of German cinema audiences. Today "Terminator" was shown in my cinema as part of the monthly "Best Of Cinema" series. The theatre was almost sold out, with only a few empty seats left at the front.

James Cameron's "Terminator" remains one of the greatest films ever made because it blends two distinct genres. On the surface it's science fiction, with time travel and killer robots from the future. In reality it's also one of the most effective horror films ever made, with Arnold Schwarzenegger's unstoppable Terminator playing the role of a relentless monster hunting an ordinary young woman.

The premise is unforgettable: a cyborg assassin travels back in time to murder Sarah Connor before she can give birth to the future leader of the human resistance. From that point onwards the film barely pauses for breath. Schwarzenegger gives the defining performance of his career, creating a villain who's frightening not because of emotion, but because he has none. Linda Hamilton is equally convincing as Sarah, transforming from an unsuspecting waitress into a determined survivor, while Michael Biehn brings unexpected depth to Kyle Reese.

What makes "Terminator" so enduring is its atmosphere. Made on a modest budget, Cameron relies on suspense rather than spectacle, creating a dark, gritty nightmare that still feels more believable than many modern blockbusters. The action is relentless, the pacing is flawless and the film never loses sight of its horror roots, even as it explores one of cinema's most fascinating time travel paradoxes.

More than forty years later, "Terminator" still feels fresh. It isn't simply a great science fiction film or a great horror film. It's one of the rare classics that succeeds brilliantly as both.

Success Rate:  + 10.2

	Order from Amazon.com
	Order from Amazon.co.uk
	Order from Amazon.de

Miyamoto Musashi (4 Stars)

Most Western audiences know Miyamoto Musashi as Japan's greatest swordsman, but the real man was much more than that. Born around 1584, Musashi lived during one of the most turbulent periods in Japanese history. The country had just emerged from the Sengoku period, more than a century of civil war, and was beginning to unite under the Tokugawa shogunate after the decisive Battle of Sekigahara in 1600. For countless samurai, peace brought an unexpected problem. There were no longer great wars to fight, so many became wandering swordsmen searching for purpose. Musashi was one of them.

Tomu Uchida's film follows Musashi before he became a legend. Instead of presenting an invincible hero, it shows an impulsive, stubborn young man who gradually learns discipline and self-control. His greatest enemy is not another swordsman, but his own pride. This makes the film far more interesting than a simple series of duels. Every victory teaches him another lesson about what it truly means to be a warrior.

The historical setting is recreated with impressive authenticity. Villages, castles and forests all feel like part of a living seventeenth century Japan rather than elaborate film sets. The action scenes are exciting without becoming exaggerated, while the quieter moments give the characters room to develop.

The film's most surprising sequence comes during the final ten minutes, when Musashi enters the castle and the story suddenly takes on a supernatural atmosphere. Ghostly figures and strange apparitions appear around him, making the solid walls of the castle seem less secure than the wilderness outside.

These ghosts aren't merely included to frighten the audience. They represent the castle's violent past and the psychological burden carried by Musashi himself. He may be physically fearless, but he's entering a world shaped by death, betrayal and political power. The supernatural elements turn the castle into a place of spiritual testing, forcing him to confront forces that can't be defeated with a sword.

The scene also reminds us that this isn't intended as a purely realistic biography. Musashi's development is presented as something almost mythic. Before he can become the legendary warrior remembered by history, he must pass through a world where history, folklore and personal fear overlap.

Holiday On The Buses (4 Stars)

The first two On The Buses films captured everything that made the television series so popular. "Holiday On The Buses" has its moments, but by taking the characters away from the bus depot it loses much of the identity that made the franchise unique.

The film opens brilliantly. Stan crashes his bus after being distracted by a woman who accidentally bares her breasts while running along the road. It's exactly the sort of cheeky humour fans expect, and for a couple of minutes it feels as though we're in for another classic. Unfortunately, the action soon moves to a Pontin's Holiday Camp, where it remains for most of the film.

There are still plenty of laughs. Stan's hopeless attempts to seduce every attractive woman he meets are as funny as ever, and the chemistry between Reg Varney, Bob Grant and Stephen Lewis remains the film's greatest strength. Stan, Jack and Blakey are such entertaining characters that they can raise a laugh almost regardless of the situation.

The problem isn't the familiar jokes. Stan has always been an unsuccessful womaniser, and that's part of the series' charm. The problem is the setting. With so little time spent on the buses, the comedy often feels closer to a Carry On film than On The Buses. The holiday bus appears only occasionally, and the depot, which was the heart of the first two films, is almost forgotten.

Worst of all, there isn't a single clippy. The conductresses were central to the television series and the earlier films, providing many of Stan's funniest encounters. Their complete absence leaves a noticeable gap, making the film feel less like On The Buses and more like a generic British holiday comedy.

Holiday on the Buses is still an enjoyable farewell to the series thanks to its wonderful central trio, but it's also the weakest of the three films. The laughs are still there, yet by abandoning the buses it also abandons much of what made On The Buses so special.

So why were these girls left out of the film? I'd ride their bus all the way to the depot.

Mutiny On The Buses (4½ Stars)

When Inspector Blakey first appears in the film, he's introduced with the words, "Look out! Here comes Hitler!" That's not a very complimentary nickname, but let's be honest. Anyone with a moustache like that is begging for the nickname.

The story begins with Stan announcing that he intends to marry his girlfriend Susy. The Butler family quickly realise that losing Stan's wages will leave them in serious financial trouble, a situation made even worse when Arthur loses his job. It's enough of a storyline to tie the various episodes together, but the plot is never the film's main attraction.

That's one of the reasons I enjoy it so much. Many critics complain that the film lacks a strong narrative, and they're right in one sense. Apart from Stan's engagement, "Mutiny On The Buses" is just a collection of comic episodes loosely strung together. Even the title is random, as there's no real mutiny. The dispute that supposedly gives the film its name is just one brief incident among many. Critics may see that as a weakness, but I think it's exactly the right approach.

I don't watch comedies for intricate plots; I watch them to laugh. "Mutiny On The Buses" keeps the laughs coming with remarkable consistency. The story simply provides a framework for one funny situation after another, allowing the familiar characters to do what they do best.

As always, the regular cast are the film's greatest strength. Reg Varney, Bob Grant and Stephen Lewis had spent years perfecting the chemistry between Stan, Jack and Blakey, and it shows in every scene they share. The film also introduces a new depot manager, Mr. Jenkins, who provides a decent foil for the regulars without overshadowing them. More memorable is Nymphy Nora, whose outrageous flirting, first with Arthur and later with Mr. Jenkins, produces some of the film's biggest laughs.

When I first saw the film, I remembered the Windsor Safari Park sequence as feeling out of place. Watching it again, I realised it's only a fifteen-minute episode that arrives well into the second half of the film. Rather than dominating the story, it's simply one more comic set piece before the film moves on to its closing scenes, including the satisfying twist that leaves Blakey demoted to a conductor.

My only real criticism concerns Little Arthur. Arthur and Olive never had children in the television series, and I don't think the films gained anything by changing that. Their constantly bickering marriage was already funny enough without introducing a baby into the household. Fortunately it's only a minor subplot and doesn't detract from the film as a whole.

The film would have been better if it had spent less time on Little Arthur and more time showing the clippies in their delightful short skirts. 

Like the television series itself, "Mutiny On The Buses" isn't trying to tell a profound story. Its purpose is to make the audience laugh, and it succeeds brilliantly. The loose structure allows the writers to move effortlessly from one comic situation to the next, and the jokes land with remarkable consistency. If you judge a comedy by the number of laughs rather than the complexity of its plot, this is one of the finest British comedies of the 1970s. It may not surpass the original, but it's a worthy companion piece that almost deserves a five-star rating.