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Generally it is perceived that a film, much like it's lead character undergoes what's commonly known as the three arcs, the first of which shows the character lost, or without puropse, the second arc takes the character, gives him a dilemma (in this case the search for occupation) and makes him work to fix it, often leading to the third arc which leaves the character a better person, one who now has purpose. The Illusionist is excitedly refreshing with its characters, story and animation in a sense that this is now the case. In fact it could almost be the opposite, the character at the end of this film, or at least the main character has not changed one bit, in fact, it could be said that the lead at the beginning of the film was actually a better person when he adopts the young Gaelic girl into his care than at the end, crushing her illusion that magic is real and leaving her with little money as he departs on at train leaving her virtually penniless, if in the arms of a new found love. Yes, it could be said that the Illusionist is no Disney Pixar film (the company behind such classics would never threaten its unique situation as currently the most secure studio present) but in no sense does it mean that the Illisionist is anythign short of unique itself. The film has its flaws, dialogue (when rarely spoken) is often difficult to understand and the film finishes just as you start falling for the characters emotionally, but these are minor set backs in an affordable and enjoyable night in.

Few films have demanded such attention from an audiences as Richard Kelly's stunningly troubled debut which follows a young man attempt to deal with his life and oddities in the midst of falling in love and the debt of a mysterious Bunny known only as Frank. A film which demands so much from its audience, but provides with such captivating weirdness and a beautiful premise involving a hauntingly spellbinding use of mad world is well worth the watch.

Indiana Jones, the character responsible for making archaeology the most exciting and sought for career ever is at best found in his first and inarguably greatest classic. Raider's of the lost Ark was one of a number of classic brought to the screen in the 1980's, other notable masterpieces were time travel saga the Back to the Future trilogy, the original Terminator and the Empire Strikes Back, and Spielberg's action adventure near enough trumps them all. Set in the backdrop of mid 1930's, where the second world war is on the verge, the film begins in a middle eastern jungle, Indy is venturing for a golden idol, he begins with three mercenaries, the whip crashes and five minutes later, he's running from a boulder having just set off the booby trap that would encave the entire temple. Five minutes in and one of the film's, of not one of cinema's most iconic scenes has rolled its way on to the screen, surely it can't get better? It does, watch on. Steven Spielberg is on top form in this department, providing camera work and action set pieces galore, scripted wonderfully by 80's superman Lawrence Kasdan (Empire Strikes Back.) But it's Harrison Ford who takes the cake as arguably the greatest (super)hero in cinema history, running from set piece to set piece whilst driving his story with impossibly cool suave and underlying moral dilemma. It's a film that, when first thought about ($20m globe trotting actioner starring Han Solo?) should not be good, bar even watchable, but the dream team of Lucas, Spielberg, Kasdan and Ford make it some of the most exciting, visually arresting adventure pics in creation. A must watch.

The word classic is one thrown around the film industry too often these days, it is only when you watch a film such American Beauty that the true nature and prowess of inspirational filmmaking can be seen. The film to end all others in a sense that none could ever live up to its masterful performances, witty script and direction extra-ordinaire. A must-see, as many times as you can, it truly lives up to the name. Cherish it, films such as these can come just once in a lifetime

The Expendables II, the lowly anticipated sequel to the slated 2010 original which provided wooden acting and weak editing. Let's face it, no one was expecting a sequel to up the anti and kick as much ass as this no-brains all brawn all out action epic does. The Expendables, led by a Barney Ross (Sylvester Stallone, more focused on keeping his *cough* acting *cough* in check now that directing duties have been given to much... steadier hands in the form of Simon West, who was proved his action chops on several occassions over recent years, his most notables being Nic Cage Con Air and fellow Expendable Jason Statham's Mechanic) on a revenge mission against infamous European mercenery VillAin (played with gleeful OTT by a top form JCVD) after young soldier for hire and Barney's friend Liam Hemsworth (yep, that guy from the Hunger Games) is killed on what seemed a simple job. As figured, the plots not what keeps the film going, with what seems like a story written in two lines spread like butter across a LARGE (1hr 43 mins) piece of toast. But the action... MY GOD. Every action star, phenomen, body builder, european screen mass fill the frame every second of this picture, and no, the idea of the world's greatest action stars together in one movie DOES NOT GET OLD. If solid action is what you want (JCVD, Norris and Arnold stand out in this pic) and possibly the best performances out of Hollywood's brawn this side of the century, this film is yours to swallow up, regardless of poorly thought out plot and too many mercenaries to count let alone care for. It's worth paying to see for the Arnie jokes alone mind. 6 U