StevenF

The success of 'The Avengers' back in 2012 was undoubtedly going to usher in another phase of films from the ever expanding Marvel Cinematic Universe. Robert Downey Jr. was the first to suit up for the third Iron Man outing and his fourth for the franchise overall. The third entry in the Iron Man franchise proved to be riding the wave of the massively successful Avengers, taking a huge haul at the box office. Next up was Chris Hemsworth as the muscle bound god of thunder Thor. Both proved to be successes, the former continuing to impress while the latter was better than the first outing but still left plenty of room for improvement. But the first avenger to start it all was Steve Rogers as Captain America, his first film was good but not great, it had a wonderful retro feel to its first half until it took an explosive and predictable path for its final hour, each event leading into The Avengers. Cap was always difficult to put in front of an audience that nowadays demands darkness and gritty realism over charm and light-hearted antics. He stands for goodness and doing what's right, something that isn't very sought after in modern day heroics. But in this sequel to the 2011 film, it's a different time and a much different film. Not only does it improve upon the last solo outing, but it could very well be the best film to come out of the Marvel franchise so far. The man who was frozen in time returns with Chris Evans again putting the famous shield on his arm, he now works for S.H.I.E.L.D. who continue to be a very secretive organisation which Cap is determined to get to the bottom of. He works closely alongside fellow operative Black Widow (Scarlett Johansson). The witty chemistry between these two is easily one of the highlights of the film, even in the stickiest of situations, the writers manage to infuse some comic relief that works every time. But the threat this time in the film is much closer to home as S.H.I.E.L.D. itself is the centre of attention for all the wrong reasons. Nick Fury (Samuel L. Jackson) is given a much larger and more pivotal role in the Winter Soldier, the more Sam Jackson the better if you ask me! The story plays out in thrilling fashion as a mole within headquarters has each of our good guys on their hit list. The great alliance is now in tatters and someone that Cap has never dealt with is hunting himself and his friends down. Who better to send after them than the mythical Winter Soldier, he may just seem like a master assassin with a metal arm and anger issues, but there is much more of a story going on behind the mask that plays a part in a film that finds balance between emotional repercussions while also entertaining the fans with explosive set pieces, thrilling fist fights and a fantastic car chase involving director Fury, it all packs a heavy punch while infusing the film with superior wit and charm, especially from supporting cast member Anthony Mackie who dons a familiar pair of wings as the plot unfolds. The story delves very deep into the history of the S.H.I.E.L.D organisation while also outlining the problems that face a company who is trying to do everything right by preventing crime before it happens, "What about freedom?" the Cap asks, always there to detail the line between right and wrong. Chris Evans himself is on fine form and he acts out a very emotional script that paints Steve Rodgers as a man who is unsure about what to do with his life after the secrets of the people he works for start to unravel. It pays homage to the first film while also solidifying itself as possibly the best Marvel film so far, it has everything that could possibly be imagined and just when you think that it can't get any better, Robert Redford shows his face along with several other strong characters, there are surprises at every turn but enough of the same characters we've come to know from previous films to add up an adventurous, pulsating and epic adventure that could be the best film of the year. Stay for not one but two credit scenes, one in the middle and one at the end, mind blowing!

This is a study of character and realisation, Frost/Nixon aims to delve into the interviews that took place between the former President Richard Nixon and British “talk show host” David Frost, it doesn’t delve into political motives or side-tracking corruption,only the men who sat in two chairs for a series of interviews, Frost, a choice that surprised many, was a man living a flamboyant life while also having television shows in Australia that were not anything close to the journalistic prowess that the public were expecting to take on the guilty President, yet the film outlines in dramatised form, how much of the process of these interviews and payments came largely from Frost’s own pocket. The film kicks off with snippets of news programs all those years ago as the Watergate scandal was revealed, but also how there was evidence of a cover-up by the President of the United States. The film is a close tailing of Frost as he decides to be the first person to interview the disgraced former President, he has no TV channels behind him or any concrete advertising, but all this acts as part of the mindset that this young presenter is in, he is in it really to rejuvenate his career and for it to mean something again, but his team of researchers, and of course, the nation, want him to press the President for a confession of his involvement in a cover-up, a point at the beginning of the interview process that Frost bites off a little more than he can chew, seemingly unprepared for the onslaught of anecdotes and stonewalling he received from Nixon. Michael Sheen takes on the role of Frost, a role he also played in the stage version of the show, while Nixon is played by Frank Langella, who also appeared in the same stage production. These two actors deliver fine performances, Sheen takes the stance in his character that he has nothing to lose with these interviews, yet when he is getting nowhere with his attempts at picking apart Nixon, he soon sees how it could all come crashing down, Langella perfectly incorporates the mannerisms and speech of Nixon, whose booming voice was one of his memorable qualities, but Langella also shows a man with regret and loneliness in his eyes, at some points even seeming like he wanted to confess, but remember, this is dramatised, because we don’t really know the type of relationship these two had other than in front of the cameras, but a certain scene which didn’t happen was added in, perhaps for the dramatic effect, where a drunken Nixon contacts Frost in the dead of night and discusses many character defects in vague detail, and although this event never actually happened, its pivotal for how the final interview plays out, and how Frost manages to have Nixon accept his guilt. In many ways the film certainly attempts to capture the essence of what went on during those interview days, but it also tries to make its own mark for the performances alone, which are the benchmark of the film, once these two sit face to face, thats when the magic occurs.

This magician-fuelled attempt at being a thriller constantly reminds the viewer that while something is going on here, the real thing is going on elsewhere, a distraction if you will. Well this whole film, enjoyable yet shallow, is a constant distraction, it has a lot of flashing lights and booming music to draw the attention away from a plot that is drawn out to be very complex when, it actual fact, is quite straightforward. It always makes a point of blowing every single detail out of proportion to the point where there are intentional moments to throw the viewer of a scent, a scent that is honestly not that difficult to follow. There is a star cast to back up such a colourful show, Jesse Eisenberg, Isla Fisher, Woody Harrelson and Dave Franco call themselves the Four Horsemen, we see them going about their day to day trickery as street hustlers and con artists, until they are mysteriously brought together as a collective group, Atlas is the showman and illusionist (Eisenberg), Merritt (Harrelson) is the mentalist who has quite a funny opening scene with a woman and her cheating husband, Henley (Fisher) is a beautiful escape artist while Jack (Franco) is a pickpocket and quite the entertaining fighter as well. As these four are brought together and financed by the shady Tressler (Michael Caine), they pull off a ban heist from their Las Vegas show, yet the heist happens in France, after they ‘teleported’ a man from their show to the vault of said bank. What then ensues is a race against time for the viewer, to see if they can outsmart the writers and get to the finish line of the whole plot, the illusions continue but no clear or reasonable motives ever seem to be present, the film definitely lacks in cause for these characters, particularly the role of Thaddeus (Morgan Freeman), a man who makes a living out of debunking magicians, who then decides to help out the FBI agent Rhodes (Mark Ruffalo) to bring down these magicians, only problem being they cannot figure out what their next move will be. As often impressive as the film looks and feels, it never seems anything more than just that, a nice shiny car that has no engine, it lacks the proper character direction, these four talented individuals show no real inclination of why they so desperately want to evade the police and put on a good show, no backstory whatsoever. But despite that, the talent playing them are bang on the mark in bringing a unique approach to each performance, confidence and wonderful trickery often ensues, but can get a bit long in the tooth as there is little point to a lot of it. This is certainly a flashy and in your face technique, delivered through a lot of dizzy camera movements and showmanship, yet drag it all away and there is still something worth seeing here, but it gets lost in all the glamour of trying to put on a big show, this ultimately prevents the film from being as enjoyable as it could have been, it has its thrills, but tries too hard to deliver more in the process.

This isn’t a fluid and straight shooting comedy, but ‘Wedding Crashers’ manages to push out enough laughs to make this easily enjoyable and often a genuinely funny. But these genuine moments are comprised of smaller moments that happen in the broader scheme, there are a lot of things going on to the point where many characters get left behind, but I’ll get to that. We meet Jeremy and John, played by the excellent comedy duo of Vince Vaughn and Owen Wilson, a pair of wedding crashers, there is no catch here, this is what they actually do, besides being lawyers, they crash an obscene amount of weddings as a way to bed various lucky ladies who are present at the wedding, then they move on, some of these scenes are terrific as they fake their way into the ceremony and then deliver the goods in the reception. The real punch comes in the form of Treasury Secretary Clearly, who is played by none other than Christopher Walken, this guy can make anything sound funny, yet he is grossly underused in this comedy, is that even possible? But even so, Jeremy and John are after the daughters of the man, seeing this as the jackpot, they get in quite deep, Jeremy (Vaughn) seduces the crazy and unstable Gloria (Isla Fisher) while John falls for the irresistible Claire (Rachel McAdams). But Claire has a fiancee, the not very nice Sack (Bradley Cooper), who is just quite uncomfortable to watch in each scene he is in, Cooper is a phenomenal actor, but his role in this film is jarring and distracting. The bum note of the film is the opportunities it misses, dragging out scenes for longer than they should and not giving enough for Walken to do, but the film has excellent moments with Vaughn and Wilson on top form, they often stray off in perfect comic timing which unfortunately loses steam as the film ticks on, there is a lot of talent that is underused, such as Henry Gibson playing a priest who doesn’t really have much to do apart from making various faces to show shock or other emotions at stories he is told, or the forgotten son, Todd (Keir O’Donnell), who has many funny moments and setups, but ultimately these don’t amount to much. One of the highlights actually comes from a small role for Will Ferrell, playing the master of the wedding crashing game, his moments on screen are comedy gold but just don’t last long enough. In the midst, this is still a funny film, it has plenty of gags that work in relation to the film and has its fair share of top notch scenes, particularly more candid ones amongst the talent rather than she they are all in the same room at the same time. The idea and some of the delivery is there, this has an all star cast but simply loses track too many times which leaves its consistency in the gutter, but some decent performances and also some side splitting moments make this enjoyable enough, but a bit too long for its misplacement.

The message that continuously appears during ‘We Are Legion’ is the idea of community, the idea of a collective group that look out for one another, Anonymous is this collective group, they have rose to more prominent means in the last few years for their high profile hacks on the likes of PayPal and even the FBI, this documentary looks at the humble beginnings of the “hacktivists” as they started small pranks which eventually led to the crippling of large scale companies, online and off. I suppose they could be viewed as vigilantes to an extent, freedom is often considered a rare trait, with the watchful eye of big brother, sooner or later there would be a rebellion. The beginning of the film outlines how those who have made quite a living through computers, have actually broken the law to an extent such as Steve Jobs and Bill Gates, we all see the ‘Anonymous’ handles on websites for those who don’t want to reveal their identity, this becomes the point of the movement, that it is everyone, a collective voice. They started on such sites as where content was unfiltered. Their mission for the greater good takes the fight to **** and even the Church of Scientology, the latter being one of the defining moments of this group, as the church allegedly fought back with quite a bite. What started as silly yet effective pranks on kids gaming websites was soon turning into quite serious and giant stands against censorship and of course, freedom of information. The Scientology incident led to mass protests across the world, interviews given by certain members outline how they couldn’t have anticipated such a response, but the power of the internet is in full swing. These interviews are honest and often forthright from members, some keep their faces hidden, others are talking directly without any covers, the transformation **** once trying to make everything a little more open, also shows a division of standing up against government or continuing to play pranks on jokes across the web. The documentary can feel very one-sided in the favour of Anonymous, even though many parts within the collective movement aren’t doing very savoury things, but this is a shady area as different parts, such a Lulzsec, take a different view to who should be targeted. Aside from its drawbacks, this is quite an in-depth and honest look at difference trying to be made, legally or not to have a more free and open world, many of the participants of the documentary have legal battles that they have went through or are going through, yet their message remains strong. Its a feel good moment but also frightening to contend perhaps how easy others can access your life, food for thought anyway.

What a glorious surprise ‘Rango’ turned out to be, it isn’t a dumbed down animated comedy or a family-oriented cartoon, its a very smart and beautifully rendered adventure that is a treat to look at, with a vast array of colourful and larger than life characters that look bright and cheerful as they light up the already bright screen. The setting of of the film is first and foremost, a Western, it delivers subtle but also not so subtle nods to the genre that defined an era, even if you haven’t seen the many films it borrows its content from, there is still enough to like about it, especially Rango himself. Johnny Depp lends his voice to the character, a run of the mill lizard, but his journey to an unknown location is disrupted after a roadkill, so he ends up deceiving his way into a local town called Dirt, which is running dangerously low on water supply while also being held under fear from the various villainous creatures of the town. As the film progresses, its clear to see the linear it follows, much the same as a Western, it has the stranger who isn’t part of the town, he breaks social order by confronting the rulers of the town, while he also has the chance to become honest. Rango tries his best to pull the wool over the eyes of the citizens, but birds, snakes and other unsavoury creatures make this quite difficult. Each character has been excellently brought to life through their voice actor, and through their relevant roles on screen, Bill Nighy and Ray Winstone are the ideal villainous cretins who terrorise the town, so Ned Beatty’s mayor decides that Rango should wear the Sheriff’s badge. The witty and smartly-drawn humour of the film is brilliant, it’s sort **** animation that has a variety of deadpan humour. Director Gore Verbinski shows his skills when commanding the great action sequences, there is a delightful chase sequence in the many canyons of the wild west that sums up the brilliance of the whole film, fast-talking, fast-paced and full of characters who could easily belong in a real film, they have limitless amounts of energy while the film has limitless amounts of opportunities to parody classical films such as Apocalypse Now and the endless amount of Westerns, it even use the talents of Timothy Olyphant to nod in the direction of the “Man With No Name”. This is a surprising and uplifting comedy that is colourful, breathtaking to look at and definitely raises the bar for a first rate story along with some excellent involvement of Hollywood stars, they bring the added flavour to the characters involved as Rango tries to figure out the water problem. Beauty and first-rate entertainment at its finest.

A lot of the open space that would otherwise seem unnecessary, is actually used to its fullest potential in ‘The Good, the Bad and the Ugly.’ The intensity of scenes, sometimes involving only one man in the vast sprawling desert, easily capture the essence of the film, surprise, intrigue and some fine camerawork which is held true throughout the course of the film, director Sergio Leone intentionally misleads the viewer with various angles in an attempt to mask the outcome of an event, he does this so well. The pressing matter, however, is why this movie is so good? Or masterful for that matter. It will always be known as a "Spaghetti Western” even if its content is vastly superior to many of the westerns that have come and gone, it has garnered its critics for presumably being part of the 'Dollar’ trilogy’, yet it survives to be not only the best Western film, but one of the finest films of a cinematic generation, the style and beauty on screen utilises each and every detail, whether its the sun soaked sand or the populated battlefields of a civil war, the film has a massive scope of perfection and subtlety. Clint Eastwood again places the cigar in his mouth as the 'Man With No Name’, another problem with the marketing **** film, he’s clearly called “Blondie” in the film. The performances of the three main leads are exquisite, alongside Eastwood, we have Eli Wallach as a of a man called Tuco, an shaky and untrustworthy acquaintance of Blondie, he never stops and also never misses an opportunity to get one over on his partner. But we also have the cool, focused and dangerous stance of Lee Van Cleef as Angel Eyes, his opening scene as he he sits down for food with his target is expertly filmed to outline the cruel and materialistic side of this man, but also the dangers of crossing guns with him, his moments of in the film are made up of fear and his piercing stare, giving relevance to his name. Moments like these are what the film is about, it doesn’t hold heavy dialogue but instead lets the scenery speak for itself, one of the final scenes of the film has the three characters face off in a three-man showdown, this is a long and suspenseful scene, one which gradually draws the viewer in from long shot to extreme close-ups, we witness the distance these men are from each other, right up to the sweat and stubble on their chin, perfectly capturing a scene that doesn’t necessarily differ from many duels, but the delivery of suspense along with a riveting score gives it vital importance. The character of Blondie is a benchmark of the Western age of film, this guy doesn’t even have to talk much to be appreciated, a creation of power and order need not speak, he just needs to act out his myth or legend, something Leone and Eastwood bring to the Man With No Name in flawless style. He is after gold that the other two men are also after, the catch being that Tuco knows the graveyard its buried in, but Blondie knows the exact name of the grave, while Angel Eyes was led onto the track through his own menace and curiosity. The graveyard part of the film is only one of its many highlights, another being a civil war part where the two partners decide to take down the bridge in an attempt to further their journey. The landscape, creation of memorable moments and a story which intertwines with pivotal segments of history, amount to the flawless art that is this film, it has wit and character dynamics that separate the film from others, each leaving a rather different taste in your mouth, at 180 minutes long, each and every scene needs to be soaked up with the brilliance of its content, and the talent of those involved.

An interesting and perhaps hidden ploy within ‘Phone Booth’ is its subconscious poke at those who lead a sinful and disillusioned life, it goes with the belief that such a life will catch up on you, this film obviously does this in a dramatic and ridiculous way, but it still throws a few stones in to ripple the water and give us a thought in the short running time of the movie, it takes place almost entirely within this area where the phone booth is, but keeps the pulse going with its sometimes unpredictable plot and mysterious caller. We are introduced to the fast talking publicist that is Stu Shepard, phone to the ear and barking various orders to his lackey, he lies and cheats his way through life, which comes back to bite him, he uses a pay phone to call his mistress Pamela (Katie Holmes) so as his wife Kelly (Radha Mitchell) is unaware when she checks his phone records, ruling out the possibility of her becoming aware of his adultery. What dear Stu doesn’t anticipate is answering the pay phone to a confidently spoken man who knows just about every single thing about our now edgy publicist, oh yeah and the man on the other line has a sniper pointed at Stu, under the illusion that Stu deserves to die for his life of shame and fakery, he’s essentially playing God and yet he is only a voice, but a commanding voice is also one not to be messed with, something that Stu finds out all to soon after a run in with some irritated street walkers and their pimp, his day just eta worse and worse. As the intention starts to grow on Stu and police start arriving, Captain Ramey (Forest Whitaker) starts figuring out that perhaps Stu is actually incapable of putting down the phone for fear of getting a bullet through his head, they are under the belief that Stu has a gun, yet aren’t completely sold on the whole story that they’re being fed. Director Joel Schumacher knows how to heighten the tension as he often focuses the camera on what appear to be menial objects at first, but soon play out to be much more vital, he also gives the whole thing a sense of humour, which is a nice touch. Most of the humour and tension comes from the voice on the phone, the anti-hero perhaps. The voice is Kiefer Sutherland, who brings a soft yet effective tone that is refreshing to listen to but menacing when need be. It becomes unclear wether he has any intention of killing Stu, but it makes the film much more enthralling when he never seems to lose his cool and has Stu in all sorts of knots, a snappy and enjoyable film that seems to hold so much more under the hood and has more pressing motives that it doesn’t play.

Inspiration needs to come from somewhere, this is the sort of film that we know witty yet simple in many forms, with ‘Seven Psychopaths’, we have a film within a film, sort of. A lot of it is through the vivid imagination of Marty Faranan (Colin Farrell), while the rest is true to the main plot of the film, the title comes from the screenplay that screenwriter Marty is struggling to write, he has the title at the top of the page, the same as the real film, but not much else. He ends up getting quite a bit more than he bargained for when is loose cannon of a friend, Billy (Sam Rockwell), decides to put an ad in the paper reaching out for actual psychopaths, its dry and believable approach can only come from the man behind ‘In Bruges’ and ‘The Guard’, Martin McDonagh makes films that are soaked in their own awareness and deep characters. We immediately see this in the opening scene involving two hit men clearly waiting on their target, oblivious to the man in a red mask approaching them from behind, and in turn execute them, moments like this sum up the layers of surprise and edginess of the film, yet also not taking itself seriously. In the midst of Marty writing about psychopaths, or trying to, there is a serial killer on the streets of Los Angeles, the same man we meet at the beginning, his calling card being the Jack of Diamonds, he seems like a vigilante. Billy, meanwhile, spends his days kidnapping the dogs of rich people and collecting the reward with the help of Hans (Christopher Walken). He has his own past and own problems with his wife recovering from cancer, but caught in the middle of the wrong dog to kidnap, the one of gangster Charlie Costello (Woody Harrelson). We are introduced to each psychopath as their stories are revealed, the stories being played out as imaginary or as flashbacks, many being subtle bows to previous Hollywood films that employ the same scenarios, some of the quips seem to poke fun at themselves, but it also brings out quite an interesting and even heartwarming story, Walken in particular bringing a subtle yet effective tone to his role, some of this seems improvised, which is definitely a good thing. The scenes with the three leads of Farrell, Rockwell and Walken, seamlessly combine silliness with brilliance as they attempt to come up with the ending for the film, but each time the film seems to go one way, it definitely can go other to surprise us, it has comedy, cruelty and camaraderie rolled into one well scripted package, which makes for a film that has the brass and talent to back itself up.

It’s quite an accomplishment when a fine young actress with lesser known credentials than her A-List co-star, manages to steal the spotlight away in dramatic fashion, Rooney Mara does exactly that to Daniel Craig, this remake of the 2009 Swedish film packs quite the punch in terms of mystery and intrigue, it drew me in with the separate storylines which eventually intertwined, but the lead performances are the real gold stars of the film. Lisbeth Solander is the girl in question, and what a fascinating specimen this girl is, underneath the gothic clothing, erratic eating and one night stands, Solander has a brilliant mind, but a fragile state is the even ground, we know that she has been raising herself from a young age, she does what she wants and really because she can, dresses as she does probably due to a lack of opinion from others and has taught herself to remain alone and isolated from society, yet when she is faced with a problem she will try her hardest to figure out a way around it, including her appointed guardian (Yorick van Wageningen) abusing her to the point of desperation, she isn’t a girl to be taken lightly, but she finds an unlikely friend in the man she was hired to investigate earlier, Mikael Blomkvist (Craig), who has his own problems. His story picks up surrounding a court battle which he has little chance of coming out on top, he decides to help out an old and tiring millionaire called Henrik Vanger (Christopher Plummer) who lives on a private island, cut off from the mainland, he hopes journalist Blomkvist will help him try and solve the disappearance and probable death of his niece Harriet 40 years earlier, but when Blomkvist starts to dig, he realises the mess the family is in, relatives not speaking to each other, **** beliefs, estranged children and how clues seem to lead back to one or the other, a family matter indeed. The paths of the two leads cross as Blomkvist seeks the help of the young Solander, and their unorthodox relationship ensues. The film has much more than what it is at first glance, its a fascinating script with excellent performances being brought to life through the likes of Stellan Skarsgärd and Steven Berkoff, they all have secrets and unknown tales in their secluded island, but they all want to know why now? Why look for clues to the young girl now? Director David Fincher has a talent for making the little details count, the smoking habits, the sexual nature of the characters and the seclusion of it all, he captures the mood of a typically murky and gritty time with a beaten cottage beside a lake with snow falling heavily to the ground, the two leads come from very different lives, yet wind up on the hunt for a potential murderer on a secluded island. Mara holds her own with edgy brilliance and the damaged genius of Solander, Craig is a confident individual passes this to Mikael Blomkvist, a man who had it all but let his status get the better of him, Solander could be the very thing to bring him back down. This is a fascinating thriller that rightfully relies on its characters to spark the mystery of the story, its smart, intriguing and offers a different view in terms of heroic actions from unlikely individuals.

Behind all the crude, obscene and derogatory content that makes up the still hilarious film that is 'The Dictator', it directly pokes fun at democratic governments around the world, becoming a perfect political satire while also playing on the funny bones, Sacha Baron Cohen proves to be original in his content, while also pulling no punches at who gets caught in the firing line. This is the first scripted film Cohen has created, it falls a fluid story compared to the equally as hilarious but cringeworthy 'Borat' and 'Bruno', yet when I went to see the film, the cinema was in complete uproar, all in a good way of course, it certainly pushes boundaries but addresses the dark and black comedy that people seem to relate to today, its short and snappy at 89 minutes long, but feels just the right about of funny. Cohen plays the role of Admiral General Aladeen of Wadiya, he acts like we assume a dictator would, big palace, plenty of worshipping followers and a flamboyant lifestyle of sex encounters with celebrities, this set up includes a small role for Megan Fox, which is hysterical as we are then shown his wall of conquests, males included. But his life is always in danger, not only because of his regime and his slimy right hand man Tahir (Ben Kingsley), but he plays judge. jury and executioner (or so he thinks) as he will uses his power to dispose of any man who deceives him, yet this even comes down to a nuclear warhead not being pointy enough. When his visit to America ends i na betrayal of trust, he is thrust into the streets of New York unknown, as his iconic beard has been removed, he finds a radical anti-Aladeen health store run by Zoey (Anna Faris), unaware of his real identity, she lets him into her life. Faris has really let herself be the subject of many puns and putdowns throughout the film, growing real armpit hair and even being called a "chubby Justin Bieber". Its full of direct attacks at everything involving the American Dream, and a particular scene in a helicopter with two tourists perfectly capture the mindset of an often paranoid nation, but probably for good reason. Its full of crude yet delicious humour that just gets funnier as the film goes on, it seems to play out as a regular "error of their ways" film, but then throws it all back in your face to keep us interested, Kingsley is an unlikely delight alongside Cohen, while Faris continues to have excellent comic timing for all the right moments. This is a comedy not for the faint-hearted, but political satire for all to enjoy, offensive but perhaps a little close to home.

The second part of the "Cornetto trilogy" which belongs to writers Edgar Wright (also director) and Simon Pegg takes a more in your face approach to parody than Shaun of the Dead did with its zombie theme, this outing, 'Hot Fuzz', focuses on Nicholas Angel, played by Pegg, who has quite the immaculate record working in London as the city's finest police officer, he wipes the floor clean single-handedly which is how the film sets itself up, he's being kicked out to the country for making the rest of the city officers look bad. His first night out in his new country village of Sandford consists of cleaning out a pub full of underage drinkers and escorting a drunken man to the station, which turns out to be his new partner, Danny (Nick Frost). Danny is the cop who wants to see all the explosions and take part in car chases, but Sergeant Angel is the one who has experienced it and now must adjust to life in this quiet and slow moving way of life, which turns out isn't so quiet after all. Angel begins to notice patterns in a series of gruesome 'accidents', yet the attitude of his colleagues remains playful while they munch out on cookies and cake, the sharp wit returns from 'Shaun', with even a few of the same lines carrying over to bridge the films together for those following them, we also have the heightened tension of the film style which applies to anything, whether pouring pint or an intense gunfight, it takes all the best and cheesiest elements of classic cop films of the 80s and throws them all into the one pot, sometimes it feels like too much, but it's still better than 'Shaun', taking a different approach and involving many more characters, including the perfectly cunning Timothy Dalton as a supermarket owner, Jim Broadbent as the likeable Inspector Frank, also father to Danny, the two Andy's, played by Paddy Considine and Rafe Spall with Bill Bailey also making a comical appearance. The film offers up all the side-splitting comedy that the first of the variety trilogy offered, but it goes a step further with taking various characters and introducing them to new ways of life, even offering up a finale that was much more fun and thrilling than many of the films it is sending up. Pegg and Frost continue to be a dynamic pairing onscreen with the help of an ensemble cast, this is a simple story which is proven by Angel coming up with a complex idea as to why these grisly occurrences have happened when in actual fact, it was simpler than he thought, funny, dark but also thrilling with excellent performances that mirror a finely tuned and humorous script that will sit nicely sit firmly as a classic amongst UK audiences.

The first of a "Cornetto Trilogy" from friends and regular collaborators Edgar Wright and Simon Pegg, Shaun (Pegg) is a bored and routine thirty something who spends too much time at the local pub, the Winchester, with his best friend Ed (Nick Frost) who doesn't do a whole lot with his life, Shaun's girlfriend Liz (Kate Ashfiled) is annoyed at his lack of focus and believe that Ed is holding him back. They sit and play video games, Shaun goes to work and is made fun of by his much younger colleagues, while also going through his life in sort of auto-pilot mode of repeating the same at ions day in and day out. The excellent refreshment of the film stems from what is really a subplot, that lead have risen as zombies and are eating the living, yet the constant bickering of these three, along with Liz's friends Dianne (Lucy Davis) and David (Dylan Moran) takes centre stage as they attempt to come up with plans at every turn in an attempt to get through a situation. The dark humour is particularly well written from Pegg and Wright, who also directs the film, his fast-paced and energetic style of filming adds heightened tension to otherwise menial scenes, these are definitely callbacks to zombie films of old, they need to get to a safe haven, which Shaun and Ed believe to be the local pub of course, is it so wrong to sit in relative comfort and drink free booze until an apocalypse blows over? The human element feels grounded and doesn't give way to too much zombie time, we get various situations of such routine where we even see Shaun walk to the shop and back without even noticing the people around him where zombies, it was funny, but it also showed a message of just how familiar people will be that we don't even notice change right in front of us. The witty britishness of it all is particularly fresh, a cup of tea will fix everything, while even in the most frightening of circumstances, jokes bar regulars and dead people not being your real dad can still hold a dark sense of comic relief, especially in a time of zombie overkill in the film industry, no pun intended. We have chemistry and urgency with the characters to get the point across, Pegg and Frost are the perfect duo, no matter how much Shaun wants to change, he can't say no to his best friend. Its a relief to see a different sort of apocalyptic film that centres much more on the people involved and how it affects their routine, especially in a hilarious and witty way.

While its subject is the division that changed an era way back in the sixties, 'The Help' manages to offer a safe and optimistic tale out of a difficult and testing time in American history. The film has centred itself around the African-American maids predominantly working in Jackson, Mississippi as they carefully detail their day to day lives working for the white women of the town, they do so through the energetic and openness of Skeeter Phelan (Emma Stone), who sets out to write a book anonymously to highlight the situations these women endure. This is a definitely a safe film, and while does tend to only touch on some of the ugly and chaotic times of the era, it also seems like this was intentional, instead offering the good that can come out a situation such as this, it is willing to show great emotion while also keeping themes arms length, it delves and paddles its feet slightly on racial abuse but never plunges too deep. Skeeter sets her sights on two maids to begin her book, her backstory showing that she has difficulty fitting into the society she once lived in, these two maids are Aibileen Clark (Viola Davis) and Minny Jackson (Octavia Spencer). As wonderful an actress as Emma Stone is, the film belongs to these tow characters, they could have easily won out the entire show on their own. The former is really the centre of the story, as she is the first to speak to Skeeter, we are immediately shown the life she leads as she raises the young children of the family she works for, and watches them grow up to be exactly the way their mothers are, We can see from the excellent performance of Davis that Aibileen is tired of being treated like a pet, the leader of the ladies in the social circle is Hilly (Bryce Dallas Howard) is the snake of the town, campaigning behind a smile to have separate bathrooms for the maids so as they don't use their own, Minny is the comic relief and hearty force of the film, as she is fired by Hilly and in turn goes to work for the outcast of this social circle, Celia Foot (Jessica Chastain), who treats Minny as an equal, albeit with quite the quirky and unhinged personality to go along with her generosity. Each one of the characters immediately invite us into their lives, Aibileen struggles with a previous tragedy that eventually drives her to talk to Skeeter, considering the risks involved in speaking ill of their employers, bug they aren't always doing that, there are plenty of happy memories, especially Skeeter and her family maid Constantine, a story which also holds a touching and heartbreaking premise. The excellent performances of Davis and Spencer are the hallmarks of this colourful and vibrant setting, it's short on make roles but never feels overly feminine, instead choosing to (inadvertently) have Aibileen as the centrepiece of the show, with Chastains character and the story of Skeeters maid taking a smaller but equally touching subplot. This is happy and moving film that can be a little rough around the edges with some devices belonging in a different film, but the performances of Davis and Spencer are of the highest order, their characters each have a life outside of their jobs which feature prominently but don't overshadow their desire for change, it's a different sort of take on a cruel and often tragic era in history, one which doesn't cover all the holes but certainly fills the relevant ones with humour and heartfelt decency.

As the camera circles and observes the scene, it's clear to see the talent involved in 'Reservoir Dogs', director and writer Quentin Tarantino is one of those men sitting at the table, alongside Michael Madsen, Harvey Keitel, Steve Buscemi, Lawrence Tierney and Tim Roth amongst others, they are well dressed in black suits and are having a rather crude discussion surrounding the Madonna song "Like a Virgin". These men don't know each other, but they share chemistry over coffee, but we soon learn that they have reason for being there, a jewellery story heist that we see in flashbacks, because for most of the film, we have a lot of dialogue taking place in the warehouse that was the agreed rendezvous, but you can now judge from this wording that it all goes horribly wrong, and as a few start to appear at the warehouse with various theories as to what went wrong, the most prominent of these being an informant within the pack, injuries and deaths have happened, and now they must find out what truth there is to the 'rat' business. The unfortunate shortcomings of the film lie with its characters having little intrigue or prospect about them, the plot revolves around them, but at the same time it revolves more around trying to find out what went wrong, the plot is intriguing, but not enough time is spent working up a point to each 'colour', each man being called a different one so as to protect their names, but that isn't to say the performances aren't immense, with Madsen almost stealing the show with his cold and collective attitude, each time he's about to speak is edgy because of his unpredictability and menacing demeanour. Keitel is the level headed one who looks after Roths character after he is shot. There are plenty of surprises and shocks along the way, while introductions to the characters through flashbacks intertwine well with the main arc of the warehouse, but we don't have particularly witty or mesmerising dialogue, the script relies on its characters and its conclusion of figuring out the problems of the heist. Tarantino is a proven marvel when it comes to unique filmmaking, this film was the kick off to some dark humour such as Madsens "Mr Blonde" toying with his victim as he dances to "Stealers Wheel", it funny but frightening, we have no idea what is about to happen, and Tarantino has carried on this witty and quick fire shooting that captures smaller but significant details that matter. This isn't his finest work, but here we get a crisp and sharp introduction to the technique and capabilities of Tarantino, he assembles quite the sought after cast with equally impressive performances, and a soundtrack that works well with the darkly humorous script, not as tight as it should be but still a cut above most, it talks perhaps a little too much, but never becomes boring or stale.

'Premium Rush' boasts its own sort of edgy content and intense sequences while maintaining a realistic approach, it involves the bikers who risk their lives everyday on the bustling streets of New York City to deliver mail big and small as they traverse the maze that they have mapped out in their heads, taking the quickest route possible which may involve breaking a few rules of the road including running the odd red light or figuring out ways on the spot to avoid a bad collision, these messengers don't get paid enough, but perhaps the thrill of the ride keeps them going, they tick off most of the city and are constant hassle for the busy traffic of the city, but everyone has to do their job. This is primarily a chase film full of adrenaline and not very much slowing down, the title borrows its name from the concept of the extra charge for a fast delivery, but it could definitely refer to the quick paced and non-stop motion of the film, it has plenty of characters who don't particularly have much depth, but then again this seems intentional due to the pace of the film, which sets itself around one particular messenger, Wilee (Joseph Gordon-Levitt) as he picks up a ticket on one of his runs that actually acts as a receipt to a hefty sum of money which a corrupt cop (Michael Shannon) is after to pay off some serious gambling debts, he is primarily behind the daredevil Wilee for much of the film, always chasing him and trying to find new ways to take him down. But these bikers don't seem to risk their lives for the mediocre pay, but more for the thrill and to get there on time. But pretty soon, many others get involved in this game of cat and mouse including Wilee's on/off girlfriend Vanessa (Dania Ramirez) who is also under the watchful eye of the physically impressive Manny (Wolé Parks) who competes time and time again with Wilee, but as mentioned, they all have their part to play when the stage is set for thee faster paced finale. This is a chase movie first and foremost, with some excellent effects as Wilee judges his route, one can only applaud the stunt doubles used throughout the film, the chase sequences are intense and full of life, but this is isn't an insightful or a film with profound meaning, it's all for the entertainment and for this reason, it succeeds in every way.

Lisa Reisert is the go to girl as 'Red Eye' opens, she is a hotel manager who is catching a flight back home, she's on the phone for the first few scenes trying to rectify a matter over a call, she's busy and always on the move, but apparent is capable of defusing any situation, but she is put into a very different situation when she catches the last flight back to Miami, this has all the tendencies to be a decent thriller, and save for a few plot snags and some over-zealous tones, Red Eye succeeds in being enjoyable, full of suspense and doesn't drag it's feet. Rachel McAdams plays the overworked girl, but she doesn't oversell her character which seems to be common territory now, it's quite easy to get carried away with plot details, but McAdams has had her fair share of mainstream roles over the years, she reacts how we assume people would react in these situations, but of course this doesn't come without a plot that has no need to be as complex and figuring as it is, but she has a foe in the form of Jackson, playing what appears to be the ideal man behind her in the check-in line, he helps her out with another unruly passenger, buying her a drink and laughing over each others names and stories about relatives, but he has plans when they board their flight, his charm soon turns to sinister motives when he outlines his plan to Lisa, not to give too much away, but her retired father (Brian Cox) is somewhat involved in a sort of hostage situation that depends on Lisa following everything she is told. The film uses its plane setting to its advantage, using the enclosed space for more candid scenes and that added dose of claustrophobic intensity. We have quite a short and snappy thrill ride in Red Eye, strong performances from the increasingly brilliant McAdams and the resident bad guy Murphy prove to make the film what it is, especially when they hit the ground and a car and mouse game ensues, Murphy's character still soldiers on, even with a pen lodged into his neck. Wes Craven is the man behind the 'Scream' series, it's clear here as he often creates situations that are often comical more than they are frightening, but the chemistry between the two leads leaves the small flaws behind, this is interesting, thrilling and well acted in a short time frame, it doesn't sell out but instead casts McAdams who doesn't forget the sort of film she's doing, but also remains believable and doesn't oversell the plot at all, definitely a film that succeeds in not dragging out scenarios but gets to the point.

The approach that is taken towards the overall revelation of 'The Woodsman' is one of subtle and delicate means, we know when the film kicks off that Walter is being released from prison, he settles into an apartment while also taking a job at a lumberyard, it's safe to say that much of the surprise can be taken out of the film especially when every description of the film now outlines the exact extent of Walters crimes. The film doesn't take pedophilia lightly, in fact Kevin Bacon never attempts to seek redemption for the error of his ways, the film instead shows how fitting back into society can prove difficult, especially when he is living across from a school. Bacon is not playing a character who is looking sympathy or remorse for what he is done, he is taking each day as it comes and letting certain individuals treat him like dirt, he takes it on the chin but continues to struggle, he believes there is a man bothering the children in the school, yet due to his past is unsure what to do about it. Two co-workers have two very different opinions of Walter, Mary-Kay (Eve) is immediately suspicious after Walter puts her down, but Vickie (Kyra Sedgwick) seems to admire the mysterious and quiet attitude of Walter, contrary to her outward and feisty personality, she consistently asks Walter what he did, but he often refuses to tell her his past. A past that cannot be accepted isn't necessarily the person at complete fault, but the crime itself. Walter tests his own desires time and time again, he shares a few moments with a young bird watcher in the park, this scene has so much weight and significance that it solidifies the film, this isn't a film to be enjoyed, but more to study and appreciate the adjustment and progression of characters, this scene in the park is awkward and testing, Walter doesn't know what to do and seems to think quickly as he attempts to defuse a situation, his parole officer (Mos Def) is the one who brings Walt back down to reality, he sees the man who went into prison for molesting young children and not much else, his brother-in-law (Benjamin Bratt) tries to see past the crime but always seems edgy and unsure, but willing to give Walter a chance. This isn't a sympathetic piece nor a cry for help, but it asks the audience to study a situation and vets only draw your own conclusion, yet it never paints its lead as a man who has found redemption, but simply someone who is trying to adjust to a life that has moved on without him.

There's a gritty and realistic form of wisdom to take away from 'Mud', full of surprises, subtle brilliance and some engrossing performances. Mud feels art house, but it also hints towards mainstream elements, either way it throws some interesting characters into one big pot, each with their own problems and difficulties in life, age not being a factor. Although the title refers to the character Matthew McConaughey portrays, there's also two young boys, Ellis (Tye Sheridan) and Neckbone (Jacob Lofland) are two young boys who have a knack for going out in little adventures, one which brings them to a secluded island in the waters of Arkansas, where they live. On said island, they try to claim ownership of a stranded boat high in trees, but they soon realise that they aren't the only ones who know about the boat, Mud comes into their life with his unkempt hair, heavy southern accent and aspirations of meeting his one true love Juniper (Reese Witherspoon), but when love is involved, it isn't usually savoury or happy trials ahead. Ellis in particular is young boy with all the problems in front of him, parents possibly getting divorced, learning about love and even heartbreak for the first time. The story of Ellis and Mud are mirrored in a deliberate and intriguing tale, they share similar experiences and the film seems to be showing what Mud's life was like as a younger person, perhaps showing the mistakes he made and how to steer Ellis away from making the same ones. This is the sort of film where many will judge the character of Mud, to many he will still be a murderer on the run, no matter his excuses, but to others he will be the man looking out for his girl, even if she doesn't show the same gratitude. The height of brilliance in the storytelling from writer and director Jeff Nichols strong and inspirational throughout the film, he paints a sort of prophet in Mud who isn't necessarily delusional, but more like someone who has hit rock bottom already and doesn't really know where else to go but up. The most catching part of the film is its originality, no adaptions or anything of the sort, films these days to be literal in the sense of having a book to centre a story around, but this one, these characters are equally as significant as any black and white one, Ellis and Neckbone are smart kids, but they buy into Mud and his smooth talking plans too easily, each person who has known Mud before the two boys has had little redeeming things to say about him, but Ellis continues to return to him and help him, regardless of the consequences. My only gripe with an otherwise impeccable film is an ending that doesn't quite fit, a shootout that offers no real conclusive finish, only an opportunity for some wounds to heal. But other than that, Mud is easily the most touching of films that is completely original, it's forthright in its approach to how we perceive human beings who have perhaps gone off track a little, but also how the most unlikely of people can put them back on the right path, McConaughey at his finest with a very convincing performance from Sheridan, it's wisdom at its toughest and brilliance in its own artful way.

In the opening five minutes of 'Panic', we are introduced to three characters, we meet a therapist (John Ritter) going about his usual patient routine, we meet a quirky and talkative girl in the waiting room of the same place called Sarah (Neve Campbell), these two have one thing in common, they interact with Alex (William H. Macy), a tightly wound middle-aged man who wants out of the family business, he openly tells his therapist that he gets paid to kill people, here we see a dark and witty approach at how the film will play out. Macy has been raised in the family business by his father (Donald Sutherland) who was a hitman, much like Alex, but Alex wants to move on with his life, he wants to stop lying to his wife and spend more time with his funny and curious son, Sammy (David Dorfman). Macy has the ability to bring a certain type of sadness to a role that reeks of unhappiness and humility, his talent for this has never been more apparent, he's still stuck in his fathers shadow and unable to tell him he wants out. The remarkable edge that 'Panic' has is its ability have so many themes rolled into a short film, Alex has a close relationship with his very inquisitive son, while also sharing a quirky friendship with Sarah, he doesn't know her, but seems to reap the benefits of her carefree attitude but average existence, finding hope in his own life again. The writing is sharp and often very funny, but only really if you catch it, it's blends so evenly with the sombre and downbeat story that its the characters who pass of the wit onscreen. It's immediately easy to feel sorry for Alex, his mother doesn't want him out of the business, his wife doesn't know about is real life as a killer, and Sarah has her own misfortunes to the point where these two intertwine. The film has the ability to lay everything out on the table, going head first into obvious plot points that it is quick to defuse, it's honest and forthright in its delivery, while also succeeding in character emotion and impact, Alex always seems to want to please his father, but not in what his father wants him to do. They are two very different people, Sutherland brings an eerie and unpredictable persona to his character, his actions are often villainous and his son does nothing about it, but Macy is observant, regretful and hesitant to show emotion. He lets his guard down when Sarah is around, who won't directly admit her feelings towards Alex. This is a surprising and easily likeable film for its cast, writing and easy going direction that lets the characters explore each others boundaries, Alex is always in a rut and tries so hard to get out of it, the only thing possibly able to shake it is a young girl.

There is definitely a lack of human intellect as 'The Rise of the Planet of the Apes' moves forward, but this missing factor is certainly rectified with the introduction of Cesar, an ape like no other with a cold hard stare that would rival Eastwood in his prime, he has clearly heightened degree of intelligence that is unanticipated by Dr. Will Rodman (James Franco) who is involved in curing Alzheimer's, through the testing of apes, they do difficult tests in killer times and are cunning too. But we kick off the film in a not so happy way as a hopeful breakthrough goes wrong, leaving Will to care for and looked after Cesar, but also his own ailing father (John Lithgow) who suffers from the incurable disease mentioned above. So far we already see the talented cast involved, yet they largely stand in the background as plot devices to further develop the plot, but anyway, Will decides to treat his father with the virus, with some overwhelmingly positive results, but as Cesar grows older his instincts begin to get the better of him, he asks his owner (through sign language) if he is a pet, well he is isn't he? I mean how else is something like this supposed to survive on its own without its own kind. Tom Felton also makes an appearance as an angry sanctuary worker, man does this guy love to be the bad person, he carries around a taser and pokes fun at the chimps, but its clear to see that he won't get away with it. The problems surrounding the human cast are down to a lack of reason for many of them to be there, they consistently play second fiddle to the chimps and for good reason, but not all of the talent is entirely without cause, the real star of the show is Andy Serkis, the motion capture whiz behind the face of Cesar, the same man who played Gollum in The Lord of the Rings trilogy, he manages to outdo all the actual talent on screen not being motion captured, the scenes later in the film with Cesars cold and focused stare towards the camera are thrilling and intense, these scenes are so well orchestrated as they are shares only by other apes, showing a true leap in CGI but also relying on excellent direction to show exactly that, without talking, these creatures have plans, this work reaching its peak with one small but significant word spoken by Cesar himself, it's shocking, but so good to watch as everything falls into play, with a finale that makes sense while also giving closure to one story arc, leaving room to open another. This is the reboot that we all wanted, teaching us acceptance and perhaps not becoming too attached to the inevitability of change, it corrects many mistakes that previous outings made, an while it does have a few of its own, this is solid ground for a restart and a new rise.

Many people have notions of what a 'fixer' may actually do, some see rubber gloves and cleaning up crime scenes, others may see smooth talking, good looking and suited up individuals who confidently go about their job as a sought after individual. But George Clooney plays a different sort of fixer, his character, Michael Clayton, is realistic in his approach to every part of his job, he isn't a miracle worker, nor does he make every problem disappear because at the end of the day, he simply cleans up the mess, but the bigger the mess, the more complex the clean-up. Clayton himself has problems of his own that he cannot sweep under the rug, while he may look the part, Clooney portrays a character who isn't everything he appears, he owes serious amounts of money to loan sharks after we discover his gambling habit, struggles with financing his life and desperately tries to repair his past mistakes but still creating new ones, all while taking on a big "mess". The law firm he works for is facing a crisis after one of its partners, Arthur Edens (Tom Wilkinson) has quite the mental breakdown in the midst of a massive court case which Arthur knows the company his firm is defending are guilty of their crimes, something Michael is desperately trying to amend. It's clear to see why we have the title named after our main character, it is focusing on the life a man leads who feels he has no purpose, a man who is taken for granted and then thrown to the side, something Clooney portrays through many forces and silent stares, while we also see how he tries to balance his life as a dad and a man with a job that he can't really explain to anyone, but he shares the screen with someone else who is confident in her job but masks her demons, lawyer for the big client, a client called UNorth being sued for illegal chemical dumping Karen Crowdor (Tilda Swinton), equally as cunning and potentially dangerous as Clayton. It's films like this where we look to the talent involved to realise they are the driving force of the film, the tension and chemistry they create while also taking from a sharp and smartly written piece from director and writer Tony Gilroy, who cleverly takes a sombre approach to have this business thriller being much more than it seems, there isn't realty an inspiring touch to leave you flabbergasted, but more about style and the performances, it focuses solely on the consequences of actions as we have many guilt-ridden characters with too much power on their hands. As mentioned, the performances are the standout moments of this film, Clooney proves his stability and grit while Swinton also shoes her worth as the sort of Yin to Clooney's Yang. It's a smart and complex film that stays intriguing thanks to its strong cast and compelling story.

[SPOILER ALERT: This review contains spoilers.]

Here we have a film that shares similarities with the excellent 'Gran Torino' where we seen Clint Eastwood take a stand against the thugs and random acts of violence in his town, Michael Caine is the focused and emotional pensioner in this film who takes the law into his own hands after it fails the one friend he had, he is Harry Brown, and he now wants to put a stop to the hooded youths who terrorise his estate. The admirable aspect of Caines performance is his ability to control his character throughout the film, he doesn't conform to a bloodthirsty animal seeking justice, he shows his age but uses it to his advantage to cut a more rugged and emotionally-driven man, Caine never acts out or completely changes what is or isn't moral, he simply has bottled up fear and anger which now surfaces in mighty swoosh, he has stood by too long and watched as many of his neighbours are beaten, harassed and sometimes murdered by the violent criminals who have taken over, his friend makes the mistake of confronting these people and ends up losing his life, but the last straw for Harry is when the case against those who are believed to have committed the crime, nay get away with a manslaughter charge instead of murder because of the weapon Harry's friend, Len (David Bradley) was carrying. The film takes a smart and character driven approach as Harry is an easily approachable man who seemingly just wants a quiet life to grieve for his wife, but the gang, led by actor/rapper Ben Drew/Plan B will not let anyone rest, this involves some very graphic content throughout the film, at its highest effectiveness when shown as a form of mobile phone footage. A scene where he attempts to buy a gun from two crazed drug dealers, where he sees a helpless woman off her head, we then see the ex-marine that we have heard about throughout the film. On the tail of Harry is detective Frampton (Emily Mortimer) who feels sympathy and cuts a very weary and fed up individual, but she won't let a vigilante do her job for her. She can see who may be responsible but can't do much about it at that moment. We then see a third act unfold which takes a realistic approach, the police get involved which erupts into a messy riot, but this has relatable tendencies and doesn't turn into a blockbuster showdown, the film keeps playing its cards close to the chest right until the credits role, we get a good sense if closure but not that of complete eradication, this highlights the real problem of crime, dramatised in the film for effect of course, but outlines a real problem of always being scared.

We initially meet Luke as he walks towards his day job as a stunt bike driver, suiting up with his back to the camera is Ryan Gosling as the heavily tattooed man, wearing tattered clothes and constantly smoking cigarettes, I was immediately reminded of Mickey Rourke walking from his day job as a butcher in 'The Wrestler' as he hears the crowd around him, Luke has a unique talent as one of the bike riders, but his world changes when a former flame, Romina (Eva Mendes) comes back into his life, he is inadvertently met with the news of having a son. We realise the effect that news of such a multitude can hold, Luke changes his whole way of life in the hope of spending more time with his son, he runs into a friendly mechanic called Robin, he sees the talent in Luke but also sees it for a much more law-breaking sense. Luke and Robin soon embark on various bank robberies, initially to make more money to support Lukes family, but he ends up enjoying the adrenaline rush that comes with the territory. Robin is played by Ben Mendelsohn, who has really taken a career leap after is limited but effective appearance in The Dark Knight Rises, through his actions, we see the dangerous man that Luke is, he adores his son but not many others, brought to meaning by a strong performance as Gosling who is continuing to climb the ranks as one of the most sought after leads in Hollywood. But we also have a bigger picture, as an unprepared Luke runs into the law in the form of young cop Avery, played by Bradley Cooper,who takes the reins as the film begins to shift focus onto his character in fluid and well documented fashion, the cleverest part of this transition is the scenes that bare resemblances to earlier scenes involving Gosling, director Derek Cianfrance has did this to show the similarities of two men at opposite ends of the law, dealing with corruption, love and struggles in a marital relationship. We he quite a scope of film which opens up various side plots and also has a few time jumps which addresses characters and their ongoing life. A very calculated and edgy story keeps this film interesting as it always keeps is guessing with little given away to what the outcome is going to be, it builds at a slow pace to give its more pivotal scenes that added sense of urgency, as Luke bikes along the road it's like we're on the bike with him, candid and thrilling. We also have a small but memorable appearance from Ray Liotta, capitalising on grief while also being corrupt. The film finds its strength in its ability to piece everything together like a puzzle as the film moves forward, Dane DeHaan continues his hot streak in films with an almost show-stealing performance as the grown up son of Luke, while also starting a dysfunctional friendship with AJ (Emory Cohen), the son of Avery. This is a fascinating piece that has various plots that all fit together, strong performances round off a dramatic and clever story that never gives too much away, a scene that DeHaan and Cooper share outlines everything we know from the film, Coopers character asks if his son is alright, to which DeHaan replies "This isn't about your f*****g son" but we immediately realise the film has everything to do with these children, a subtle yet powerful approach to a simplistic telling.

No amount of flashy cinematography, classic callbacks to gangster films of the past or an all star cast can save Gangster Squad from being a mediocre mess of mixed tones, laughable dialogue and over the top drama that is based on a true story, with obvious elements entirely fictionalised for the big screen. Sean Penn puts in what can only be described as an exaggerated performance as Mickey Cohen, a powerful gangster in the west coast who wants to control the whole lot, he talks confidently and is surrounded by an entourage of cronies and paid off cops who help him sleep easy at night. Penn's physical appearance in the film is quite comical, with one shade of orange too many, but hot-headed cop John O'Mara (Josh Brolin) is always right behind Cohen, picking up his mess and causing problems as a one man wrecking crew, until he is assigned as the head of a special group tasked with taking down Cohen, guerrilla warfare style. This is where the onslaught of violence ensues which seems unnecessary, each and every big member of the cast, whether its O'Mara, Wooters (Ryan Gosling) or the secretive and deceiving Grace Faraday (Emma Stone) are underdeveloped with next to no motive for going "off the books" in their attempt to bring down Cohen. It isn't all a lost hope though, it's been ramped up and glamourised to combine classic elements of noir films to create a visually striking piece, but this always falls flat with the films content, the biggest downfall being cartoonish and amateur writing that tries to be smart but comes off as a TV movie with a Hollywood budget, the cast can are only as good as the material, Sean Penn showing signs of excellence as the ever unpredictable mob boss, but the film film keeps going on a tone that almost feels like a parody, an inconsistent tone doesn't help the situation, we see hotshots and pretty girls, then we are introduced to a barrage of gunfights and car chases, but then we have retaliation that is muddled and brought down by that damn dialogue, seriously, the film is way out of its depth. A chemistry between Gosling and Stone is non-existent, while the film delves deeper into predicability with a final act that only solidifies this stance, it's fun and enjoyable, but writing on the wall. Gangster Squad should be seen for its visual spectacle and talented cast which also includes Robert Patrick, Michael Peña, Anthony Mackie and Giovanni Ribisi, but certainly not for its attempts at a serious tone which is dragged to the mud with a questionable script and cartoon whims from its characters, who just appear to enjoy playing dress-up, looks can indeed be deceiving.

It's often easy to get lost in another reality when putting pen to paper or fingers to buttons, writing can be a release, a way to escape from reality, Zoe Kazan writes and stars in this interesting piece about Ruby Sparks, who at first glance is the figment of a young writers imagination. Calvin (Paul Dano) is the writer in question, a once successful prodigy who now struggles with writing or conceiving anything new, we are reminded of those who hit their stride early in life, but cannot cope with the expectations or hype that is laid upon them. But we all draw inspiration from often the most peculiar of ways, Calvin dreams about this perfect girl Ruby, who he then creates on paper. His new found joy is soon turned to shock when Ruby is standing in his kitchen one morning eating cereal. The film approaches its narrative from a repressive nature of everything Calvin wanted in not just a girlfriend, but a companion, Ruby and Calvin share an overwhelmingly positive beginning to their relationship, the chemistry that Dano and Kazan share is what makes it much more quirky and enjoyable, we don't really know much about Ruby, other than her actual existence being questionable, it's fine that Calvin's brother Harry (Chris Messina) can see her, but it still throws many questions into the air, especially the one where he can make this girl do anything with his words, which makes for some humorous moments but also emotional despair for young Calvin, who begins to lose the one thing he has complete control over. Kazan proves her talent don't lie entirely in front of the camera, providing a fresh and energetic look at a recognisable story of characters coming to life, while also exploring how limitless the imagination can be, but outlining the dangers of losing a grip on reality. Paul Dano deserves recognition in the highest regard for his performance, his character is nervous and secluded from everyone, seeing a therapist regularly while also staring at a blank white page in the hope that something will come to mind, we see this once in the film but can assume that this is a regular occurrence, but when Ruby comes along he sees his problems disappear, but a heartfelt ending which has great intentions, makes me wonder if it will happen all over again. Certainly a film that throws many questions at the viewer, but also one with plenty of laughs, great performances and great depth in its delivery.

The final chapter in the groundbreaking trilogy can only be described in epic fashion as a satisfying conclusion, it maintains all the drama, battle, interest, fright and fantasy that its predecessors held, but still manages to inject more life into the story with many twists and turns to feel a sense of despair that's its now over. Saying that, at the time of writing this, The Hobbit trilogy is obviously in full swing, but it's a prequel, so this technically is the end. Just when we thought there was a silver lining after the events of the Two Towers, the battle of Helms Deep was mesmerising yet tragic, but a victory was in toe, yet as we kick off Return of the King, we realise that was only the tip of the iceberg, as Gandalf (Ian McKellan), King Theodin (Bernard Hill), Aragorn (Viggo Mortensen), Legolas (Orlando Bloom) and Gimli (John Rys-Davies) continue their quest to stop the powerful Sauron, who is changing the very landscape of Middle Earth. Aragorn again plays a pivotal part in the finale, attempting to take back a throne that is rightfully his, Mortensen excellently shows so much development of his character over the three films, always fighting the good fight while looking out for those who matter most, now in the midst of leading a rebellion against Mordor. But the real journey still soldiers on with Frodo (Elijah Wood) as he edges ever closer to Mordor, but the ring continues to overburden him, alienating his only friend, Sam (Sean Astin), who can't seem to do right, he continuously warns his friend of the threat of Gollum (Andy Serkis), who has a more expansive role here, we see his humble beginnings as one of the river folk, with his eventual descent into madness well documented. These three must take a secret passage into flaming city in the hope of destroying the ring. What also comes to mind is that these Frodo and company haven't seen any of the original Fellowship since the first film, they aren't aware that Gandalf is alive, but Gandalf himself now knows that the hobbits are still around, we get the sense of hope from his face that they were indeed around only days before. Almost every scene in the film proves significant, they all feel like closing moments of a long-running show, each character we have come to know over the films have very important roles to play in how the war will pan out, even the accidental travellers of Merry (Dominic Monaghan) and Pippin (Billy Boyd), who proved more than useful in the fall of Saruman (Christopher Lee). We also have most visually spectacular of the three, the massive battle scenes on the edges of Mordor are some of the finest elements of the film, one of the smaller charges against the enemy comes to mind as we are treated to a beautiful medley from Pippin as many soldiers ride to their likely death. In terms of the ending, it really should have decided on one, but the film, or entire saga for that matter, has been such an achievement in special effects, writing, direction and acting, the muddled endings can be forgiven, for the crowing battle of Minas Tirith is a wonderful piece of cinema, combining real set pieces with spectacular effects seamlessly, it just works so well. Many will argue the ridiculousness of such a tale as this story comes into full play, debating whether they pack the emotional punch or relevancy of other masterful pieces, but take a look at how much an audience loves to get lost in a supernatural or fantasy world, and why shouldn't they? There is so much to relate to with these characters and the journey they have taken and where it will go, something we can do as well. It speaks volumes when we choose to separate from big bad out there to seek solitude in a riveting adventure, one which Middle Earth will always hold, there will probably be nothing quite like it again.

The battle for Middle Earth continues in this epic and vastly rich in detail sequel to the Fellowship of the Ring, the Two Towers is often regarded as the best of the three, its name deriving from the tower in Mordor where the flaming eye of Sauron sits, and the tower of Isengard, where the corrupted Saruman build his army. It introduces new characters while still maintaining heavy focus on the ones we grew to admire from the first part, the stories intertwine yet happen worlds apart, Frodo (Elijah Wood) and Sam (Sean Astin) have gone it alone to the fires of Mount Doom in the hope of destroying the ring of power, but they are my no means alone, as the shady creature known as Gollum (Andy Serkis) is on their every move, but he may soon prove his worth as the two hobbits seem to be going round in circles. Frodo is beginning to show signs of the ring overpowering him by now, he's grouchy, angry and taking it out on Sam. But another battle continues to rage as the evil Saruman (Christopher Lee) continues to raise an unbeatable army in the name of Sauron and the ring, an army that seeks domination of the lands, Rohan being the centre of it, Aragorn (Viggo Mortensen) Legolas (Orlando Bloom) and Gimli (John Rys-Davies) are in search of Merry (Dominic Monaghan) and Pippin (Billy Boyd) who have been taken by the dangerous breed of Uruk-hai believing them to be Frodo. But there is more to it all that just needs to be watched, we have a reborn Gandalf (Ian McKellan) who helps steer the masses in the right direction, as each city must stand up and rise against the armies. We make way for one of the most memorable battle sequences in cinema history, the battle of Helms Deep, thousands of soldiers and even more orcs line the land to fight, it's raining, it's wonderful to watch and it's action packed, to the fullest. Wonderful to watch couldn't be used enough in this review, because the Two Towers is exciting from start to finish, whether its the epic battles, talking trees, continuing character-driven stories or vast landscapes of beauty, it takes everything from the first and doubles it, Aragorn seems to take centre stage in the film, as the Hobbits take a back seat for a while, the two hobbits on the way to Mordor are really just walking for most of the film, but Wood and Astin excellently play beaten travellers as we begin to realise the sway such a small object can hold, but Aragorn is the heir to the white city of Gondor, he therefore must salvage all the remaining hope in men, and deal with the many obstacles that stand in his path, but not without a few secrets to be revealed first, although he longs after Arwen (Liv Tyler), another woman, Eowyn (Miranda Otto) takes an interest in his peculiar being. Like before, it's the phenomenal acting and intriguing characters these actors portray that really bring the film to life, it's visually impressive as ever, yet these larger than life heroes are likeable, easy to root for and give a sense of happiness and despair rolled into one, we have love, loss, hatred and frightening elements of the supernatural to enjoy. McKellan's Gandalf speaks heavily in riddle, and the more I watch this trilogy the more I think he knew along what was going to happen, the reason for his participation was a bored pensioner with not long left until retirement. The element that drives Lord of the Rings head and shoulders above others is its own time and its own original world, everything about it breathes magic and fantasy, the Two Towers capitalises on success but doesn't settle to be just as good, it aims higher and opens up to a host of new characters and story lines that set up a massive and historic final chapter.

It's strange and quite gut-wrenching to think that as I review this, the first part of arguably one of the best trilogies to grace cinema was released 12 years ago, but it's fascinating at how much there has been since then, yet this trilogy has withstood the test of countless blockbusters and attempts at recreating it fantastical adventures. Peter Jackson brings to life the vision that author J.R.R. Tolkien envisioned in his fantastic books, full of heart, colourful characters and magical elements that set it heads above the competition, truly an adventure like no other. While much of the film shows the advancements of computer-generated magnificence, it possesses a very human touch from its ensemble cast and riveting stories that each of them tell, the biggest of course being that of Frodo Baggins (Elijah Wood), a hobbit who lead a simple way of life in the Shire, a quiet and peaceful place for those quite content with the easier but finer things in life, but as our story goes, Frodos uncle, Bilbo, holds a secret that changes the tone for the foreseeable future, as an evil is coming and Frodo holds the power to stop it, various events lead to Frodo and his other Hobbit friends Sam, Pippin and Merry (Sam Astin, Billy Boyd, Dominic Monaghan) setting out to destroy the ring in the place it was forged, the fiery Mount Doom. But as mentioned, there is more than this story being told, we meet shadowy ranger Aragorn (Viggo Mortensen) who is certainly more than meets the eye, while we also have a hawk-eyed elf called Legolas (Orlando Bloom), the outspoken but proud Boromir (Sean Bean) and a hot-tempered dwarf called Gimli (John Rys-Davies). The ring itself is a tempting power, a power that can entice and corrupt at any given moment, Ian McKellan plays an ageing wizard called Gandalf the Grey, who knows exactly what this ring is capable of, but is willing to guide this Fellowship until the end. This first entry combines everything into a near flawless film, fantasy, story-driven, violent, epic emotional and touching where it matters most, we don't have a perfect fellowship of individuals here, we have foes, untrustworthy acquaintances, accidental travellers and some not really wanting to be there, but they are all driven my one goal, one that will see them travel across Middle Earth to complete. Peter Jackson perfectly captures a world unlike any other, occupying it with magical mischief and all sorts of good and evil, which the film perfectly represents, it mixes light and dark and often cuts deeply into the flaws of both, while also showing first hand the power of the two on a massive scale, there's nothing quite like it. The mesmerising cinematography outlines the scope of the film, from lush green landscapes to the snow-covered mountaintops and deep into the underground, each place vastly different than the last, full of beauty, terror, frightening beings with groundbreaking effects, costumes and real landscapes that bring it to life, but this isn't possible without the phenomenal cast in tow. Ian McKellan and Viggo Mortensen are standouts of the film, engrossed in their characters where we can truly feel safe with them as we trek through Middle Earth, but the then relatively unknown Elijah Wood does an excellent job as the likeable Frodo, keeping a level head but standing up when necessary. Smaller roles are also filled by big stars such as Hugo Weaving, Cate Blanchett, Christopher Lee and Liv Tyler, who are on hand at various pit stops for the group to offer advice and solitude, or two bow to a greater force. This is undoubtedly a benchmark in cinema, combining so many elements of grandeur and action that its hard to find fault, it moves at a fluid pace and the long run time is not noticeable or over-bearing, we have so much to see, feel and admire that it feels right to watch this trilogy consecutively, otherwise the moment can indeed be spoiled, it surpasses all expectations and is simply sublime filmmaking, and it only gets better.

It's clear throughout 'Lincoln' that the man himself was not a man of means, he didn't come from money nor did he have much of an educational background, he learned about life through living it, rising the ranks with popularity amongst the people he served, Daniel Day-Lewis delivers a dazzling and powerful performance as the 16th President of the United States, a man with countless stories and a calm and collective attitude that resonates throughout the film, a film that breathes a sombre breath, yet it accomplishes an impressive feat of pivotal speeches, interesting characters and a story intertwined with the politics that surrounds Lincoln and his family. We pick up out story in the closing month of Lincoln's fruitful life and as he attempts to push through 13th Amendment with the aid of Thaddeus Stevens (Tommy Lee Jones) and William Seward (David Strathairn) amongst others. The detail and careful consideration put into each political moment of this historic amendment is quite astonishing, an ensemble cast full the shoes of various figures in the life of Lincoln as he attempts to be the driving force in the abolishment of slavery in the United States, but the opportunity to break away the financial roots of the Confederacy also played a major factor in an attempt to end civil war. The film doesn't have the typical blockbuster and big-budget effect that director Steven Spielberg creates, but instead we have gatherings of important people in dark, candlelit rooms as they argue for themselves but also what truly matters, peace, there isn't epic portions of flying flags, but instead there are intensely flawed characters, never really sure of loyalty or allegiance, equality plays a major factor in the film, not just amongst the people, but for the President himself, who is often held accountable for his past as a man not coming from a privileged life, but it also fits well with a film that wants to show the real side, as Lincoln himself uses tactics, as any politician does, to sway voters, using negotiators (James Spader, John Hawkes and Blake Nelson) to change the minds of a few Democrats. The performances are the true heart and brilliance of the film, Daniel Day-Lewis captures the mannerisms of what we perceive to be the man in the top hat, a soft spoken individual but one who seems tired and endlessly in thought, often brought back down by his passionate and forthright wife, Mary Todd Lincoln (Sally Field), and his stubborn son Robert (Joseph Gordon-Levitt). Writer Tony Kushner has managed to make the politics enthralling by working pivotal moments into passing parables, no fireworks or streamers necessary, it feels more real and candid when it is played out in this way, which Spielberg perfectly portrays onscreen. The film really should have ended five minutes earlier than it did, although we all know how the end of the sorry goes, many people probably still want to see, but a much better close happened a little earlier. Even so, this is quite an engrossing and dramatic piece, expert direction, writing and performances, sheer brilliance throughout.

The real driving force of the last decade is the attempt to turn the most illogical and mythical elements that have been in cinema for years, into a believable and often more humanising take, Christopher Nolan did it with Batman, but a more candid approach is the found footage style, Trollhunter takes the ridiculous and turns it into a frightening, exciting but also believable experience. It's not the most polished of "found footage" films or mockumentary styles, but it attempts to add some impressive visuals for a small budget while also presenting this as a real thing, which it isn't. Three excited Norway students as they follow a man who isn't what everyone thinks he is, Hans (Otto Jespersen) is believed to be a poacher, taking out all the bears that are being found dead, but he actually hunts trolls, real, large and very much alive trolls, but the humour aside, the film manages to give a convincing account of Hans, a typical loner who has his truck kitted out with big lights and random medicinal supplies, while he sports a beard and fedora hat, this man seems crazy, as the students keep pointing out, but he soon starts to make sense when the young adults see exactly what he is hunting. The film is shot in a way that we have dark lighting to attempt to mask the trolls in full beam, it certainly adds a more intense and sombre feel, but what is lacking is the acting, it's too put on to be believed as a documentary, we of course need to maintain the fact that this isn't real, but it still has typical blockbuster cliches with forced dialogue to highlight a problem and silly quips to gloss over an issue. But it's inaccuracies and unexplained plot points aside, there is definitely a lot to admire about this edgy film, it takes a subject that isn't really explored and manages to add spice, we get full descriptions as to why they turn to stone or explode, details are certainly very informative, but the film still leaves holes and is sometimes too funny and ridiculous to take notice. Not the most impressive or serious footage film, but a battling and scary final act sets this film up to be a classic amongst the found footage era, combining flashes of genius in regards to what can be done on a budget and with a few night vision moments, it breaks new ground in the supernatural area much like 'Chronicle' did with its superhero element, but takes a lesser known subject matter which is known for kids but nothing much further, and turn it into something plausible, the young actors let the film down, but it still stands on its own feet and brings something different to the table.

It won't go down history or win awards any time soon, but the second outing for the revitalised GI Joes certainly roars onto the screen in explosive fashion, it's ridiculous, full of big dumb ideas and indestructible characters, but it's dumb in an entertaining way, it has big ideas and doesn't try too hard to be overly serious, what more could be asked for? The film kicks off on kind of familiar territory but with a few strange faces, we still have Duke (Channing Tatum), but he has a new team, the most notable being Roadblock, played by the ever bulking Dwayne "The Rock" Johnson, but their flawless missions and impeccable record doesn't last long as something unforeseen is about to tear the Joes apart. The most notable return besides Duke is that of Snake Eyes (Ray Park), who is involved in some of the most impressive sequences of the film, particularly of course with his arch-rival Storm Shadow Byung-Hun Lee), and a particular mountainside battle comes to mind, heavy on CGI, but even better on shameless fun, which is really what the film consists of entirely. We have a President (Jonathan Pryce) who isn't actually the President, he's got an imposter on his hands, but the film loses its entertainment when it tries to hype up some sort of depth, it doesn't work when it has booming and intense music playing behind it. Johnson does a solid job carrying the film, while Adrianne Palicki is really here as eye candy, a few decent scenes of interest, but little else. Simply put, this is a film with excess amounts of action, explosions but also a nice touch of humour, with the Zombieland team behind the script. It's easy on the eyes and thoughts of course, but it definitely fits better than the first outing, nobody was expecting a masterpiece, and those who were will be disappointed, but a sturdy film that knows its place and is just out to enjoy itself is on the right path, it's got plenty of action, barely even stopping for a breath, but it has excellent scope for its set pieces and executes these with ease, it may find familiar in a Transformer universe, but Joe doesn't try to be something it isn't.With an ensemble cast, including Joe himself, Bruce Willis, it's hard to hate the film, it's not bad, it's not good, it's just inconsistent, overblown but sheer fun. Director Jon M. Chu does a fine job combining sequences that are poetry in fast and slow-paced motion. Predictable but entertaining with an easy smile on the face.

Lets face it, marriage certainly isn't what it used to be. The sacred element of marriage has changed dramatically over the decades, it doesn't hold the same tradition or relevance it once did, but there are those out there who have been married for several years, but 'Hope Springs' addresses the concept of being "happily married", a term that is thrown around all too frequently these days, Kay (Meryl Streep) and Arnold (Tommy Lee Jones) are said couple, married for 31 years as Arnold keeps reminding us, reminding us because Kay knows the spark is gone, and Arnold uses this fun fact to remind her, just because the number is there doesn't mean it's a happy one. Kay makes Arnold his breakfast every single morning, they exchange very few words, then Arnold pecks his wife on the cheek and leaves for work. Kay takes a plunge and seeks couples counselling with Dr. Bernie Feld (Steve Carell). They fly out to secluded Maine, where their small but significant arguments begin, with Arnold naturally against the idea of a stranger helping them, but they do attend all the same. What makes the film different is its substance, it feels real, awkward, and doesn't conform to other counselling routine, they have real trouble speaking to each other, they are certainly devoted, but empty. Meryl Streep continues to fulfil the idea of her being one of the finest actresses of her time as she plays a doting but nervous wife who it seems is afraid to change the routine she and her husband partake in. Arnold seems content, while Tommy Lee Jones excellently capture a man stuck in a rut, with al the evidence of being in one too long. Steve Carell is a welcome addition to the mix, he delivers a very heartfelt and subdued performance as Bernie Feld, not falling into traps of having some miracle cure or having some special trait which sets him aside, this also puts the film above others of the same genre. It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

There are various names thrown into the mix when the notion of inspirational and pivotal players in the world of filmmaking, but none ring quite as frequently as Alfred a man quite like no other, much like his films, but here, we have a small insight into the man who was always watching. Anthony Hopkins portrays the esteemed man behind such films as "North by Northwest" and "Psycho", the latter being the film for which this biopic is set around. But the film isn't so much a life story, but more a love story and relationship study between "Hitch" and his doting wife, Alma (Helen Mirren), a woman who has all the skills to last on her own, but follows her husband wherever he may go, she writes and helps him on his way to ****, but he felt he had to change, he wasn't getting any younger and Hitch himself wanted to show his ability to be diverse. Hopkins plays a man who seems to be aware of everything around him, he knew what needed to be done to give a film that unique edge, Hopkins excellently shows an outcast in someone with an unorthodox technique, but one which works. But the film focuses too much on the marriage of Hitch and Alma, while intriguing and well fitted, not enough time is given to the making of Psycho, this would have certainly been more logical considering the controversial nature of the film and the amount of coverage it received upon its release. This aside, the sublime performances of Hopkins and Mirren are enough to see this film, Hopkins commands the screen and works fluently with a darkly humoured script, while Mirren is an independent yet loving wife to a legend, but also struggles with her own identity and finds solace in the innocent company of Whitfield Cook (Danny Huston) while Hitch continues to show admiration for leading ladies Janet Leigh (Scarlett Johansson) and Vera Miles (Jessica Biel), not major roles the film, nor do they look much like the originals, but great performances soon fix that. The ensemble of fine performances are definitely worth applauding, with a strong script and unique direction to accompany this riveting film, it could have chose a better path, but still fires strong on all cylinders to outline an iconic man, or more so, an iconic couple who changed the landscape of what it means to scare people, looking for that perfect factor, she wrote it, he showed it.

Well it certainly doesn't get more happy or possess the soft chewy centre that 'Father of the Bride' has, it's joyful, weepy, heavily flawed yet such a feel good journey from beginning to end. Steve Martin commands the screen and calmly narrates this mash-up of coming of age, comedy, letting go and matrimony. Martin plays George Banks, a typical 'dad' who protects and looks after his own, so you could imagine that when his daughter, Annie (Kimberly Williams-Paisley) announces she is getting married to a virtual stranger in the form of Bryan (George Newbern) George is less than impressed, his slip of the tongue and erratic behaviour says it all, but there is never any danger that the film will throw some twisted turn of fate, a film so full of joy it can actually hurt to smile that much, while all the usual wedding obstacles occur, but these are really only there for the comedy value, not for reflective means, but the comedy is certainly there, in the form of Martin Short sporting a very peculiar accent, his flamboyant and barely understandable voice make up a fair amount of gags and generally funny personality traits. My lingering problem is the amount of fluttering butterflies that the film creates, it paints a picture that any wedding you wish to have is possible, which is untrue, but I don't believe the film was about creating a realistic explanation, but more show the journey the parents make, but again, the journey only seems to consist of daddy, as esteemed actress Diane Keaton, who plays other Nina, plays a largely unimportant role, perhaps a traditional scenario calls for a father and his daughter, but the mother is as equally important. Soundtrack, dialogue and flowing direction make this the joyous occasion indeed, granted it can often fill one with false hope, but strong performances and some heartfelt scenes make this is a very happy affair, perhaps one of the happiest, the chemistry between Martin and Williams-Paisley is convincing and full of meaningful tone, Steve Martin especially controls the situation, it's really his film and that's not a bad thing, his charisma and attitude make the film what it is, it's quite difficult to imagine anyone else in the role, even after all these years. Not the most convincing of messages throughout the film, but it definitely feels good to sit and watch the film, relaxing, funny, well orchestrated and insightful for all.

It's apparent not too long into 'Man on a Ledge' that the premise of it is more than it seems, as Nick Cassidy (Sam Worthington) takes to a ledge on one of the highest floors of a New York hotel, but it's immediately clear that he doesn't have much intention of jumping, that a sleight of hand is in place. Without giving too much away, it's pretty clear that Nick Cassidy isn't up there for the view, or to leap off to his death, but what follows is aiming too much above its weight to the exhausting point of this steak being overdone. We are lead down a path of conspiracies and ulterior motives, this is when it's easy to realise that the movie acts a lot more seriously than it should, a preposterous twinning of two stories leaves the film fun and cheerful, but not as dramatic as it is trying to be. What irritates me is the fact that we start off with Nick climbing to the ledge, where we then see a month before where he is in prison, what could have been set up here is a simple dramatic piece of a man seeing error in his decisions, but instead a thriller with many shady characters and money falling from the sky to create diversions, this turns into a heist, to mask a thievery that didn't, emm, actually happen. Elizabeth Banks plays the negotiator who attempts to talk Nick down, she has her own regretful past as she sees that Nick isn't who he says he is. As a thriller, this certainly isn't a a dull affair, with plenty of pulsating action and several twists and turns throughout, but it's also entirely ridiculous and over the top, trading what was a good thing. The lead characters each bring something to the table, but in the grand scheme of things, they get lost in all the flashy ideas that we are given and they must settle for playing second fiddle to an over-arching story. Worthington plays a calm and collective individual on the ledge, but he is much more interesting on the ground when we learn about his past, but the chemistry between himself and Banks feel real and worthwhile. Supporting cast members Anthony Mackie and Titus Welliver deliver solid albeit limited performances, they have significant roles yet small appearances throughout the film. This sums up just how big and serious the film attempts to be, but everything is too co-ordinated to the point where the heroes never seen to be in danger, it's a fun thrill, but one which is playful and entertaining, not one which is too convincing in its execution.

Pi tries to explain his name early on as a child, deciding full name given my his parents was more of a hindrance than anything else, these early moments outline a normal child in a normal situation, but this miraculous film finds its stride as Pi and his family must take sail from India to Canada to set up their failing zoo, this alone sets up a decent tone for the film but natural causes come about when a massive storm throws everything into chaos as Pi ends up stranded on a lifeboat with an unforgiving tiger. The film opens in a colourful fashion with bright things and wonderful visuals, a film this good-looking hasn't been around since Avatar and these visuals are truly masterful, there is nothing quite like the spectacle when Pi, played for most of the film by Suraj Sharma, is attempting to survive on sea, witnessing many creatures of the deep while also keeping an eye on his fellow survivor, but survive being the most important part, the sea can be harsh, but a tiger whose only wish is to eat you can be so much deadlier. Director Ang Lee tells a lifelong story as an older Pi (Irrfan Khan) depicts his adventures, he does this in such poetic and beautiful fashion, showing an uneasy but necessary partnership between man and animal but still showing that animals can truly be unforgiving. Much of the film is Pi's attempt to train the tiger, named Richard Parker, their co-existence proving vital as the film unfolds. The film takes much of its spectacle from a study of faith, as we learn that Pi is intrigued by the various forms that a spiritual being may take, he often speaks to God, and also accepts that his life may soon be coming to an end. Miraculous occurrences and anomalies could suggest he may indeed be playing a part, some of the scenes where Pi shouts to the sky are quite breathtaking. The winning formula of the film not only comes from the spectacular fantasy of the visuals, but from a very touching, tragic and a moving piece of colourful mastery that combines two unlikely companions while also dealing with many lifelong issues that Pi faces in a short space of time, he must overcome these insecurities if he wants to survive. It's quite a dream and quite an adventure, with an ending that questions what exactly is true and what isn't, it's left up to the viewer, pave it out for yourself, a magnificent achievement and a landmark in storytelling and visuals. Not only one of the best looking films of the last few years, but a story that couldn't be told better or in a more colourful fashion.

What we have here is a disturbing, distracting but important thriller which explores the boundaries and broken states of not only the human body, but the mind as well, powerful as it is, it can also deceive to the point of self-destruction and doubt of oneself. Christian Bale is the almost unrecognisable lead in this sombre and dark piece, he plays a machine worker in a factory by day, and sits in an empty airport cafe by night, trying to overcome his year long insomnia. When we meet him, he seems to be in an unhealthy yet manageable state, going about his life, but Bale cuts a gaunt and sunken figure, losing extreme amounts of weight to play the part if routine worker Trevor Reznik, a man who alienates his co-workers and does the exact same thing day in and day out, until something shakes his routine and he begins to experience horrific events that he cannot explain nor can he piece together. He turns to a call girl called Stevie (Jennifer Jason Leigh), the only real friend he has, to get a second opinion on his dilemma. The Machinist studies the effects of traumatic events and how one can choose to repress and forget, Reznik is an emaciated yet focused individual, living a life by black and white rules while also trying to keep on top of everything through sticky notes and cleanliness. While the film studies the emotional impact and aftermath of life-changing events, it often tries to hard to hide its predictable plot which begins to unfold, this definitely distracts what could have been a near flawless thriller, but the deliberate attempts to mask the unwinding story and the distracting appearance of Bale at a mere 121 pounds stop this from happening. But there is still a thrilling story and an excellent performance from Bale, who clearly throws himself into his work and commits to the experience, there are of course arguments about how much actors and actresses get paid, but this is a prime example of money well spent, while harmful to himself, Bale proves his loyalty and willingness to his work, the performance outweighs the sombre and often slow paced film, it has an overall decent approach, but inconsistencies and deliberate out of focus points towards the audience, stop it from being truly great.

It often takes extreme measures to outline extreme problems within an expanding society of accessibility to food of all varieties, especially fast food. Morgan Spurlock takes his documentary prowess and takes aim at the fast food industry and outlines the simple premise that everything is now bigger, or super sized if you will, weight, food and meal size, convenience and of course, lawsuits. Spurlock goes at it on a personal level, combining very candid video logs while also taking an honest approach to the effects of his new diet, such as his sex life. His new regime is making a thirty day diet consist entirely of McDonalds food and drink for his three meals per day. He goes through all the routine health tests before embarking on his experiment. While he does it, we also get to know the fast food giant that is Ronald and his french fries, while also asking passers-by how often they eat such greasy goodness, but more difficult questions like, What is a calorie? The results after mere days are quite startling, as Morgan eats his first Super Size meal and in turn vomits most of it back up again, the deterioration of his health in a mere two weeks is astounding, and the facts are equally disturbing, showing just how much more is now available than 20 years ago. Where the challenge seems to take its starter from was a court case that was going on from two young girls who claimed that McDonalds was the cause of their obesity, through large consumptions. Morgan tries tirelessly to get a meeting with the McDonalds bigwigs but is unsuccessful. The film is a true and often gobsmacking account at just how much damage people are doing to their bodies with that Big Mac or two, it shows the immediate impact of the media and how various celebrities are called upon for soft drink or fast food placements to help the sales, but it simply doesn't matter, the money is still made. Spurlock worries all those around him with his drastic health change and it really hits home just how quickly things can change, but also just how much is in one of those meals. We see the difficulties in putting across a healthier message but we also see the reluctance of the ones behind the food, but at the end of the day, business is business, but in this instance, business can legally kill.

The difference and long-lasting legacy that clings to Bill Murray's 'Groundhog Day' is that it is a genuinely funny film, Murray takes the reigns on a sort of time-travel/loop piece that is simple in premise, but complex and meaningful in delivery, witty yet slapstick at the same time. It takes a natural approach to the subject of how someone would react to living the same day over and over again, the first step is shock and disbelief, but onwards its fun and reaping the rewards of an unexplainable phenomenon, that's exactly what weatherman Phil (Murray) experiences as he covers Groundhog Day in Pennsylvania, he is a confident, egotistical and charming man who meets producer Rita (Andie MacDowell) who sees right through Phil and his over-zealous personality. As he begins to relive the same day, he starts to use it to his advantage to try and woo Rita, this is where we begin to see Phil seeing the error of his ways and his attempts to try and change his life. Murray brings real charisma and vintage charm to a simple role, his timing and reaction is in full force here where he uses his repetition of days for selfish means and also to impress flabbergasted onlookers for his 'predictions' of Jeopardy. This is an interesting tale of how repetition and routine can change ones outlook in their own life, whether they feel meaningless or not, it also shows the impact that he can have on others, but it also studies the fact that everyone has the room for change and never to settle for the same old thing, even though he sees it day after day. While the film can be too deliberately paced for some, it explores each avenue of such a life-changing event even if it happens again and again, realising the people closest to him matter most, whether co-workers or even homeless strangers, he tries to change everyone's life even in the smallest of ways. This is a funny, touching and equally as inspirational piece of cinema that takes risks in the repetitive nature but ultimately pays off to see the change in one person, Bill Murray couldn't have been more likeable or sincere in his delivery as he struggles with not knowing how to get out of the rut he is in, and how to convince other people to see the change in him.

What I admire most about the new Trek films is how they manage to act alongside the previous era, they incorporate the stories and find room for them alongside these new films, Leonard Nimoy had a significant role in the 2009 reboot, but his role wasn't merely a nostalgic track, he was pivotal to the plot and was excellently written to co-exist with his younger Spock counterpart, Zachary Quinto. Into Darkness is another powerful return to the Trek universe, the main reason for this is how much the world is still evolving and characters are still trying to fit into the iconic roles filled before them, most sequels tend to establish their characters as the first film closes, but this return to the Enterprise still finds Captain Kirk (Chris Pine) in an uneasy friendship with Spock, while still making reckless decisions aboard his ship, but the most dire of enemies is just on the horizon, a man within the very ranks of Starfleet itself, Benedict Cumberbatch cuts a very calculated and driven individual in the form of John Harrison, a man whose motives are, at first glance unclear, but as the film progresses, Trek fans know exactly who he really is, the acting from Cumberbatch who speaks in a solid and unshakable tone as he has a mission which he intends to see through, one which tears the crew of the Enterprise apart. There is plenty of character development and also chemistry between the characters to give the whole lot purpose, impressive to look at, but still full of unique individuals. While sticking true to its roots, JJ Abrams has also brought many new and fresh devices to reach out to the blockbusters of this generation, where the real visual marvels of the film, what we truly have is a riveting space adventure full of tasers, politics and a nice touch of humour from Keith Urban as the darkly comedic Bones and Simon Pegg as the talkative but amusing Scotty. The comedy comes alongside a very well-written tale of friendship and grief, Harrison isn't a run of the mill villain, he at times shows the demeanour of an anti-hero, out to exact revenge on those who wronged him and his companions in the past, but at other times he is cold and truly calculated in getting what he wants. Into Darkness proves that the new generation of space explorers can confidently take the reigns, they take on the mission on explosive fashion, with Abrams having the eye for detail and resolution which is apparent in the film, it may not be as fresh as the first instalment, put this was an ideal continuation and a well-written piece to take its place among one of the best films of the year.

A darkly funny and fast-paced style of filming has the underbelly of a drug story involving a group of friends as they combat drug addiction, sexual partners and tragic circumstances of drug-induced decisions. We follow Renton (Ewan McGregor), a young Scottish lad who is on and off heroin with his group of friends, he narrates throughout the film as he struggles to find meaning other than drugs, we are introduced to his friends, equally lacking ambition, including Sick Boy (Jonny Lee Miller), Tommy (Kevin McKidd) and Begbie (Robert Carlyle), Renton seems to come with the attitude that he is surrounded by idiots and simpletons, not necessarily the case, but he certainly surrounded by unique individuals indeed, they all have regular lives yet are drawn together by having a group 'hit' on regular occasions, here the film chronicles the type of routine and obstacles that an addict may face, whether its finding a job, trying to get clean or taking on selling the product they put into their bodies, it deals with friendship, love and also what is holding such emotional attachments together, is it real or is it drugs that keep friends being friends in the film? We are offered different insights into the question, while we also have a witty and humorous film from start to finish, McGregor plays an unsure and immature young person who goes with the flow, McKidd is driven to a life of drugs after a relationship breakdown while Begbie is maniacal and hot-headed individual a long history and a short temper, with Carlyle delivering a very broad Scottish accent to heighten is highly unpredictable character. The real arc of 'Trainspotting' is someone who isn't getting into the world of drug dabbling, but someone who is in it and is trying to get out of it, this is particularly intriguing for the fact that he is a young man who seems to hold some sort of intelligence but can't kick his habit. The various highlights of the film are easily the performances along with the edgy and in-depth directing of Danny Boyle, easily one of his finest films and more so one of the best British films to appear, it explores and invites controversy at every turn but manages to make the characters relatable and often thoughtful about their actions, giving the viewer more reason to be involved. Danny Boyle knows how to make each character equally as important as the last, Trainspotting does this in funny, tragic, emotional and inventive ways.

Seth Rogan has proven before he has the talent to write convincingly for comedy, he tries his hand here at the superhero genre with his frequent collaborator Evan Goldberg, reviving The Green Hornet in blockbuster fashion, but too much comic tone spoils what had the potential to be a fun action flick, with gadgets galore and big set pieces, but they fall flat for having very little relevance to the weak plot and over abundance of characters with no part to play in the bigger picture. Seth Rogen is regrettably miscast as spoilt rich heir Britt Reid, who befriends his fathers mechanic and general whiz kid in seemingly everything, Kato, the two embark on an anti-hero journey where we are subject to the over-talkative Rogen who has written the wrong tone of film, Cameron Diaz is also cast as a pretty pointless character indeed, there is very little for her to do and there is simply too much dialogue and improvisation to the point of ridiculing a popular character. Their plans are to take down the biggest villain in LA, played by Christoph Waltz, who gives an unrecognisable performance compared to his powerful role in Inglorious Basterds, not really his fault considering his very menial lines of attempts at laughs which don't follow through. The emergence of a coherent villain happens to little too late, while the film pokes fun at various superhero flicks and the devices typically used in these films, The Green Hornet should really have been doing the same back at itself. We also have the uneasy 'bromance' between Britt and Kato, Jay Cho makes some very random expressions as if his character is annoyed the entire film, perhaps he was frustrated with the egotistical Rogen in the film. They bicker endlessly and the manner in which they speak always suggests there will be a showdown, which comes at a rushed and over-zealous pace. Things happen that are glossed over and not explained the way they should be, like the hate that Britt has for his father, played in a small part by Tom Wilkinson . There are a few moments of enjoyable fighting and some impressive gadgetry show-offs, but this reboot/revival feels bloated and batting well above its weight, with too much comedy and not enough of a coherent story and irrelevant characters which ultimately comes down to a side-step in the writing and miscast roles.

The Goonies manages to make a lot of things happen in just under two hours, we have an interesting cast of characters and even better actors and actresses playing them, a true classic film with a fantasy tale of pirates and treasures, setting a group of misfits kids, or "Goonies" on an adventure that only your parents could tell you about in a bedtime story. We have familiar faces in Josh Brolin and Sam Astin in their much younger days, the latter playing young Mikey, a kid with breathing problems who talks fast and seems to be the level headed one of the bunch, until he begins to start chasing treasure in the hope finding something to save his town, which is about to be demolished. His older brother Brand, played by Brolin, loves his brother but doesn't agree with his childish adventures, but Mikey and his friends manage to embark on their adventure in a very accidental way, unearthing secrets they never imagined before. A series of traps and willpower test these young explorers as they dig deeper into centuries old secrets. The standout of his friends is the larger than life Chunk, probably named for his larger size, but Jeff Cohen delivers a hilarious and energetic performance as this talkative, annoying and always hungry character, he brings a wonderful sense if playfulness and young shenanigans to the film, something that's missing from the "kid-friendly" films of today, but it isn't all innocent. There are different themes throughout the film, that border between adventure and even horror, Steven Spielberg has created a piece that entices the viewer but is really there to enjoy, I suppose it comes down to trying to recapture youth in the most exhilarating of ways, the kids are chased by the notorious Fratellis, a family of criminals who happen upon the same plan, this provides another dose of comic value, it's also interesting that it brings back the nostalgic notion that every character within a group in a film has some sort of use, the one who is afraid, the strong one, smart one, techie one and the stud, it's a nice touch that doesn't really happen anymore and gives a real sense of purpose and reason to be there. This is a true adventure and has the Spielberg effect of epic touch and a perfect score, the performances of the young cast are exceptional, letting their imaginations run wild and having one last blowout before the next stage in their life, they are foul-mouthed and mischievous, they are children.

Faster is an interesting piece indeed, it has the rumblings of a B movie with its non-stop destruction and hell bent on revenge, but on the other hand we have some sublime performances from various avenues of the screen, coming together in this mash-up of films from the past, it has hints of noir, but is ultimately a one-trick path of vengeance that is devoid of anything other than cold-blooded murder and scowling faces. We have Dwayne "The Rock" Johnson in a role that most suits him, he has definitely showed diversity, sometimes perhaps too much, but there is just something different with this character, he plays a convict who we simply know as "Driver" a broken and quiet man on a mission as soon as he gets released, he paces frantically from the prison where he climbs into an empty car waiting for him, he climbs in without a word and speeds off to an office space, where he shoots a man in the head and leaves, it's as simple but as brutal as that, he is a one man wrecking crew, but with good reason it seems. He is on a path to kill those who killed his brother in the most brutal of circumstances, and on his tail is "Cop" played by Billy Bob Thornton, this cop is close to retirement, but has a drug problem and a broken down marriage with a son involved, but is more involved than first glances would suggest. Also along the way is a hired "Killer" (Oliver Jackson-Cohen) who is an impressive specimen and a man who has done it all, consistently looking for challenges to save himself from boredom, he has a past that we learn through pictures he gazes at, a past that he may be trying his best to forget. He finds happiness with his girlfriend Lily (Maggie Grace) who questions his job choices but is ultimately committed to him. While Faster offers up some interesting characters, it isn't developed enough for it to properly stretch out, it could have properly developed its backstory which could have benefited an often closed and passing explanation for this mans actions, it therefore becomes a simple shoot and run with a few moments that show quality filmmaking, but not consistent. The performances alone keeping the film moving at a raging pace, with The Rock showing depth to character and proving he isn't all black and white. The film throws up some interesting twists and unexpected developments, they make it a satisfying film to enjoy, but don't offer much in terms of thought or drama, it is an adrenaline and testosterone-fuelled rampage that is is perfect for sitting down to relax, with a few starring performances worth applauding.

With great power, comes great power, especially when God is involved, with various theological accuracies and religious beliefs aside, 'Bruce Almighty' explores the power and responsibility that a higher being may possess, but in a comic manner of course, because Jim Carrey is leading the show in this supernatural comedy, where he plays a news reporter longing after the coveted anchor job, a job that goes to Evan (Steve Carell). Bruce has a breakdown and decides to take his anger out on the skies, namely God, who answers Bruce in the most unorthodox of ways, giving him all his powers and telling him to use them how he pleases. While the powers of God throughout the film bring excellent comedy and impressive visual gags like the part of the soup, clearly a direct reference to Moses, and others like pulling the moon closer or even the voice change for his rival Evan, it sometimes feels over-bearing when you realise a film is being made about powers that are truly limitless, so where do you even start with that. The true spark of the film rests on the shoulders of Carrey and his energetic persona that he brings to most of his roles, it's difficult to imagine anyone else playing the role, and a deliberate pacing and subtle references to larger compromises in the film do make it a predictable in many parts, but strong performances from Carrey as the down on his luck news reporter, while is girlfriend Grace (Jennifer Aniston) is forever trying to keep Bruce grounded. Then we have God himself, played by none other than Morgan Freeman, who has many a philosophical tale to tell us and inspire the hoard as we watch, it's entertaining but also hold sentimental value, especially when the elegant and almighty voice of Freeman is saying it. The theme of it all really tries to test the selfishness of selflessness of the human psyche, how much would one person do before trying to help others if they has unlimited capabilities? Sure we might indulge a little but when it comes down to it, what would you do. But this is of course coming from a comedy angle, many will simply treat this has a quirky idea for a film, while others will see it as blasphemy for treating the entity of God on such a comical way, but then again, laughter is the language of the soul, and while there are laughs to be had, it misses the mark when trying to be too serious and shifting its tone, while also focusing and relying to much on Jim Carrey's personality. But still an enjoyable and interesting idea all the same

The dark and comic tone of "Bowling for Columbine" attempts to outline the seriousness of its content, through its condescending questions to various citizens and first hand look at some unimaginable situations, the film is a look at the simplicity of picking up a firearm in America, writer, investigator, director and the sarcastic Michael Moore narrates various facts about the National Rifle Association, the pro-gun movement, he interviews some of the most colourful individuals on screen, including a young man who sleeps with a gun under his pillow and a young man who makes his own bombs, including homemade napalm. The title refers to the tragic actions of two gun-wielding and bomb-making students who massacred students and teachers in Columbine High School, after a carefully orchestrated attack, an event that made people question gun control in the United States. We then see a video collage with words to various deals and decisions that the American government has made over the years, giving weapons to a country they later invade, removing democratically elected presidents and replacing them with dictators, which ironically has Louis Armstrong's "What a Wonderful World" playing over it, a startling reminder of what those in power of capable of. We then see video footage of the Columbine tragedy, as a teacher makes a frantic call to the emergency services as the gunmen turned to face the room the caller was in. What happened after was equally as disturbing, the blames, security measures and segregation of children was quite unbelievable. The film explores this blame and questions just what makes the Free World different from every other country, we share the same entertainment and pop culture variance, things which are blamed for these mass shootings, why does the rest of the world not have such a startling firearm death statistic as the USA. Moore has created a satirical view of serious issues that need addressed, he questions why larger issues are clouded by more menial ones, he also combines this with a perfect soundtrack, one which reflects the material on show, his interactions with a wide variety of people, from rural to urban areas of the States and even up to Canada, trying figure out the source if these problems, he puts the real problems right in "important" people faces and it's unfortunate to see such a cold reaction. This is touching, disturbing and influential documentary that hits the problems where they hurt, but accepts the fact that it can't do enough to change a nation, little instances happen, but they are blips on a massive scale that barely matter.

There have been plenty of attempts at reliving some sort of alien encounter, but 'Paul' adds a comic touch to a decades long tale of UFOs and government conspiracies. The addition of comic duo Simon Pegg and Nick Frost certainly adds a nerdy touch to the film, it isn't one of their smartest or witty films, then again they take a break from behind the camera and are simply the stars and writers this time around. They play two British comic book fanatics Graeme and Clive who are fish out of water as they visit America for Comic-Con, we realise its a dream they have always wanted to happen, but their journey becomes a lot more lively when they'd happen across Paul, a foul-mouthed and socially in touch alien, voiced by Seth Rogen, he kills all the clichés that we are told and believe of extra-terrestrial life, he swears, smokes and convinces everyone most of the entertaining sci-fi adventures of the past 60 years. The film ticks along as a comical history lesson, with Seth Rogen being the real comic force in the film as Paul the alien, while the men chasing down this other life form also hit some hysterical high notes with the serious and typical formation of what we would expect of a 'government agent' in Jason Bateman, but his two bumbling sidekicks played by Bill Hader and Jo Lo Truglio who are treating their job like first timers, and their comedy is juvenile but brilliant. This all leads into an explosive finale which combines everything we've seen and adds in a few surprises to keep it fresh and interesting. The film works with the same plot devices as many same genre films, but it benefits from the powerhouse comic cast and funny supporting cast. It re-enacts and parodies many devices used over the years, the agents, the unknown voice and boss who is identified only through hands and of course the touching moments where Paul re-visits those whose lives he changed many years before. The nice alternate take on a lengthy tale of alien encounters is a welcome relief and adds plenty of amusing anecdotes to pop culture tales from Paul's point of view, it takes some predictable turns but then flips them around to keep surprising and enlightening the audience throughout.

A triumphant prologue opens up a film that tosses and turns in its confidence and ambition, ultimately falling short of the magical and memorable moments that made the original Oz film such a classic. What the film is missing is the definition of fantasy and reality, the original often toyed with the audience about whether Dorothy ever went to the Emerald City, but this film sets out with many callbacks and mentions to the original, but doesn't add up to a significant or plausible adventure. This is a prequel, a "how it all began" approach, but James Franco shows a different side to the man we may remember, he womanises, frauds and cheats anyone he meets, until he here whisked away in a hurricane (sound familiar?) and ends up in the mystical land that shares his magician name, Oz. While stunning and epic on beauty, it feels empty and a chance to show how far special effects can push the spectrum, the familiar yellow brick road is there, but it was much more fulfilling seeing Dorothy, Scarecrow and friends bouncing along and singing their way to the great city, but in this, Oz arrive in moments after meeting a beautiful witch Theodora (Mila Kunis), who sees no wrong in her new companion, and then he is gone again, off to defeat the wicked witch. The film takes an interesting but under-explained twist, one which has very little build-up in terms of deep character development, it all happens very fast, leaving little time to revel in some of the finer moments of the film, the set pieces are big, but the plot inconsistencies put a darker light on moments that could have been appreciated more. These scenes pick up well after a slow start in the land of Oz, but tonal shifts and confusing assumptions still cloud the goal that was trying to be reached by the ambitious director Sam Raimi. I'm still on the fence about the casting of James Franco as the "great and powerful" Oz, he brings an interesting charm to the role, but seems to miss the opportunity at a charismatic and controlling individual, something the heavily rumoured Robert Downey Jr. would undeniably have brought. Mila Kunis is certainly the standout of the film, she plays a conflicted and passionate character in Theodora, proving her worth when it matters most. Her sister in the film is played by the talented Rachel Weiz, who is a charming yet equally cunning witch who never sits easy as the film unfolds. This isn't the return to Oz that I'm sure we all hoped for, while there are very impressive visuals and some sturdy performances, one can't help but revisit the old ways to sing a long with Dorothy and her pals, rather than a heavy CGI flick with only passing moments of marvel.