The Fast & The Furious was kicked up a further notch with the release of Fast 5, and more importantly the casting addition of Dwayne ‘The Rock’ Johnson’s Interpol Agent Hobbs. But after Dom Toretto (Vin Diesel) and the gang street raced into the sunset with $100m, why on Earth would they be re-teaming for one ‘last’ job? Why because The Rock says so.
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In 2009 JJ Abrams unleashed the prequel/sequel/reboot that reinvigorated the Star Trek franchise, bringing it greater critical and commercial success than it had ever seen at the multiplexes. To mark the occasion Movie-Moron has been honouring the age-old theory amongst Trekkies that the even numbered entries into the Star Trek film series are the good ones by ‘Getting Even With Star Trek’ and treating ourselves to viewings of those even-numbered Trek films. Our last discussion looks at Star Trek Into Darkness.
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There’s a Trekkie theory that the even numbered films in the Star Trek franchise are the good ones. With the release of Star Trek Into Darkness, myself and fellow Movie-Moron contributors Adam Mason and Dalmatian Jaws have been discussing those films in ‘Getting Even With Star Trek’, and we’ve reached the film that ended an era, the film that came out just before they decided to reboot the series, Star Trek: Nemesis.
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With this year’s release of Star Trek Into Darkness, myself and fellow Movie-Moron contributors Adam Mason and Dalmatian Jaws present ‘Getting Even With Star Trek’, and exploration of the age-old Trekkie theory that the even numbered films in the Star Trek franchise are the good ones. This time around, Adam and I take a look at the first of two films we’re looking at that feature The Next Generation cast – Star Trek: First Contact.
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To mark the release of Star Trek Into Darkness, myself and fellow Movie-Moron contributors Adam Mason and Dalmatian Jaws present ‘Getting Even With Star Trek’, where we honor the fan-theory that only even-numbered entries into the Star Trek franchise are any good by treating ourselves to viewings of those movies. For our third discussion we’re looking at the final outing for the Original Series crew of the starship Enterprise, Star Trek: The Undiscovered Country.
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There has long been a theory amongst certain Trekkies that the even numbered entries into the Star Trek franchise are good films, whilst the odd numbered films are bad. Some say 2009′s Star Trek, the eleventh film in the series, broke this curse, others say it flipped the curse around, and still others say it’s stupid and there’s no curse. To mark the release of Star Trek Into Darkness, myself and fellow Movie-Moron contributors Adam Mason and Dalmatian Jaws present ‘Getting Even With Star Trek’, where we’ll honour the theory by treating ourselves to the best movies that the Star Trek series has to offer. Our second discussion looks at Star Trek: The Voyage Home.
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As the first movie to come out of Marvel Studios since The Avengers took the world by storm, and the first solo-outing for Tony Stark not to be directed by Jon Favreau, Iron Man 3 has a lot to live up to.
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In the early 60s Gene Roddenberry dreamed up a utopian future, where mankind had set aside their differences and begun to seek out new worlds and new civilisations, where half-naked aliens and allegories abounded – it got cancelled three seasons in. Half a century later, it’s still with us.
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The term “video game film” usually conjures less than pleasant images. Titles such as House of the Dead, Doom, Max Payne and Street Fighter bring back bleak memories, and for many video game fans the name Uwe Boll brings shivers to the spine.

Disney’s latest project, however, is an altogether different matter.
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Al Pacino, Christoper Walken, Alan Arkin: three incredible, iconic, often scene-stealing actors. It’s the cast of what would of been a decent 70s crime thriller, instead appearing together in a ‘twilight of the gangsters’.
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As a movie blogger it’s not often that you find yourself doing hard time in prison as a result of your activities (unless you live in North Korea) but that’s exactly what happened to this writer last week when I was put under lock and key as part of a Future Cinema production of The Shawshank Redemption.

For those who don’t know, Future Cinema is an entertainment company that offers a unique and immersive cinematic experience where props and actors are used to recreate the film that is being screened. Here’s what I went through -

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