Looper (12A) ****

Looper (12A) ****

Dir: Rian Johnson

Starring: Joseph Gordon-Levitt, Bruce Willis, Emily Blunt

Synopsis: In 2074, time travel exists and is used primarily by the mob as a means to dispose of a body by sending it back 30 years where assassins known as Loopers are hired to kill and dispose of them. When his future self is sent back to have his loop 'closed', Joe ends up fighting himself and the mob to try and fix both present and future.

Verdict: Whenever a film comes along with a time travel plot, especially a plot where one's future self meets a past version of themselves, I end up with a massive headache. Time travel makes great sci-fi, but is one of the most complex things to get your head around as a viewer, and when the film tries to explain the physics behind it, the headache gets worse.

Therefore, Looper gave me this headache - wondering how many times this had happened, trying to think of the possible outcomes and, though you get Willis' Joe tries to explain it and how his own memories are affected and re-written to his younger self (Gordon-Levitt), it still remains one of those things that bugs you.

However, once you accept that you can't in all honesty get your head around the logic behind the science, you can enjoy the film for the story. While Johnson's explanation of time travel and its effects on the same person and their respective memories and the fate of the future aren't perfect, the story itself is well written, taking into account the various timelines and coming to an altogether satisfying conclusion.

Gordon-Levitt's portrayal of the Looper, Joe is brilliant, especially when you think about the antithesis between him and Willis' older version -their different views on how to 'correct' the future. The portrayal is made all the more impressive when you get to grips with the amazing effects used to make him look like a younger Willis - the three hours of effects make up and prosthetics (done by make-up artist Kazuhiro Tsuji), that make him look like that, the end result is uncanny, and causes a double take to say "is that really him or another actor?".

On the subject of the effects, the CG is impressive throughout the film, from the city-scape, action sequences and futuristic vehicles, to the brilliant effects on young Joe, they are bound to impress.

Willis is also on form, playing the type of character we know from previous work, he does his guns-blazing act brilliantly and, thanks in part to Gordon-Levitts Joe as well as Willis' Joe, he creates a character that you don't know whether to think of as the villain or a misunderstood anti-hero - a trait which take the film up a notch or two.

As it seems to be with any film Gordon-Levitt has worked on recently (Inception, Dark Knight Rises) this is definitely one to go and see.

Man on a Ledge (12A) ***

Man on a Ledge (12A) ***

Dir: Asger Leth

Starring: Sam Worthington, Elizabeth Banks, Jamie Bell

Synopsis: A cop is sent to prison for a crime he says he did not commit. Determined to prove his innocence, he stands on the ledge of a posh New York hotel, providing the perfect distraction for his brother to find the evidence that clears his name.

Verdict: I had my doubts about Man on a Ledge when it originally came out at the cinema, and so haven't seen it until its DVD release. I am pleased to report that, up until the last few minutes when it becomes almost unbearably cheesey, I actually enjoyed it.

The main thing that I enjoyed about this film is the way that director Leth has made it so suspenseful. From Worthington's Nick Cassidy on his perch threatening to throw himself off, to the cliche'd last minute, get-so-close-to-getting-caught crime that's being pulled off by Bell and Genesis Rodriguez's Joey and Angie, the film did have me involuntarily leaning slightly forward.

It's rare nowadays to come across a film that has little CGI in it, but with films like these it's more appropriate sometimes not to have fancy graphics everywhere as it detracts from the, albeit an over the top story line, reality of a similar situation.

All of the cast worked well in their respective roles, with Banks' move from a more comedy background to being the cop-negotiator being performed really well. The only niggle I have is with Rodriguez's role, which seemed to be another cliche in the film - the young, passionate and spunky Latina woman with her breasts on display for the majority of her time on screen. The story would have worked just as well without having a tug on the over-excitable teenage sex drive.

The biggest cliche Leth saves until last, with an ending that is cheesy to the point of being cringeworthy, deflating the feeling created by the main body of the film. The twist at the end he could have got away with if it had not been done in the way it had.

Final verdict: a surprising film which manages to pull out of the bag everything you least, and most, expect.

The Perks of Being a Wallflower (12A) *****

The Perks of Being a Wallflower (12A) *****

Dir: Stephen Chbosky

Starring: Logan Lerman, Emma Watson, Ezra Miller

Synopsis: An introvert high school freshman finds friends in the form of two senior students who show him how to have fun, fall in love, and the struggles that come with all those things.

Verdict: It has been a while since a film has made me connect with the characters to the point of getting a tear in my eye, but The Perks of Being a Wallflower did that to me.

The first thing to say about this film is that if you are out for escapism, this is far too real for that. It is very true to how life as a teenager is like, even when you take out the series of events that befell the characters before the story begins. When you throw the various things that have happened, especially to Lermans 'Charlie', the film steps up a level.

This is one of those films that, towards the beginning and middle, you begin to guess at what will happen to the characters at the end but Chbosky, as both writer and director of Perks, begins to make you think that what you thought will happen won't and, just as you begin to accept that, he flips it around, and then flips it around again. This technique creates a lot of tension in the final parts of the film.

Part of the films appeal is the connection that is established between character and viewer. Lerman's 'Charlie' is the main focus of the film, and his portrayal of the character is great - the shyness, the introvert, and the obvious psychological aspect to the character is achieved in a very believable way.

Watson, in her second role since the end of the Harry Potter franchise, plays Sam, the object of Charlie's desires. At first, I wasn't convinced by the american accent that she adopts for the film and, by the end, I still wasn't overly convinced. However, when you look at the rest of her performance - from lip-syncing along with The Rocky Horror Picture Show to her relationship with Charlie - you take the slightly dodgy accent with a pinch of salt.

One of the highlights of the film is Miller as Patrick. His performance of a character that has so much comedy, energy and life is fantastic and, while the character does suffer (as do the rest), it is him that brings the group together and gives the film a lot of its comical, and touching, moments.

The Perks of Being a Wallflower is both an easy and difficult one to watch, showing - albeit to some extremes - the ups and downs of being a teenager, adjusting to going to high school and leaving for college.

American Reunion (15) **

American Reunion (15) **

Dir: Jon Hurwitz, Hayden Schlossberg

Starring: Jason Biggs, Alyson Hannigan, Seann William Scott

Plot: It is 13 years since the gang graduated High School, and they've all come home for their reunion. Marriage, new commitments, and missing the past all come together in the fourth of the films to make it to the big screen (not including the straight to DVD Band Camp and so on).

Synopsis: Whilst the first and second film were amusing, the drawing out of the franchise to the seven or so films (including straight to DVD) is growing wearisome.

I know lots of people enjoy the series, or maybe I've grown boring, but after three previous installments I found the comedy to be the same as before, and the principal characters are all the same as in the first film.

Jason Biggs' Jim is the centre of attention, as usual, and his characters comedy comes, as before, from sheer cringe factor. Seann William Scott is still the sex and beer obsessed Stifler, and Jims dad (Eugene Levy) is still embarrassing.

While the premise of the film has changed from being all about getting sex to about relationships and how to make them work, it still , ultimately, boils down to sex (with Jim and Michelle (Hannigan) being stuck in a rut). There are, however, some nice moments - such as Jim trying to get his dad to start dating again after the death of his wife, and convincing the girl he used to babysit to find a decent guy to lose her virginity to.

The soundtrack is similar to the previous films as well, with pop-punk college rock being the staple, along with the throwing in of more recent chart hits.

If you're a teenager, and a fan of moderate sex references and soft-core breast and bum flashing, then this film will be right up your alley.

Brave (U) 3D ****

Brave (U) 3D ****

Dir: Mark Andrews, Brenda Chapman, Steve Purcell

Starring: Kelly Macdonald, Billy Connolly, Emma Thompson

Synopsis: Merida is a princess in medieval Scotland, a carefree character who fights with her overbearing mother about arranged marriage. In a temper, she runs away and buys a spell from a mysterious witch to change her fate - and that's when everything starts to go wrong.

Verdict: Disney Pixar films are always great to go and see, whether you are a kid, an parent or, like me, a 23 year old who is yet to grow up! And they aim to please all of this audience, with a story and humour that appeals to all ages.

The story itself is typical Disney: an arguing mother and daughter who end up going through and adventure where they realise they love each other really and make up. Simple stuff, and the story itself is similar to previous ones, but this doesn't stop it being a thoroughly entertaining hour and a half or so.

Having said that, it goes back to Disney films of old, with the 'villain' and fights concerning which being quite intense (I heard one younger member of the audience say that they found some of it a bit scary afterwards).

With the majority of the cast hailing from the British Isles (which adds to the value of the film at least for residents of the UK), the voice acting is brilliant. Obviously, the standout performances are from the main three, Macdonald, Connolly and Thompson, but I especially loved the son of Lord MacGuffin, (voiced by Kevin McKidd) whose thick accent makes him almost un-understandable (which is played upon in the film by other characters saying "I have no idea what he just said").


As you'd expect with Disney Pixar, the animation is beautiful. From the scenery to the characters and animals, the CGI is the highlight of any Pixar film. I loved how they managed to capture the essence of the voice actors in the characters (Billy Connolly's Fergus being very like him), with obviously animated faces but a depth of expression that I must admit is more lifelike than I've seen before.

The sad news though, is that the same cannot be said for the 3D which, unfortunately, left a lot to be desired. This brought the film down a little for me, as I honestly expected more from them, though I don't know why. Disney 3D has been known to work in the past, look at Tron: Legacy and Tangled, but here it didn't do the film justice. Where it worked it did add to the film, but the 'double effect' that so often plagues 3D was still apparent.

Ted (15) **

Ted (15) **

Dir: Seth MacFarlane

Starring: Seth MacFarlane, Mark Wahlberg, Mila Kunis

Synopsis: A lonely 8 year old boy wishes his Christmas present teddy bear would come to life to be his friend. When this comes true, they are the best of friends, but far from being an overly positive friend, Ted drinks, smokes dope and gets up to all manner of things.

Verdict: There's a lot of hype surrounding this film, the first from MacFarlane in a directorial role, and, unfortunately, it felt as though it didn't quite live up to that.

Don't get me wrong, it was hilarious and had a multitude of cameos and references to the geek pop culture that MacFarlane is famous for loving and referencing in Family Guy, but that was one of the reasons why I didn't think it lived up to the hype. It felt like a long episode of the show, with added American Dad and the Bad Idea Bears from Avenue Q. It didn't help the matter that the voice that he used for the title character sounded so much like Peter Griffin, and with Kunis who famously voices Meg, it all seemed a bit too familiar.

The humour is typical of MacFarlane: fart jokes, references to drugs, alcohol, sex and mocking celebrities and pop-culture. All of which will make this film a huge hit with fans of his work, and while I do love Family Guy and American Dad, thanks to BBC3 showing it constantly, it is starting to lose its appeal, just as E4 killed Friends and Dave is killing Top Gear.

Sadly, the story was all too familiar as well, and the cheesy ending was so expected that I willed him to do it differently just to, as he so often does in his TV shows, stick a middle finger up at the standard plot.

Having said all this, there are aspects I enjoyed about the film. For one, MacFarlanes ability to get all sorts of celebrity cameos in his work is great, building up contacts and friendships through his TV series', he has a lot of people to call on to help him get his point across and make jokes work.

The way Wahlberg and Kunis work together is good as well, with Wahlberg's child-like man and Kunis trying to help him grow up, and the way they, everyone else in the film, and the environment/props interact with Ted who, while filming, obviously doesn't exist is great.

As far as special effects go the teddy bear is also really well animated, to a point where you could almost believe that there was an actual bear come to life - especially with the fur, and the way they show his age so similarly to what happens to a much loved stuffed toy shows the bad-ass attitude of the character. Coupled with the interaction aspect that he has on the 'real' world, there is a lot more that goes into making him work than you might think.

All in all, this might just be another one of those films that I just don't get too well, such as The Hangover, which is hailed as hilarious and didn't make me roar with laughter the way I felt I was supposed to.

Paprika (2006) 15 - ***

Paprika (2006) 15 - ***


Dir: Satoshi Kon


Starring: Megumi Hayashibara, Akio Ohtsuka, Katsunosuke Hori


Synopsis: A machine that allows psychologists to view and enter the dreams of their patients is stolen, and the divide between reality and the dream world begins to tear itself apart. Paprika, the dream-world alter-ego of one of the machine's developers can stop the two worlds coming together.


Verdict: Japanese animation is known for being weird, and Paprika is no exception. It really is one of those films that you can tell while watching it that the writers and animators just let their imaginations run riot.

The story itself is easy enough to understand and follow, with the use of classic blurring the definitions between dream and reality - "am I awake or still dreaming?" - being used to great effect, especially when the idea of dreams is developed to incorporate something similar to wireless internet that is prominent in our daily lives. It is the interlink of the dreams, and their intrusion on the waking world that make this film stand out.

It is noteworthy that Christopher Nolan cites this film as an influence to the 2010 film Inception, a fact which is easy to see. But, where Inception goes into the sharing of dreams to effect ideas and/or steal them, Paprika focuses on what happens when the creations of a twisted mind, like those studied by therapists, is used as a weapon on the mass population.

The end result differs greatly from the 'structure' of the dream in Inception to the surreal, mesmerising and often quite scary side of dreams (the recurrence of the china-faced Japanese doll is most probably going to torment my sleep tonight).

The animation is as you'd expect from an anime, beautifully detailed and colourful, with some fantastic effects used to create a melting corridor and a city seen from above adding to the feel of the environment. When coupled with typical jaunty music that turns sinister at a moments notice (like two ways of singing 'Ring O' Roses' can by happy and terrifying), the film is successful in being more than a little bit trippy.

The Dark Knight Rises (12A) *****

The Dark Knight Rises (12A) *****


Dir: Christopher Nolan


Starring: Christian Bale, Tom Hardy, Joseph Gordon-Levitt


Synopsis: Eight years have passed since Bruce Wayne (Bale) hung up his cape and cowl after the events of The Dark Knight, and Gotham is free of the organised crime that plagued it for so long. However, a new terrorist - Bane (Hardy) - has arrived in the city, and the caped crusader must return to protect the people who know him only as a wanted man.

Verdict: The hype that surrounds the latest - and final - act of the Dark Knight trilogy is, without hyperbole, huge. Nolan has created a Batman that many people will be sad to see end, as Warner Brothers is set to reboot the DC comic hero again. Is the excitement surrounding this film well deserved though? In short: yes.

This final instalment is definitely the darkest and most emotional of the three films - from the love stories to the intensely dramatic fight scenes, Nolan leaves no doubt that this is the last chapter, the last time we'll see his incarnation of Batman and, rightly, he has held nothing back in the delivery of The Dark Knight Rises.

The aspects of the previous films play strongly here, with flashes of The Dark Knight as Gotham celebrates Harvey Dent day, remembering the day he died and the message he delivered of a city free from the mob (and for Comissioner Gordon (Gary Oldman), the lie he disguised to protect the idol Dent had become and condemnation of Batman as the villain): and the whole ideology of Batman Begins returns with a vengeance to build the story up and ending where it began.

Hardy (Star Trek: Nemesis, Bronson) is picture perfect for Bane - his build, his mask, his purpose are all tailor-made to create a sinister and evil presence. The only problem with him is the problem that has been speculated and argued over since we first saw footage of him - thanks to the mask it is very hard to understand him sometimes, and I was left feeling like all too often I'd missed important pieces of information that he was divulging, and then catching only the catch-phrases made famous in the trailers. Having said this, it could be argued that it feeds in to the characters nature and makes him appear more evil. But this can be left to debate. Aside from this, the role is delivered so well, not least when compared to the Venom fuelled hulk in Batman and Robin when the original concept of the genius behind the strength is lost completely in a mindless, muscle-bound monster.

Then we have Anne Hathaway (Alice in Wonderland, Bride Wars) as Catwoman who serves to be as much an anti-hero as Nolan's Batman has become. She is, of course, a thief who does her job well but has morals, which serve her development as a character from helping Bane to secure his plans for Gotham to her helping to bring them down. Hathaway's portrayal of the character fits perfectly with the tone of Nolan's franchise - someone strong and confident in herself as a bad-guy yet, when faced with the prospect of Bane's world, someone who can just as easily change to the 'other side'. As she says to Wayne: "I'm adaptable," and she means it.

The other new member for Dark Knight Rises is Joseph Gordon-Levitt (Inception, Brick) as John Blake, the one member of Gothams police who, live Oldman's Gordon, believe Batman is a force for good. As we know from the trailers, we see Gordon in a hospital bed, which leaves the floor open to Levitt to assume his role as a doer, someone who exists to help Batman. We know that he can deliver with Nolan in command as Arthur in Inception, and he portrays Blake with a sense of urgency and determination that is an almost mirror reflection of Oldman's Commissioner.

The standard cast return with the same level of talent as you expect from them in their roles by now, taking on the lessons of the previous films and using them to build on the characters and, almost, deliver new people. Michael Cane's Alfred is a case in point for this, with his small but incredibly powerful part in the film which is a huge part in getting the emotions going for this final instalment.

Nolan has outdone himself with the Dark Knight franchise. With three films that are hard to choose between to say 'this one is better than the rest', and while Batman Begins is slightly behind the second and third in terms of darkness, drama and thriller, it still stands that he has not disappointed at any stage.

The Amazing Spiderman - 3D (12A) *****

The Amazing Spiderman - 3D (12A) *****


Dir: Marc Webb


Starring:Andrew Garfield, Emma Stone, Rhys Ifans


Synopsis: A full reboot of the Spiderman franchise, this film chronicles a new storyline of the red and blue webslinger, including new origin story, new girlfriend and new enemies. High School student Peter Parker (Garfield) is bitten by a genetically modified spider that gives him super-powers, and must fight the lizard (Ifans) in order to save New York.


Verdict: Reboots are a Marmite film industry; some like them, some don't. Likewise, some reboots work, others don't. The second live action incarnation of Spiderman is, to me, a good reboot, and opens a new perspective on the story - one which focuses on Peter's family and the relationship they have to him and Oscorp.

The decision by Webb to introduce the other woman in Parker's life, Gwen Stacy, is a good move to distance the new film from the original trilogy, but you do get the feeling that Mary Jane is going to be needed at some point to introduce the love triangle that is prevalent in the comics. The twisting of the Lizards character though is an odd combination of the Jekyll and Hyde Lizard from the comics and the Green Goblin, where the Lizard's separate psyche over-runs the human side.

First on the agenda for the review is, inevitably, the special effects. And, having seen it in 3D, I am pleased to report that the 3D works! There were few, barely noticeable hiccoughs, but the vast majority of the effect was crisp and worked well. The only times there were noticeable bumps in the road were in some of the point of view shots, and one shot which flies directly over the Oscorp Tower lightning rod.

The special effects themselves are also really good, from the CGI used for the swinging sequences to the lizard himself - special mention does have to be made in relation to the effect used for the loss of Connors' (Ifans) arm. The use of real-world effects tie in well with the CG as well: the use of scaled skin textures on Ifans and the suit worn by Garfield work well when combined with the CG counterparts.

The casting has also been done well in respects to the film. Garfield is a very convincing Parker - he has the look of a teenager, and his attitude and humour both in and out of the suit is typical of a 17 year old who has a lot on his plate.

Ifans is proving himself in a move away from comedy films with his portrayal of the Lizard. The sense of the 'schizophrenia' that is reflected from the Green Goblin of the first on the original trilogy is good, although clichéd by this fact: the way it affects him both as a general character and a villain is impressive.

Then there's Stone as Gwen, the new girl to replace Kirsten Dunst's Mary Jane. She plays her role really well - her relationship with Parker, her emotions throughout the film, they all create a rounded character that, while not standing out as much as Garfield and Ifans she is still does a better job than Dunst's MJ.

With a good soundtrack adding to the experience of the film, the reboot is definitely an improvement on the original films and copies the style of the comic books which have various variations of the characters.

Coraline (2009) *** PG

Coraline (2009) *** PG


Dir: Henry Selick


Starring: Dakota Fanning, Teri Hatcher, John Hodgman


Synopsis: Frustrated that her parents don't have time for her since they moved to their new home, Coraline finds a doorway to a world that is exactly like her own except for her parent's being much more fun and attentive. Everything, however, is not as it seems, and this new world turns out to be much more dangerous than she realises.


Verdict: This is another one of those films that, while aimed at kids, you can see why it has been given the parental guidance certificate. While encompassing all the charm and fantasy that you expect, the surreality and darkness of it gives it an edge which some kids could find a little too much.

From the opening scene, in which skeletal, mechanical hands create a Coraline-esque doll, to the revelation of the true nature of the other world, the film plays on the weirdly surreal things that play on the minds of children - insects, rodents, faceless apparitions: all lend themselves to building up the scary nature of the film.

Henry Selick (The Nightmare Before Christmas, James and the Giant Peach) keeps with his tradition of dark story-telling and signature stop-motion animation to deliver Coraline: based on the book by Neil Gaiman, the story of course carries with it a certain moral undertone to deliver to the age range it is aimed for as any good kids film does.

As with James and the Giant Peach, one of the stand out aspects of the film is the contrast between the real world and the 'other' world -the real world being grey and frustrating and the other world being full of colour and the friendlier (appearance-wise) characters and, just as with James and The Nightmare Before Christmas, the stop-motion animation is great. Usually when I think of stop-motion, Aardman comes to mind, and I always seem to forget that they do not have a monopoly on the technique. It is always nice to see a stop-motion movie in a world where general animation, and even CGI has become the norm in special effects and feature productions.

The cast is well chosen: Hatcher as the real, and other, mother jumps brilliantly between the frustrated parent, fun parent and sweetly sinister villain, and I couldn't help but notice that Fanning isn't actually as terrible as her screeching performance in The War of the Worlds would have you believe.

It is also good to see the British comedy duo of French and Saunders lending their vocal talents to the film in the form of the retired actresses Forcible and Spink respectively - Saunders of course making a mark on voice acting with her part as Fairy Godmother in Shrek 2, amongst other roles.


One could be fooled from the style in to believing that Tim Burton cast his hand over Coraline either in producing or writing, but people forget about Selick being the director behind The Nightmare Before Christmas - famously branded as Tim Burton's as he was writer/producer - but Selick has already proved with James and the Giant Peach and Monkeybone that he can produce something just as twisted and dark as the Alice in Wonderland director can. 

The Dark Knight (2008) 12 *****

The Dark Knight (2008) 12 *****


Dir: Christopher Nolan


Starring: Christian Bale, Heath Ledger, Aaron Eckhart


Synopsis: Continuing a year after the events of Batman Begins, The Dark Knight follows Batman, Gordon, and the new Detective Attorney (DA) Harvey Dent in their war on crime, in which a new and extremely dangerous villain has appeared who 'Just want's to watch the world burn'.


Verdict: Where to begin with the second instalment of Nolan's Dark Knight trilogy is a tough question to ask. Do you focus on the tension created throughout the film, the acting talent, the brilliant plot, or the tragedy linked with the film?

Those who have already read my Batman Begins review will be aware of my views towards Nolan's re-imagining of the Batman story, and The Dark Knight continues to build on this style effortlessly. The main feature of the second film in the series is the tension that is created due to the character of Ledgers Joker.

This is achieved in an impressively simple way: to use a discordant soundtrack to add to Ledgers performance - a single reverberating note causing discomfort and providing an aural representation of the mentality of the Joker character.

The other feature, which reflects again the style of the films and the psyche of the character is the make-up effects used for the Joker, with his 'war-paint' being as much a part of the him as the performance. The stark difference between this and the make-up used in the camp-tastic TV series and Tim Burton's Batman (and the characterisation by Jack Nicholson) reveals the dark nature of the films.

This brings me onto Ledger's outstanding performance. The way he creates the clearly unstable psyche of the Joker is far and away the best performance in the film, as his character drives the other characters responses. Bale and Oldman's performances show a heightened desperation and urgency, and the 'breaking of rules' that the characters have in order to beat him.

Eckhart also shines in the film with his Harvey Dent (known from the comic's as Harvey Two-Face), portraying the good side of the chracter, shot through with the darkness that is fed by the Joker to become the 'villain' known as Two Face.

Again with this film, as with the last, Hans Zimmer writes the score, and the soundtrack is one of the stand out features of the film, as it has been with Inception and Batman Begins, Nolan's other films which he has produced music for.

Sadly, the over-riding feature of The Dark Knight's media coverage is the death of Heath Ledger, who played the Joker, after an accidental overdose a few weeks after filming had finished. Despite, or possibly in part to this unfortunate publicity, the film still became a hugely successful sequel at the box office, and he received posthumous awards from both the BAFTA's and Oscars for Best Supporting Male Actor.

Batman Begins (2005) 12 - ****

Batman Begins (2005) 12 - ****


Dir: Christopher Nolan


Starring: Christian Bale, Liam Neeson, Michael Cane


Synopsis: The legend of Batman had to start somewhere, somehow. Batman Begins charts the events that lead to the billionaire Bruce Wayne beginning his double life as Gotham's most successful businessman and its misunderstood hero.


Verdict: With The Dark Knight Rises only a few weeks away from release, this is the first of a build up to that event, to be followed shortly by the review for The Dark Knight.

The first thing to be said for Nolans latest offering of the Batman story is the dramatic change in style. We're used to the camp-ness of the 60's Batman, and the surreal world of Gotham created by Tim Burton and continued by Joel Schumacher still holds on to vestiges of that silliness. Nolan's re-imagining is instantly darker, less OTT and a lot more serious and believable.


From a Gotham inhabited by genetically altered super-villains, fantastic architecture and a hero with muscles built into his suit (including nipples), we have come to a Gotham that is much like any major city, with organised crime at its centre and a new style of Batman as its protector. 


Where we were once used to Batman having a video-phone in his Batmobile with a direct line to Commisioner Gordon, he is now a vigilante who is, 'officially', hunted by the police and, with this simple twist on the narrative, his character is changed from hero to anti-hero. 


The story itself still clings to the unbelievable that is a requirement of comic-book movies. The gadgets, the new Tumbler Batmobile, the science behind the evil master-plan is all straight out of the pages of a comic, but wrapped up in a far more believable guise than turning a telescope into a freeze ray (Batman and Robin).


Christian Bale provides us with a good new Batman/Bruce Wayne, although the deep, gravelly voice he adopts as the caped crusader to disguise his true identity is a bit off, his performance is otherwise good and, though people may disagree with me on this, Michael Cane as the new Alfred is better than Michael Gough's, due in part to sarcasm, wit, and that his character isn't as doddery as Gough's portrayal of the billionaires butler.


Gary Oldman also stars as Lieutenant Gordon (which means we get to chart his progress through the police ranks) and lives up to his reputation as a great actor with his performance of the tough and honest cop who cautiously trusts the masked Batman to help clean up the street of the City.


It is also noteworthy to add that the idea of Wayne developing his gear himself is now out of the window, with the introduction to the films of Lucius Fox (Morgan Freeman), a scientist with Wayne Enterprises R&D Department who has much of the gadgets pre-existing and mothballed in the basement of the company.

The special effects used in the film also add to the overall experience. Without giving too much away, the use of CGI to creating terrifying images and play on the theme of fear throughout the film works really well which, coupled with the hard FX used in chase and fight sequences, do a lot to progress the movie.


While this imaging is short lived (DKR being the last film Nolan will make in the series before another re-invention of the franchise to play into a rumoured Justice League), it is proving to be a brilliantly popular incarnation of the DC Comics hero, largely due to it's superb direction and his vision of a darker Gotham.

The Addams Family (1991) ****

The Addams Family (1991) ****


Dir: Barry Sonnenfeld


Starring: Angelica Housten, Christopher Lloyd, Raul Julia


Synopsis: 25 years after Fester (Lloyd) ran away after a fight with his brother Gomez (Julia), a con artist lawyer and his loan shark send a Fester look-a-like to find out where the Addams' fortune is.


Verdict: The Addams Family is a film I remember so well from my childhood - watching again and again on video and, even now when I almost know it word for word, it still has me in stitches.

The gothic eccentricity, the dark humour and the kooky characterisation. It's what you would expect from the classic family and after 20 years it still holds its own.


Though he is known to be quite hit and miss with his films (take MIB and compare to Wild Wild West) Sonnenfeld shows in his directorial début that he has what it takes to make a good comedy, despite his hit and miss career since. 

It's difficult to decide upon which of the cast delivers the best performance. Housten and Julia are wonderful as the mother and father figures - the juxtaposing calm of Morticia to the grandiose and over the top Gomez who turn everything they say - or indeed is said to them - into sexual references. Lloyd's Fester is so similar to his Doc (Back to the Future) - with his eccentric behaviour and sense of haste, it's a combination that serves him well and creates a character the audience can really enjoy. 


Of the children, Christina Ricci's Wednesday is by far superior to Jimmmy Workman's Pugsley - she has that sinister look and line delivery that is believable and, while all we see of him is his hand, Christopher Hart's Thing is one of the most urgent and emphatic characters in the film - and all this from gesture alone is a definite nod back to the days of silent cinema.


Without all of the pomp and glitz of special effects, the comical appeal of the writers and the scripts delivery by the cast is what makes the film stand out. The humour is brilliantly off the wall, from the unpacking of Uncle Nick Nack and his various wardrobes, to the Addamses trying to settle into the 'normal' American way of life, it is daft to the fullest extent it can be.

This film is great fun to watch, with such an amount of hyperbole in its comedy and delivery that is difficult to resist enjoying it.

Goon (15) **

Goon (15) **

Dir:Michael Dowse

Starring:Sean William Scott, Jay Baruchel, Alison Pill

Synopsis:After his family reject him for being less intelligent than them, Doug Glatt uses his talent for taking and delivering abuse to take an underperforming hockey team up through the league.

Verdict:All at once, Goon is and isn’t a typical William Scott style film. Where we are used to seeing him playing a loud and obnoxious character, substitute this with the quiet, yet violent, Glatt - a bouncer turned hockey player. Well, hockey player is a loose term. He plays the player who exists primarily to get into fights in the surprisingly violent game of ice hockey.

The film is quite a good move for Scott, as it shows that he can indeed play something other than the Stifler-esque role he is known for. At times he can be quite sweet in his ‘simpleton’ way, especially in his courtship of Eva (Pill) and then he destroys that by taking beatings that should render him unconscious, and then beat seven shades out of the other guy.

The humour is typical of the genre, focusing on slapstick, sex jokes and blue language to get simple laughs. In some ways, it reminded me of Happy Gilmore with its humour and plot, just a bit less subtle. But that could just be me.

This said, the story moves quite slowly and, despite a good deliverance by William Scott, I didn’t find myself connecting with the character as well as I probably should. This, coupled the re-use of the same jokes from countless other comedies, means that the film didn’t quite get to my funny bone or touch me in the way it should have either.

Brick (2005) 15 - *****

Brick (2005) 15 - *****


Dir: Rian Johnson


Starring: Joseph Gordon-Levitt, Lukas Haas, Emilie de Ravin, Nora Zehetner


Synopsis: Brendan is a typical high school loner who ends up getting pulled into the underworld of his high school's social system to discover why his ex girlfriend came to him asking for help. He calls on his friend, and information go-to-guy, 'Brain' to help him infiltrate the criminal workings of the school and solve the mystery.


Verdict: At first, you get the feeling that this indie Noir-style thriller from writer/director Rian Johnson is a parody on the genre but, as you continue watching, it develops into a brilliant piece of cinema.

Vaguely reminiscent of Bugsy Malone (in terms of transplanting a well known genre into a younger cast of characters), Johnson got me wondering whether his film is a re-imagining of the American high school genre, or Noir re-imagined? It works as either and both and whichever you decide upon, it probably won't be the wrong answer.

Gordon-Levitt, well known for his role in Inception, plays the classic detective brilliantly, all the while keeping the character equally believable as a high school student. The character steals things to find out clues, makes people talk with violence, has Brain (Matt O'Leary) as his go to who knows information and even his dialogue - through language, sarcasm and how his sentences are structured - scream classic detective (the only thing missing is the alcoholism).

But all the focus cannot remain on him, the rest of the cast also deliver the goods, from Hass' The Pin to Richard Roundtree's Vice Principal (who plays the role of the police commissioner in the high school microcosm).

The story is brilliantly clever, partly in itself as it would surely work just as well within the typical Film Noir setting and characters, but to have it contained within the world of the teenager at school is genius - the underworld of drugs and crime juxtaposing with operation out of their (seemingly) oblivious parents' houses and the simplicity of going to their classes.

All in all, two genres you would never expect to meld together have produced a film that is thought provoking, intelligent and more simply, works as a whole.

Surf's Up (U) 2007 - ****

Surf's Up (U) 2007 - ****


Dir: Ash Brannon, Chris Buck


Starring: Shia LaBeouf, Jeff Bridges, Zooey Deschanel


Synopsis:  A documentary-style animation going behind the scenes at the yearly penguin surfing competition from Pen Gu Island, Surf's Up follows Cody Maverick (LaBeouf) as he tries to fulfil his life's dream of winning the contest.


Verdict: It tends to be the way with kids films that they appeal to adults as much, and this is definitely one of those heart warming films that puts a smile on your face.

Yes there are an abundance of clichés that fill up the plot, as you would expect from a film aimed at a younger audience, but these don't matter as they are expected and are part of what makes this genre of film so enjoyable.

The comedy is the sort of thing that appeals to children and grown-ups, from general slapstick that all enjoy, to some jokes that parents will understand more than the younger viewers. You know the jokes and you know what will happen so you don't really have to think too much.

The voice-acting talent is very well suited to the film. Jeff Bridges, commonly known as 'The Dude', fits the bill brilliantly for an ageing surfer, and LaBeouf's voice works as the young, cock-sure kid. Alongside the voicing is the soundtrack, which features some classic pop-rock, surf style and feel good music.

The other nice thing about this film is that it came out before the new fad for 3D came out, and the effects are focused on the animation - which shows. The CGI waves are the stand out feature of the animation, but the character and scenery animation is also very good, despite taking the back seat.

A good film to watch with the family on this long Bank Holiday weekend, or indeed at any old time on DVD.

Prometheus - 3D (15) ****

Prometheus (15) ****

Dir: Ridley Scott

Starring: Noomi Rapace, Logan Marshall-Green, Michael Fassbender

Synopsis: After discovering the same pictogram in several ancient civilisations, a team of explorers go to the planetary system that is described to discover the origins of the human race. There, they find a terrifying secret and must battle the past to save humanity's future.

Verdict: The fan-boy in me just wants to splurge his guts out about how much he enjoyed the film, but the more sensible side of me has managed to shut him up for a while so this review can be written (be warned that in person I will gush a bit).

The story is great: relatively easy to follow but with moments when it leaves you feeling a bit stuck. The main culprit for this would be the way that, yes, a lot of the questions that are raised in Alien are answered but it then raises new questions to be answered. Possibly an extra for the DVD release to fill in some of the plot holes?

This said, Scott really takes the film back to its roots in the sci-fi horror genre that made the first film stand out and makes a film that didn't disappoint me even after all of the hype. He has also, somehow, managed to (in a way) discredit the Alien vs. Predator (AVP) films from the timeline of the franchise (which isn't necessarily a bad thing). 

The mix of being able to scare the audience and action that was used in 1979 works again here, though the tactics are somewhat different - where the franchise started with the fear being what you can't see, we already know what the alien looks like and we know (sort of) about the space jockey, which leaves them to come up with new ways of scaring the viewer.

The special effects are brilliant; from the details in the alien structures that matches so well with what I remember from Alien, the CGI, all the gory details and the fantastic scenery on the planet, Prometheus doesn't disappoint when it comes to delivering visually and, at first, the 3D looked promising but, as always, there were moments when it delivered, and others when it failed to do so.

The acting talent really helps to bring the story together. Rapace is brilliant as the main character Dr Shaw becoming, in effect, a new Ripley for the 21st century. Fassbender shines as David, becoming quite like his Magneto in X-Men: First Class - someone who is both sinister villain and a friendly face in one package.

With its special effects and great story, this film will have you reaching for your Alien box set when you get home - even if it's only to feed the desire to carry on where this left off or to help you double check and make the connections of how everything fits together, this is definitely a film that lives up to its hype.

Men In Black 3 (PG) ****

Men In Black 3 (PG) ****


Dir: Barry Sonnenfeld


Starring: Will Smith, Tommy Lee Jones, Josh Brolin, Emma Thompson


Synopsis: Agents J and K return to save the Earth again from an invasion but, this time, J must go back in time to the 1960's to save the young K and restore the timeline.


Verdict: They may have been on a break for a decade, but Sonnenfeld is back with the third instalment of the Men in Black franchise. Despite the time away, this latest film delivers as much as the first two films in terms of special effects, laughs, action and the moving moments that his brand of comedy movie is known for.

Josh Brolin really stands out in this film as the young Agent K. You'd be hard pressed to notice the difference between him and Jones in terms of voice, mannerisms, and even appearance. It's also nice to see Smith back in a comedy role after a few years. This isn't to say that his serious acting is bad, but he is one of those actors that seems better suited to making you laugh, with that hint of deep emotion that MIB is known for. Emma Thompson is also brilliantly funny - despite not having many lines her opening speech is priceless.

The plot is also really good. OK, so it follows the same basic construction as the previous two films but, by using time travel as its main premise, you don't really notice as much. It is also fair to point out that, without giving too much away, a twist that I should really have seen coming from references actually took me by surprise, which goes to show how well the story was written and directed.

The other thing that makes these films stand out is the special effects - both visual and audio. It's always interesting to see the intriguing alien designs that the team can come up with, with the alien villains are successful in being quite scary (with Jemaine Clement's Boris being brilliantly created and played).

Despite not seeing the 3D version, it is evident where the effect would be used and I have heard that it isn't that bad (though the whole 3D fad is wearing thin nowadays what with the 50/50 chance of getting a decent effect and a bad one).

Cube (1998) 15 - ***

Cube (1998) 15 - ***


Dir: Vincenzo Natali


Starring: David Hewlett, Nicole de Boer, Maurice Dean Wint


Synopsis: Six people wake up in a series of cube shaped rooms, some safe, some with deadly traps. They must overcome personal differences and work together to find a way through the chambers to find a way out whilst they are picked off one by one.


Verdict: It's easy to see how Cube could be one of the influences behind the Saw franchise. People trapped in a cage with challenges and the growing sense of paranoia and desperation. That said, this film seems more intelligent, keeping me more involved and interested then the first Saw film did (I found it a tad boring, and couldn't be bothered with any of the sequels).

The start off goes from a quite rapid introduction to the situation, before slowing down whilst they try to figure out the sequence of rooms and traps to find their way out. It soon picks up again as the suspicion, conspiracy theories and paranoia build, raising the tension.


The film makes the most of what it has, barely using any soundtrack other than in a couple of scenes that really need it, which really helps this film to set you on edge throughout the watching. This, coupled with the few special effects, and the same set but with different lighting makes this film brilliantly simple, and all about the skills of the actors.

This said, the special effects, though few and far between, are brilliant (for 1998) and mainly used for the more gruesome scenes and particularly complex traps.

The actors are mainly small name, the biggest of which probably being David Hewlett, who has had a starring role is Stargate:Atlantis and bit parts in Rise of the Planet of the Apes and Natali's other sci-fi thriller, Splice.


An enjoyably clever film, Cube provides a bigger dose of conundrums and traps than the Saw film that - seems to be - based upon it.

Saving Private Ryan (1998) Cert 15 *****

Saving Private Ryan (1998) Cert 15 *****


Dir: Steven Spielberg


Starring: Tom Hanks, Matt Damon, Tom Sizemore


Synopsis: World War 2 epic following a group of American soldiers in France, from their landing at the ill-fated Omaha beach, to save a Ryan, a paratrooper who has lost all his brothers in the war.


Verdict: Saving Private Ryan is one of those films that, when you watch it, you can see it is a classic and fully deserving of the awards it picked up when it was released in '98.

Following Schindler's List and 13 years before War Horse, Spielberg builds on his fascination with the Second World War, which saw him produce two episodes in the brilliant series Band of Brothers - a program which follows real paratroopers' stories, featuring the accounts from the veterans themselves.

The action in the film is contrasted starkly with the deep emotional story, which starts from the off in the vast American war cemetery, building on this with extracts from the vast amounts of letters sent for soldiers killed in action and beyond.

These action sequences and moving scenes are broken up only rarely with some dark humour, but this does little to alleviate the overall tone of the film. It isn't helped either by the fact that the action sequences will have happened. This makes the sequences horrible to watch, unlike in a lot of films nowadays.

Tom Hanks plays the primary role in this and does so brilliantly, as do the rest of the cast, even the extras who are there just to die on the beach are convincing and, at times, difficult to watch.

You will definitely come away from watching this film having been affected in some way by this moving story, and it is easy to see why this film came away with five Oscars, two BAFTAs, and 48 other awards.

The Day After Tomorrow (2004) (12A)***

The Day After Tomorrow (2004) (12A)***


Dir: Roland Emmerich


Starring: Dennis Quaid, Jake Gyllenhaal, Emmy Rossum


Synopsis: A climatologist is has to battle the elements to save his son in this apocalyptic sci-fi flick that sees the world suffer from abrupt climate changes - from floods and tornadoes, to an 'ice age' which engulfs the whole Northern hemisphere.


Verdict: The Day After Tomorrow is one of those films that, eight years later, is still an enjoyable film to sit and watch when it rears its head on TV. It follows a similar pattern to most of Emmerich's films: namely the destruction of New York or the world as we know it. But these are the films that draw audiences, with big budgets, big names, and big special effects, you can forget the scientific inaccuracies that are presented to you and let your mind turn off.

Quaid's climatologist, who discovers that global warming has triggered a runaway climatological  apocalypse, is faced with traversing an Arctic tundra in North America to rescue his son (Gyllenhaal) in New York, which has been destroyed for the umpteenth time in Hollywood's long history by a giant wall of water before turning into an ice cube. Both play their parts well; the workaholic dad who doesn't have enough time for his geeky son who proves himself to be following in dads footsteps.

The main stand out feature of the film though, like Independence Day, Godzilla, and 2012, is the special effects used throughout -from a tornado ripping through Hollywood, to the giant freezing snowstorm that covers most of the Northern hemisphere.

The film, shown yesterday (Sunday 13/5/12, E4) is one of those pleasant ways to end a weekend and, being shown in spring, reminds us that despite our grumblings about the British weather - it's always worse in Hollywood.

The Lucky One (12A) ***

The Lucky One (12A) ***


Dir: Scott Hicks


Starring: Zac Efron, Taylor Schilling, Blythe Danner, Riley Thomas Scott


Synopsis: After finding a photograph of a young woman (Schilling) in Iraq that means he narrowly avoids dying in an explosion, Logan (Efron) keeps it as a lucky charm - vowing to one day find her an thank her for saving him. When he finds Beth after his tour ends, they find themselves falling for each other, and they begin their relationship with her not knowing the reason why he's there.


Verdict: A chick flick in every sense of the genre, The Lucky One follows the tried and tested plot devices that you come to expect. Boy meets girl, they eventually fall in love, there is a conflict or argument, then they get back together. Cliché to the extent that Beth even mentions to her grandma that she's expecting something to go wrong.

The thing that makes the film stand out though is the way the story touches on the subject of beliefs and superstitions in the armed forces, and the issue of post-conflict psychology, brought up by Logan's nephews freaking him out with video games and trying to surprise him in the morning which almost ends badly. The effects of the psychological trauma is stressed by slow motion action/death sequences.

Efron plays his part really well, showing that he's developed from the young singing and dancing actor in High School Musical: but I found that he still seems quite innocent and not wholly believable as an ex Marine. That said, the point of the film is the love story, which he delivers well opposite Schilling.

A classic styled romance film that the ladies can go gooey over, and earn the gents brownie points for taking them to see it.

Avengers Assemble (3D) 12A - *****

Avengers Assemble (3D) 12A - *****

Dir: Joss Whedon

Starring: Robert Downey Jr, Scarlett Johansen, Chris Evans, Samuel L. Jackson,

Synopsis: S.H.I.E.L.D has spent years gathering intelligence and the means to join the Earths mightiest heroes together to protect humanity. The super humans, brought together by Nick Fury and Agent Coulson – the seemingly omniscient people behind S.H.I.E.L.D – have to fight between themselves before they are capable of fighting Loki’s alien army.

Verdict: After several years of origin stories building up to it – and linking into one another - the Avengers are finally here! And the first thing to be said about it is straight from my geeky heart – wow!

As with any fantasy/comic book film, this is heavily reliant on special effects, and they have in no means skimped on them. From the pyrotechnics and old style acting effects to the CGI that is relied on heavily throughout the film, everything has come together to create some fantastic action sequences - both in terms of the inner fighting between the Avengers, and the battle between the invading aliens.

My main worry with the film was how they were going to get everything in: rounding up the various members of the team – especially Thor and Hulk who are either on a distant planet or hiding from the world, having them fight between one another, and the ‘war’ for Earth. Thankfully they managed to get it all in and, much to Whedons credit, it doesn’t feel rushed in any way, and the story works. The rifts between the team are believable, as is the way they manage to pull together. That said, however, some parts I didn’t like (no spoilers) which could have either been developed better, or omitted completely.

My second worry was, of course, the 3D. After seeing a 3D trailer when I went to Wrath of the Titans, it looked to be awful. From what my movie-viewing cohort tells me, the 3D wasn’t too bad from around the middle of the theatre, but where we sat today at the front, the 3D had some dodgy moments, especially in the problem area that tends to be text. If seating location is a factor, then 3D needs addressing until the whole screen gets the same effect, and not just have one sweet spot where the 3D is good.

The acting talent is the same as with the previous films. Downy Jr has proven himself in the past few years as both Iron Man and Sherlock Holmes, and there is little arguing with Jackson who is renowned for the roles he has played. The rest of the cast live up to their reputations, especially Mark Ruffalo as Banner/Hulk (a significant mention must be made to the effects department that rendered the newest incarnation of the Hulk to be so like him in appearance) and Tom Hiddleston plays the evil, if not psychotic/twisted Loki.

The film brings together the themes that have made the growing franchise in the run up to The Avengers so good –the mix of action, comedy and sentimental moments. This said, most of the funniest moments of the film belong to the Hulk and Stark characters, as you would expect with the other members being quite serious, and even Coulson (Clark Gregg) has his moments (mainly gushing over Evans’ Captain America).

The film is definitely worth seeing - especially by those of a geeky disposition, or just people who get their kicks from great action films.

Battleship (12A) **

Battleship (12A) **


Dir: Peter Berg


Starring: Liam Neeson, Taylor Kitsch, Rihanna


Synopsis: During the RIMPAC naval war games in Hawaii, a group of alien ships - attracted by a signal sent seven years earlier - splash lands in the sea and cuts off three destroyers and one of the Hawaiian islands from the rest of the world with a force field. The Race is then on to destroy the invaders and to stop them messaging their home world.


Verdict:  I was prepared for this film to be all 'HOORAH!' and macho soldier heroism - a triumph of special effects pornography over substance with a trailer that outmatched the final product. And I was pretty much bang on the money.

Don't get me wrong, this doesn't mean that I didn't like the special effects. They are good, but repetitive, and a bonus of this film is the fact that they chose not to do it in 3D. However, this redeeming feature doesn't detract from the fact that the film is, for all intents and purposes, a carbon copy of films like Battle L.A., Independence Day, all tied together with a dose of Transformers - even down to the  way the ships look, the sound effects, the music, and the plot (and being from the same company, it's hardly surprising).

It doesn't help that the plot is so samey that you could walk in halfway through the film and pretty much guess it with a high probability of accuracy, and that the script itself is littered with typically predictable one line quips that would make the worst offending of action heroes cringe. At least it realises this, and after one such line, a character is asked: "who talks like that?!"

But, this admission doesn't make amends for the amount of clichés that make up the back story, disappointing creature design, lack of originality, and the surprisingly long time it takes to approach the Battleship game that the film is supposed to be based upon.

The acting, thankfully, isn't awful, with Neeson's small amount of screen time made up of either speech-making or shouting angrily into a phone, and singer-turned-actress Rihanna's début being made up of the 'hoorah!' dialogue that was expected from the film.


Through all the recent alien invasion films, I can't help the feeling that Battleship is the latest offering from a Hollywood that seems to have been infiltrated by the military to produce a film that borders on propaganda and, somewhere, I am sure there is a journal or dissertation being written on that very subject.

The Pirates! In an Adventure with Scientists! 3D (U) ****

The Pirates! In an Adventure with Scientists! 3D (U) ****

Dir: Peter Lord, Jeff Newitt

Starring: Hugh Grant, Salma Hayek, Jeremy Piven, Brian Blessed

Synopsis: The Pirate Captain (Grant) and his jolly, yet awkward crew, set off from Blood Island and the Pirate of the Year awards to London to find fortune from their ships ‘parrot’, Polly - who is in reality a Dodo who has caught the attention of Charles Darwin (David Tennant) who wants to use Polly to get in with Queen Victoria.

Verdict: The latest offering from the Aardman studios - famous for Wallace and Gromit, Chicken Run, and Gnomeo and Juliet – is a brilliantly funny, well made film that returns to the stop motion roots which made the production company what it is today.

With a plot that appeals to both adults and children alike, with generous helpings of jokes aimed at either group, and often encompassing both, the film was a lot more enjoyable than their last release in December, Arthur Christmas. This is partially due to the comedy being just classier and funnier, as well as the clay-mation style which is, personally, more endearing than CGI.

It was also pleasant to find a 3D film which had decent 3D, albeit with the odd hiccough, as is to be expected but, all in all, it stood apart from other 3D films that I’ve seen recently (cough Wrath of the Titans cough!).

The cast also helps to make the film, with Grants’ The Pirate Captain being familiarly like Wallace, with his own Gromit in the form of Number Two (Martin Freeman). The supporting cast are all quality actors too, with Tennant’s Darwin being a great mix of both bad and good guy, and a brilliant performance from Imelda Staunton as a very Mrs Tweedy-esque Queen Victoria.

As you can tell from all the references to previous Aardman films, this film follows a very similar structure, with similar characters, which is what makes Aardman stand the test of time. Yes it’s quite samey, but it’s samey in a good, classic, wholesome way, which makes this film perfect for long standing fans of the company, and the young kids that give you an excuse to go and see it.

Wrath of the Titans (12A) ***

Wrath of the Titans (12A) ***


Dir: Jonathon Liebsman


Starring: Sam Worthington, Liam Neeson, Rosamund Pike


Synopsis: Years have passed since Perseus (Worthington) slew the Kraken and saved Greece, and Hades (Ralph Fiennes) is again trying to destroy the world, this time using his, Zeus (Neeson) and Poseidon's father, Cronos. This means yet another mission to the underworld for Perseus, to use his demi-god abilities to save Greece.


Verdict: I'd love to say that lessons have been learnt from the fateful 3D of Clash of the Titans but, unfortunately, I cannot. Sure the story wasn't too bad, the special effects are good, but the 3D lets the film down.

On the whole, the story is good, and Worthington reprises the classical Greek role well, as do Neeson and Fiennes, and it wastes absolutely no time in getting straight in to the nitty gritty of action sequences. These are the basis of the film, as with Clash of the Titans.

The common theme nowadays with putting the Greek classics to film is the focus more on the action than the journey - something I'm sure Homer et al would not be impressed about. However, action is what sells a film like this, so action is what you get in bucketloads. It's strange to think that with CGI that is as good as it is in this film that they mess up on the 3D, but it would seem that they put more effort into some great effects. It almost makes you want them to have spent more time on the 3D and less on the CG to make it well rounded.

All in all, this film won't win awards or knock The Hunger Games off its top spot at the box office, but it's worth a watch just for the CG. Just be sure to go to the 2D showing.

The Rum Diary (15) **

The Rum Diary (15) **

Dir: Bruce Robinson

Starring: Johnny Depp, Amber Heard, Aaron Eckhart

Synopsis: Set in San Juan in 1960, The Rum Diary follows American journalist Paul Kemp (Depp) as he discovers new excesses in alcohol, love and being handed the bad end of the stick by people in high up places.

Verdict: Don’t you just hate it when a film seems entirely cobbled together? Too many stories making up the whole to the point of confusion? Admittedly, it works when you have intertwining stories featuring different characters, but when the higgledy-piggledy series of events that befall Depps protagonist in The Rum Diary all come together, it becomes hard to follow.

The premise of the film seems to be The Hangover meets All The Presidents Men – Eckhart’s Sanderson is an expat who wants to use Kemps’ writing talent to gain approval to build hotels, and the editor at the newspaper is doing a bad job of keeping the publication afloat which means endless strife for the journalist and his sidekick Sala (Michael Rispoli). This, coupled with an excessive amount of alcohol consumption (and one kick from a strong hallucinogenic) makes his attempts to get the better of both these people fruitless.

The first half hour or so of the film is quite slow, as it basically follows Kemp as he drinks, smokes, and secures his job, before the film finally goes somewhere with the introduction of the love interest, Chenault (Heard) who is going out with Sanderson. The point of the film wasn’t made apparent until the seedy-ness of Sanderson is introduced.

At least the drunken antics of Sala and Kemp is good for some laughs. Compared to The Hangover where you feel as though you’ve seen all the best comedy moments in the trailer, The Rum Diary keeps some of its funniest material close to its chest for when you see it. It is also noteworthy to

It is disappointing how Depp is becoming a typecast actor, in that all the characters he plays are either drunk, or mad as hatters, and there is a fine line between the two. Having said this, he does do it very well. Eckhart again proves himself as a great actor in this, though it can be said that the character is a bit Harvey Two-Face.

Having not read Hunter S. Thompson’s book, I can only imagine that it is not as confusing or hard to follow as the film turned out to be – fitting a man’s whole experience into two hours, no matter how much of a drunken blur it might be,  has not turned out well.