The feature film The X-Files: I Want to Believe is a satisfying if unspectacular installment in the X-Files series, taking place an unspecified time after the show’s nine-year television run. Former agent Dana Scully (Gillian Anderson) is now a doctor, while Fox Mulder (David Duchovny) is being hunted by his former agency and living in seclusion. He and Scully are summoned back by a case involving a missing agent and a former priest (Billy Connolly) who claims to be able to see clues to the agent’s whereabouts psychically, though his initial search turns up only a severed limb.

Don’t expect the usual cast of characters; the FBI has completely turned over (except for the George W. Bush portrait), and the only reason Scully and Mulder are back is because agent Dakota Whitney (Amanda Peet) remembers his success on similar cases involving the inexplicable. Don’t expect the same rogues’ gallery either; unlike the previous X-Files feature film, which was inextricably linked to the series’ convoluted mythology arc (and served as a bridge between the fifth and sixth seasons), I Want to Believe is a stand-alone piece that makes use of the series’ roots in horror/sci-fi and moody Vancouver, B.C., locales. Also unlike the previous film, which was almost self-consciously shot for the big screen, this film is on a smaller scale, like a double-length episode of the series. But it’s still a good reminder of the creepy vibe that hooked fans for years. And the relationship between Mulder and Scully? It seems to have resumed pretty much where it left off, at least when you take into account the long period of separation. But stick around for the end-credit sequence to take in all the possibilities for the future. –David Horiuchi, Amazon.com

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The feature film The X-Files: I Want to Believe is a satisfying if unspectacular installment in the X-Files series, taking place an unspecified time after the show’s nine-year television run. Former agent Dana Scully (Gillian Anderson) is now a doctor, while Fox Mulder (David Duchovny) is being hunted by his former agency and living in seclusion. He and Scully are summoned back by a case involving a missing agent and a former priest (Billy Connolly) who claims to be able to see clues to the agent’s whereabouts psychically, though his initial search turns up only a severed limb.

Don’t expect the usual cast of characters; the FBI has completely turned over (except for the George W. Bush portrait), and the only reason Scully and Mulder are back is because agent Dakota Whitney (Amanda Peet) remembers his success on similar cases involving the inexplicable. Don’t expect the same rogues’ gallery either; unlike the previous X-Files feature film, which was inextricably linked to the series’ convoluted mythology arc (and served as a bridge between the fifth and sixth seasons), I Want to Believe is a stand-alone piece that makes use of the series’ roots in horror/sci-fi and moody Vancouver, B.C., locales. Also unlike the previous film, which was almost self-consciously shot for the big screen, this film is on a smaller scale, like a double-length episode of the series. But it’s still a good reminder of the creepy vibe that hooked fans for years. And the relationship between Mulder and Scully? It seems to have resumed pretty much where it left off, at least when you take into account the long period of separation. But stick around for the end-credit sequence to take in all the possibilities for the future. –David Horiuchi, Amazon.com

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Fallen Angel , Alice Faye, Dana Andrews, Linda Darnell

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Amazon.co.uk Review
Thanks to Mike Myers’ wonderfully rude, lowbrow humour and his full-bodied understanding of who his character is, Wayne’s World proved to be that rare thing: a successful transition of a Saturday Night Live sketch to the big screen. Wayne Campbell (Myers) and his nerdy pal Garth (Dana Carvey) are teens who live at home and have their own low-rent cable-access show in Aurora, Illinios, in which they celebrate their favourite female film stars and heavy-metal bands. When a Chicago TV station smells a potential youth-audience ratings hit, the station’s weasely executive (Rob Lowe) tries to co-opt the show–and steal Wayne’s new rock ‘n’ roll girlfriend (Tia Carrere) at the same time. Like Bill and Ted’s Excellent Adventure before it (and the later Detroit Rock City), this is a film that affectionately parodies and celebrates slacker teenage culture. It’s also filled with all kinds of knowing spoofs of film conventions, from Wayne talking to the camera (while forbidding other characters to do so) and hilariously self-conscious product placements, to labelling a moment a “Gratuitous Sex Scene”. Dumb yet clever–and very funny. –Marshall Fine, Amazon.com

Wayne’s World

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